title: Anton Webern

text: Webern's earliest works consist primarily of "lieder", the genre that most testifies to his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. Robert Schumann's "Mondnacht" is an iconic example; Joseph Freiherr von Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Berg, Reger, Schoenberg, Strauss, Wolf, and Alexander Zemlinsky. Wolf's "Mörike-Lieder" were especially influential on Webern's efforts from this period. But well beyond these "lieder" alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner.


title: Anton Webern

text: Webern's first piece after completing his studies with Schoenberg was the Passacaglia for orchestra (1908), Op. 1. Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio, and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language.


title: Anton Webern

text: Webern wrote freely atonal music somewhat in the style of Schoenberg starting with Op. 3. The two were so close in their artistic development that in 1951 Schoenberg reflected that he had sometimes no longer known who he was. But Webern did not merely follow Schoenberg. Ethan Haimo noted the swift, radical influence in summer 1909 of Webern's novel and arresting "Fünf Sätze" for string quartet, Op. 5, on Schoenberg's subsequent "Klavierstück" Op. 11, No. 3 (which differs markedly from Op. 11, Nos. 1 and 2 of February 1909); "Fünf Orchesterstücke" for orchestra, Op. 16; and monodrama "Erwartung", Op. 17. In 1949 Schoenberg still remembered being "intoxicated by the enthusiasm of having freed music from the shackles of tonality" and believing with his pupils "that now music could renounce motivic features and remain coherent and comprehensible nonetheless".


title: Anton Webern

text: With Opp. 18–20, Schoenberg began to retreat somewhat. In "Pierrot lunaire" (1912), Op. 21, there are elements of , neoclassicism, and neo-Romanticism (e.g., canon and passacaglia in "Nacht," canon and fugue in "Der Mondfleck," waltz in "Serenade," triadic harmony in "O alter Duft," grotesque satire throughout), as befits the text's protagonist. With its contrapuntal procedures and nonstandard ensemble, "Pierrot" was received by Webern as a direction for the composition of his own Opp. 14–16.


title: Anton Webern

text: Of some fifty-six songs on which Webern worked during and after World War I (1914–1926), he ultimately finished and later published only thirty-two, carefully ordered into sets as Opp. 12–19. "How much I owe to your "Pierrot"", he wrote Schoenberg upon completing a setting of Georg Trakl's "Abendland III", Op. 14, No. 4, in which, distinctly, there is no silence or rest until a pause at the concluding gesture. A recurring theme is that of the wanderer, estranged or lost and seeking return to or at least retrieval from an earlier time and place. This wartime theme of wandering in search of home or rest fits with two complex, interrelated concerns more broadly evident in Webern's work: first, the loss and memory of his mother, father, and nephew, usually from a religious perspective; and second, Webern's broad and spiritual, even pantheistic sense of "Heimat" in the form of abstracted and idealized rural landscapes, such as that of the lost Preglhof esate or the Alps. In a stage play he wrote in October 1913, "Tot", Webern drew on Emanuel Swedenborg's notion of correspondence to explore these concerns over the course of six alpine scenes of reflection and self-consolation.


title: Anton Webern

text: Johnson argues that the whole of Webern's music takes on the nature of such dramatic and visual tableaux, if in a more abstract and formal manner in some of the late works. Melodies frequently begin and end on weak beats, settle into or arise out of ostinati, or otherwise dynamically and texturally emerge or fade away. Tonality, useful for communicating direction and narrative in programmatic pieces, becomes more tenuous, fragmented, static, symbolic, and visual or spatial in function, thus mirroring the concerns and topics, explicit or implicit, of Webern's music and his textual selections for , especially from the poetry of Stefan George and Trakl. Expanding on the orchestration of Mahler, Webern characteristically sought a colorful and novel but idiosyncratically fragile and intimate sound, not infrequently bordering on silence at a typical , often in consistent association with certain lyrical topics, whether the female or an angelic voice as evoked by solo violin or the use of harmonics; luminosity or darkness as sought by different voicings or the use of sul ponticello; absence, emptiness, or loneliness metaphorically through compressed range by contrast to fulfillment or (often spiritual) presence through registral expansion; the celestial and ethereal in the use of celesta, harp, glockenspiel; or angels and heaven, for example, in the use of harp and trumpet in the circling ostinati of Op. 6, No. 5, and winding to conclusion at the very end of Op. 15, No. 5).


title: Anton Webern

text: For Webern especially, text-setting became a means of composing more than atonal aphorisms, but Schoenberg sought other means, "long ... yearning for a style for large forms ... to give personal things an objective, general form." From as early as 1906 Berg, Schoenberg, and Webern indulged a shared interest in esotericism, Swedenborgian mysticism, and Theosophy, reading Honoré de Balzac ("Louis Lambert" and "Séraphîta") and August Strindberg ("Till Damaskus" and "Jacob lutte") as they explored ways forward in their own work. Gabriel, the protagonist of Schoenberg's semi-autobiographical "Die Jakobsleiter" (1914–1922, rev. 1944) begins by describing a journey: "whether right, whether left, forwards or backwards, uphill or down – one must keep on going without asking what lies ahead or behind." Webern interpreted this line as a metaphor for pitch space, as Schoenberg did later, ultimately considering "Jakobsleiter" a "real twelve-tone composition" for its opening hexachordal ostinato and referring to a "Scherzo [theme] ... which accidentally consisted of all the twelve tones," aware that "[a]n historian will probably one day find ... how enthusiastic [Webern and I] were about this." On the journey to composition with twelve tones, Webern revised many of his middle-period in the years after their apparent composition but before publication, increasingly prioritizing clarity of pitch relations, even against timbral effects, as Anne Shreffler and Felix Meyer have described.


title: Anton Webern

text: With the "Drei Volkstexte" (1925), Op. 17, Webern used Schoenberg's twelve-tone technique for the first time, and all his subsequent works used this technique. The String Trio (1926–1927), Op. 20, was both the first purely instrumental work using the twelve-tone technique (the other pieces were songs) and the first cast in a traditional musical form.


title: Anton Webern

text: Like that of both Brahms and Schoenberg, Webern's music is marked by its emphasis on counterpoint and formal considerations, and his commitment to systematic pitch organization in the twelve-tone method is inseparable from this prior commitment. His tone rows are often arranged to take advantage of internal symmetries: a row may be divided into four groups of three pitches which are variations, such as inversions and retrogrades, of each other, thus creating invariance. This gives Webern's work considerable motivic unity, although this is often obscured by the fragmentation of the melodic lines. This fragmentation occurs through octave displacement (using intervals greater than an octave) and by moving the line rapidly from instrument to instrument in a technique referred to as "Klangfarbenmelodie".


title: Anton Webern

text: Webern's late cantatas seem to indicate new developments in style, which Webern himself noted ecstatically in letters to the Humpliks, or at least a thoroughgoing synthesis of the formal rigors of his mature instrumental works with the word painting of his "lieder" on a larger, orchestral scale. They are texturally somewhat denser and more homophonic at the surface through nonetheless contrapuntal polyphonic means, with "Schweigt auch die Welt" culminating in a twelve-tone simultaneity.


title: Anton Webern

text: An apparent third cantata (1944–1945), setting "Das Sonnenlicht spricht" from Jone's "Lumen" cycle, was left in his sketchbook, having been planned initially as a concerto.


title: Anton Webern

text: In his youth (1903), Webern orchestrated at least five of Franz Schubert's various "lieder", giving the piano accompaniment to an appropriately Schubertian orchestra of strings and pairs of flutes, oboes, clarinets, bassoons, and horns: "Der Vollmond Strahlt auf Bergeshöhn" (the Romanze from "Rosamunde"), "Tränenregen" (from "Die schöne Müllerin"), "Der Wegweiser" (from "Winterreise"), "Du bist die Ruh", and "Ihr Bild"; in 1934, he did the same for Schubert's six "Deutsche Tänze" ("German Dances") of 1824.


title: Anton Webern

text: For Schoenberg's Society for Private Musical Performances in 1921, Webern arranged, among other things, the 1888 "Schatz-Walzer" ("Treasure Waltz") of Johann Strauss II's "Der Zigeunerbaron" ("The Gypsy Baron") for string quartet, harmonium, and piano.


title: Anton Webern

text: In 1924, Webern arranged Franz Liszt's "Arbeiterchor" ("Workers' Chorus", c. 1847–1848) for bass solo, mixed chorus, and large orchestra; it was premièred for the first time in any form on 13 and 14 March 1925, with Webern conducting the first full-length concert of the Austrian Association of Workers Choir. A review in the "Amtliche Wiener Zeitung" (28 March 1925) read ""neu in jedem Sinne, frisch, unverbraucht, durch ihn zieht die Jugend, die Freude"" ("new in every respect, fresh, vital, pervaded by youth and joy"). The text, in English translation, reads in part: "Let us have the adorned spades and scoops,/ Come along all, who wield a sword or pen,/ Come here ye, industrious, brave and strong/ All who create things great or small." Liszt, initially inspired by his revolutionary countrymen, had left it in manuscript at publisher 's discretion.


title: Anton Webern

text: Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's "Deutsche Tänze" (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores (including a specially marked score of the Piano Variations), and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor, he was one of many (e.g., Wilhelm Furtwängler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding. Felix Galimir, of the Galimir Quartet, told "The New York Times" in 1981: "Berg asked for enormous correctness in the performance of his music. But the moment this was achieved, he asked for a very Romanticized treatment. Webern, you know, was also terribly Romantic—as a person, and when he conducted. Everything was almost over-sentimentalized. It was entirely different from what we have been led to believe today. His music should be played very freely, very emotionally."


title: Anton Webern

text: This aspect of Webern's work had been typically missed in his immediate post-war reception, however, even as it may radically affect the music's reception. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's Symphony, Op. 21 with the "hr-Sinfonieorchester" is still far more within the spirit of the late Romantic performance tradition (which Webern seemingly intended for his music), nearly slowing to half-tempo for the whole of first movement and taking care to delineate and shape each melodic strand and expressive gesture throughout the entirety of the work.


title: Anton Webern

text: In 1947, Schoenberg remembered and expressed solidarity with Berg and Webern despite rumors of the latter's having "fallen into the Nazi trap": "Let us—for the moment at least—forget all that might have at one time divided us. For there remains for our future what could only have begun to be realized posthumously: One will have to consider us three—Berg, Schoenberg, and Webern—as a unity, a oneness, because we believed in ideals, once perceived, with intensity and selfless devotion; nor would we ever have been deterred from them, even if those who tried might have succeeded in confounding us." Krasner notes that this "puts 'Vienna's Three Modern Classicists' into historical perspective," summarizing it as "what bound us together was our idealism."


title: Anton Webern

text: In part because he had largely remained obscure and arcane during his own lifetime, interest in Webern's music increased in the aftermath of World War II as it came to represent a universally or generally valid, systematic, and compellingly logical model of new composition, with his acquiring "a saintly, visionary aura". This was made possible in large part by René Leibowitz as he championed, performed, promulgated, and published "Schoenberg et son école", but Theodor W. Adorno and others also contributed. When Webern's Piano Variations were performed at Darmstadt in 1948, young composers listened in a quasi-religious trance. In 1955, the second issue of Eimert and Stockhausen's journal "Die Reihe" was devoted to Webern's œuvre, and in 1960 his lectures were published by UE.


title: Anton Webern

text: It has been suggested that post-war composers' fascination with Webern's music was enabled by its apparent simplicity and concision facilitating musical analysis. Gottfried Michael Koenig speculates on the basis of his personal experience that since Webern's scores represented such a highly concentrated source, they may have been considered the better for didactic purposes than those of other composers. criticized the approach of early serialists to Webern's music as reductive and narrowly focused on some of Webern's apparent methods rather than on his music more generally, especially neglecting timbre in their typical selection of Opp. 27–28. Karel Goeyvaerts recalled that at least on first impression, the sound of Webern's music reminded him of "a Mondrian canvas," explaining that "things of which I had acquired an extremely intimate knowledge, came across as crude and unfinished when seen in reality." Expressing a related opinion, contemporaneous German music critic and contributor to "Die Reihe" Wolf-Eberhard von Lewinski wrote in the "Darmstädter Tagblatt" (3 September 1959) that some of the later and more radical music at Darmstadt was "acoustically absurd [if] visually amusing"; several days later, one of his articles in the "Der Kurier" was similarly headlined "Meager modern music—only interesting to look at."


title: Anton Webern

text: Meanwhile, Webern's characteristically passionate pan-German nationalism and politics were not widely known or mooted, likely due to his personal associations in and Red Vienna, his marginalization under fascism and "Gleichschaltung", his loyalty and assistance to his Jewish friends and colleagues (especially after "Kristallnacht"), and his mysterious fate in the immediate aftermath of World War II. Significantly as relates to his reception, Stravinsky noted that Webern never compromised his artistic identity and values.


title: Anton Webern

text: Somewhat independently and singularly, Luigi Dallapiccola found inspiration in Webern's lesser-known middle-period "lieder", with the 1953 "Goethe-Lieder" especially recalling Webern's Op. 16 in style. A later work, "Dialoghi" (1959–1960), testifies to his intimate familiarity with not only with Webern's procedures and works in particular, but also those of Schoenberg as well.


title: Anton Webern

text: Well into and beyond the 1960s, Webern's work continued to influence musicians even as far removed as Joel Thome and Frank Zappa, yet many post-war European musicians and scholars had already begun to look beyond as much as "back" at Webern: there was some rapprochement with Berg and advocacy for more engagement with the expressionism of Webern's atonal works in contrast to some earlier post-Webernism. In Adorno's 1954 lecture "The Aging of the New Music," he claimed that in the prevailing climate "artists like Berg or Webern would hardly be able to make it"; against the "static idea of music" and "total rationalization" of the "pointillist constructivists," he advocated for more subjectivity, citing "Über das Geistige in der Kunst" (1911), in which Wassily Kandinsky wrote: "Schoenberg's [expressionist] music leads us to where musical experience is a matter not of the ear, but of the soul—and from this point begins the music of the future." Even as the first scene of Pousseur's "Votre Faust" (1960–1968) quotes the opening of "Schweigt auch die Welt," dramatizing the composer Henri's analysis of Webern's Op. 31, it already has several elements of late or postmodernism, with its extreme plurality of historically developed styles, mobile form, and polyvalent roles in the service of a self-reflexive theme of relative, unstable identity (traces perhaps of Berg, whose example Pousseur cites, from whose music he quotes in the second scene, and whose writings he translated into French in the 1950s). Boulez was "thrilled" by Berg's "universe ... never completed, always in expansion—a world so ... inexhaustible," referring to the rigorously organized, only partly twelve-tone Chamber Concerto and echoing Adorno's praise for "Lulu", the première of which Boulez conducted in 1979 after its finished orchestration by Friedrich Cerha. Both Ferneyhough and Lachenmann sympathetically expanded upon and poetically went further than Webern in attention to the smallest of details and the use of ever more radically extended techniques: for example, Ferneyhough's 1967 Sonatas for string quartet comprise not only serial, but also atonal sections much in the style of Webern's Op. 9 yet more intensely sustained; and Lachenmann wrote in the 1985 essay, "Hearing [Hören] is Defenseless—without Listening [Hören]," of "a melody made of a "single" note [...] in the viola part" in mm. 2–4 of Webern's Op. 10, No. 4, amid "the mere ruins of the traditional linguistic context," in a comparison to his own 1969 "Air", in which even "the pure tone, now living in tonal exile, has in this new context no aesthetic advantage over pure noise."


title: Anton Webern

text: In the Communist Bloc, the music of the Second Viennese School proved an often bewildering or professionally dangerous but sometimes exciting or inspiring alternative to socialist realist art music, given access. Whereas Berg's "Lyric Suite", performed by the Kolisch Quartet at the 1927 Baden-Baden ISCM festival where Bartók performed his own Piano Sonata, could inspire Bartók in his subsequent third and fourth string quartets and later Concerto for Orchestra, Second Viennese influence on composers behind the Iron Curtain was mediated by anti-fascist and anti-German sentiment and obstructed by anti-formalist cultural policies and Cold War separation more generally. In 1970 Ligeti explained, "In countries where there exists a certain isolation, in Eastern Europe, one cannot obtain correct information. One is cut off from the circulation of blood." Following the 1956 uprising in Hungary, the influence of Webern initially predominated, bearing on Pál Kadosa, Endre Szervánszky, and György Kurtág. Among Czechs, Marek Kopelent, who discovered the Second Viennese School as an editor and was particularly taken by Webern, was ostracized and blacklisted for his avant-garde music at home and despaired, unable to attend performances of his own works abroad; while Pavel Blatný, who attended the and wrote music with serial techniques in the late 1960s, returned to tonality in Brno and was rewarded. Later still and farther east, Sofia Gubaidulina, for whom music was an escape from the sociopolitical atmosphere of post-Stalinist Soviet Russia, cited the influence of both JS Bach and Webern in particular; she emigrated to Germany in 1992.


title: Anton Webern

text: Webern's music remains polarizing and provocative within various communities of musicians and scholars. Its legacy (or canonic status) has been celebrated, confirmed, and challenged with recourse or reference to culture, history, ideology, philosophy, politics, social context, and public opinion or audience reception as a critical basis, ranging from the earlier interdisciplinary aesthetics and sociomusicology of Adorno and Ernst Bloch to the New Musicology of Susan McClary and more adjacently Richard Taruskin in the US. Complementing formal musical analysis, which itself was enriched by David Lewin's work toward a more integrative and phenomenological approach, Julian Johnson worked toward a hermeneutics of Webern's music, building on the middle-period "lieder" sketch studies of Felix Meyer and Anne Shreffler as well as the work of the Moldenhauers. Since the "Restoration of the 1980s," as Martin Kaltenecker termed a paradigm shift from structure more toward perception within the discourse of New Music, challenges have been raised within historical musicology, prompting controversy and admonishments: Charles Rosen scorned a "kind of historical criticism ... avoiding any serious engagement with a work or style that one happens not to like"; Andreas Holzer warned of "the spread of post-factual tendencies in musicology"; and Pamela M. Potter cautioned that "[i]t is important to consider all the scholarship on musical life in the Third Reich that, taken together, reveals the complexity of the day-to-day existence of musicians and composers", as "[i]t seems inevitable that debates about the political culpability of individuals will persist, especially if the stakes remain so high for composers, for whom an up or down vote can determine inclusion in the canon." Though noted for his polemicism, Taruskin's work on New Music since and including the Second Viennese School in particular was criticized not only by Holzer and Rosen, but also by Max Erwin, Larson Powell, , , and particularly Franklin Cox, who faulted him as an unreliable historian and "ideologist of tonal restoration," arguing that his "reactionary historicist" project opposed the Second Viennese School's "progressivist historicist" emancipation of the dissonance. Taruskin himself admitted to having acquired a "dubious reputation" on the Second Viennese School and noted that he was described as "coming, like Shakespeare's Marc Anthony, 'to bury Webern, not to praise him'". In relation to post-Webernism more generally, Holzer warned of attempts "to place Darmstadt in a fascistoid corner or even identifying it as a US propaganda institution amid the Cold War" through "unbelievable distortions, exaggerations, reductions and propagation of clichés".


title: Butterfly 3000

text: Butterfly 3000 is the eighteenth studio album by Australian psychedelic rock band King Gizzard & the Lizard Wizard, released on 11 June 2021. It is the band's first album not released on Flightless Records, instead being released on the band's own label KGLW. It is their second studio LP of 2021, following February's "L.W.". The album was described as "melodic" and "psychedelic" upon its initial announcement on 10 May, along with the words "cross-eyed auto-stereogram", in reference to the album art.


title: Butterfly 3000

text: On 19 March 2021, the band released one of the live performances from their recent tour as a bootleg album, titled "Live in Melbourne '21", as well as their 13th Gizzymail newsletter. In the mail, there was a statement that read, "We've been having heaps of fun cooking up NEW STUFF in the studio. Can't wait to share new music with you." This suggested that the band had a new album in the works.


title: Butterfly 3000

text: Recorded during the COVID-19 pandemic, the album's origins stem from recording instrumental interludes for their 2020 live album, "Chunky Shrapnel": "We wrote a couple of song in major key vibes and we knew it wouldn't work on "Chunky Shrapnel", which we were putting together. We had the song "Dreams", a synth pop thing that was clearly wrong for it. We just accidentally made this music that felt like it warranted its own project. And "Shanghai" came then "Black Hot Soup" and "Ya Love", and it felt like enough to hold a record and we should explore this concept super deeply." These early sessions were done as part of explorations for a follow-up to 2017's "Polygondwanaland", before taking on an identity of its own.


title: Butterfly 3000

text: Frontman Stu Mackenzie's daughter, Minty, was born during the recording process, influencing his worldview: "I definitely felt like I was in a cocoon before Minty was born. A butterfly is just a beautifully easy, metaphorical creature with this bizarre and interesting life cycle. That was the central motif for the whole record. And we tried to use it in every song."


title: Butterfly 3000

text: On 11 May, the band revealed their next album: "Butterfly 3000", due 11 June, and stated the album would have no singles leading to release. Matthew Ismael Ruiz of "Pitchfork" reported on the album with additional news from the band; "that it would have 10 tracks, that it was built around modular synth loops and the album art would be a 'cross-eyed autostereogram' by long-time collaborator Jason Galea."


title: Butterfly 3000

text: The album was referred as "a suite of 10 songs" in the press release which suggested the songs were connected musically, and the final album's tracks all segue into another. The press release also described it as "[possibly] their most fearless leap into the unknown yet." Multiple articles breaking down the press release suggested the album would be a psychedelic, Animal Collective-style dream pop/neo-psychedelia record.


title: Butterfly 3000

text: On 10 June, the band announced a pre-order for 11 vinyl variants, each printed in a different language (the standard English variant, and the limited-edition Hindi, Dutch, French, German, Japanese, Mandarin, Russian, Spanish, Thai and Turkish variants). In addition, each individual record is a surprise color or "lucky dip of either Caterpillar Red Wax, Chrysalis Yellow Wax or Butterfly Blue Wax." The band released the album digitally on 11 June as planned in Australia, but put the album online for all other territories early through Bandcamp.


title: Butterfly 3000

text: No information was revealed other than the aforementioned attributes and a 15-second snippet until its release, no singles were revealed, and unlike the band's last few albums, the album did not leak. In anticipation of the release, frontman Stu Mackenzie stated that it was his "favourite Gizzard album".


title: Butterfly 3000

text: On 12 June, the band announced that every song on the album would get a music video. The video for "Yours" was the first to be released, on 14 June. Directed by John Angus Stewart, the live-action video was shot in various locations and alternates between footage of the band members and the scenery. The video is preceded by a "photosensitive seizure warning". The video for "Shanghai" followed on 21 June, directed and animated by Amanda Bonaiuto. The videos for "Dreams" and "Blue Morpho" were released on 28 June and 6 July, respectively. Both videos were directed and animated by Jamie Wolfe, and feature the same animation style. Released on 12 July, the video for "Interior People" was written/directed by Ivan Dixon and produced/animated at Studio Showoff.


title: Butterfly 3000

text: The live-action video for "Catching Smoke" was released on 26 July, and features the band members and additional dancers performing in suits and various intricate costumes. Stu Mackenzie is prominently featured, first appearing as a chrysalis/cocoon and ultimately transitioning into a butterfly, complete with large stylized wings and antennae. The video was written/directed by Danny Cohen and produced by both Cohen and Tessa Mansfield-Hung. The video for "2.02 Killer Year" was released on 2 August. Directed and designed by Sophie Koko, the video features 3D animation by Jack Wedge and Will Freudenheim. Released on 11 August, the video for "Black Hot Soup" was designed, directed and edited by Guy Tyzack. The video combines real footage and animation, as well as both digital and analog video processing techniques. The videos for "Ya Love" and "Butterfly 3000" were the final to be released, on 24 August and 31 August, respectively. Both videos were created by Jason Galea, but feature different visual styles. The video for "Butterfly 3000" is also preceded by a seizure warning.


title: Butterfly 3000

text: On 7 December 2021, the band announced on their social media that they were releasing an album of remixes of songs from "Butterfly 3000", titled "Butterfly 3001", set to release on 21 January 2022. Alongside this announcement, they released two songs from the album - a dub remix of "Shanghai" by The Scientist, and remix titled "Neu Butterfly 3000" by Peaches. A month later, on 7 January 2022, they released the remix of "Black Hot Soup" by DJ Shadow, referred to as the "My Own Reality" Re-write, alongside a music video. On 21 January, the album released to Bandcamp and streaming platforms.


title: John 1:1

text: John 1:1 is the first verse in the opening chapter of the Gospel of John in the New Testament of the Christian Bible. The traditional and majority translation of this verse reads:


title: John 1:1

text: "The Word," a translation of the Greek λόγος (logos), is widely interpreted as referring to Jesus, as indicated in other verses later in the same chapter. For example, “"the Word became flesh, and dwelt among us"” (John 1:14; cf. 1:15, 17).


title: John 1:1

text: This and other concepts in the Johannine literature set the stage for the Logos-Christology in which the Apologists of the second and third centuries connected the divine Word of John 1:1-5 to the Hebrew Wisdom literature and to the divine Logos of contemporary Greek philosophy.


title: John 1:1

text: On the basis of John 1:1, Tertullian, early in the third century, argued for two Gods where the Persons are distinct but the substance is undivided. But Tertullian saw the Word as ontologically inferior because He is only “a portion of the Whole.”


title: John 1:1

text: In John 1:1c, logos has the article but theos does not. Origen of Alexandria, a teacher in Greek grammar of the third century, argued that John uses the article when theos refers to "the uncreated cause of all things." But the Logos is named theos without the article because He participates in the divinity of the Father because of “His being with the Father.”


title: John 1:1

text: The main dispute with respect to this verse relates to John 1:1c (“the Word was God”). One minority translation is "the Word was divine." This is based on the argument that the grammatical structure of the Greek does not identify the Word as the Person of God but indicates a qualitative sense. The point being made is that the Logos is of the "same uncreated nature" or essence as God the Father. In that case, “the Word was God” may be misleading because, in normal English, "God" is a proper noun, referring to the person of the Father or corporately to the three persons of the Godhead.


title: John 1:1

text: With respect to John 1:1, Ernest Cadman Colwell writes:The absence of the article does not make the predicate indefinite or qualitative when it precedes the verb, it is indefinite in this position only when the context demands it. So, whether the predicate (theos) is definite, indefinite or qualitative depends on the context. Consequently, this article raises the concern that uncertainty with respect to the grammar may result in translations based on the theology of the translator. The commonly held theology that Jesus is God naturally leads to a corresponding translation. But a theology in which Jesus is subordinate to God leads to the conclusion that ""... a god"" or ""... divine"" is the proper rendering.


title: John 1:1

text: There are two issues affecting the translating of the verse, 1) theology and 2) proper application of grammatical rules. The commonly held theology that Jesus is God naturally leads one to believe that the proper way to render the verse is the one which is most popular. The opposing theology that Jesus is subordinate to God as his Chief agent leads to the conclusion that ""... a god"" or ""... divine"" is the proper rendering.


title: John 1:1

text: The Greek article is often translated "the", which is the English definite article, but it can have a range of meanings that can be quite different from those found in English, and require context to interpret. Ancient Greek does not have an indefinite article like the English word "a", and nominatives without articles also have a range of meanings that require context to interpret.


title: John 1:1

text: In interpreting this verse, "Colwell's rule" should be taken into consideration, which says that a definite predicate which is before the verb "to be" usually does not have the definite article. Ernest Cadman Colwell writes:


title: John 1:1

text: Jason David BeDuhn (Professor of Religious Studies at Northern Arizona University) criticizes Colwell's Rule as methodologically unsound and "not a valid rule of Greek grammar."


title: John 1:1

text: The main dispute with respect to this verse relates to John 1:1c (“the Word was God”). One minority translation is "the Word was divine." The following support this type of translation:


title: John 1:1

text: Tertullian in the early third century wrote:Now if this one [the Word] is God according to John ("the Word was God"), then you have two: one who speaks that it may be, and another who carries it out. However, how you should accept this as "another" I have explained: as concerning person, not substance, and as distinction, not division. (Against Praxeus 12)


title: John 1:1

text: In other words, the Persons are distinct but the substance is undivided. As Tertullian states in Against Praxeus 9 and 26, He is “so far God as He is of the same substance as God Himself … and as a portion of the Whole ... as He Himself acknowledges: "My Father is greater than I.”


title: John 1:1

text: At the beginning of chapter 13 of against Praxeus, Tertullian uses various Scriptures to argue for “two Gods,” including:“One God spoke and another created” (cf. John 1:3).


title: John 1:1

text: "’In the beginning was the Word, and the Word was with God, and the Word was God.’ There was One ‘who was,’ and there was another ‘with whom’”.


title: John 1:1

text: In John 1:1c, logos has the article but theos does not. Literally, “god was the word”. Origen of Alexandria, a teacher in Greek grammar of the third century, discusses the presence or absence of the article in Commentary on John, Book II, chap, 2. He states:He (John) uses the article, when the name of God refers to the uncreated cause of all things, and omits it when the Logos is named God. […]


title: John 1:1

text: God on the one hand is Very God (Autotheos, God of Himself); and so the Saviour says in His prayer to the Father, “That they may know Thee the only true God;” (cf. John 17:3) but that all beyond the Very God is made God by participation in His divinity, and is not to be called simply God (with the article), but rather God (without article). Origen then continues to explain that the Son - the first-born of all creation – was the first to be “with God” (cf. John 1:1), attracted to Himself divinity from God, and gave that divinity to the other “gods:”And thus the first-born of all creation, who is the first to be with God, and to attract to Himself divinity, is a being of more exalted rank than the other gods beside Him, of whom God is the God […] It was by the offices of the first-born that they became gods, for He drew from God in generous measure that they should be made gods, and He communicated it to them according to His own bounty. As R.P.C. Hanson stated in discussing the Apologists, "There were many different types and grades of deity in popular thought and religion and even in philosophical thought." Origen concludes that “the Word of God” is not “God … of Himself” but because of “His being with the Father” (cf. John 1:1):The true God, then, is “The God,” and those who are formed after Him are gods, images, as it were, of Him the prototype.  But the archetypal image, again, of all these images is the Word of God, who was in the beginning, and who by being with God is at all times God, not possessing that of Himself, but by His being with the Father, and not continuing to be God, if we should think of this, except by remaining always in uninterrupted contemplation of the depths of the Father.


title: John 1:1

text: Translations by James Moffatt, Edgar J. Goodspeed and Hugh J. Schonfield render part of the verse as "...the Word [Logos] was divine".


title: John 1:1

text: Murray J. Harris writes,[It] is clear that in the translation "the Word was God", the term God is being used to denote his nature or essence, and not his person. But in normal English usage "God" is a proper noun, referring to the person of the Father or corporately to the three persons of the Godhead. Moreover, "the Word was God" suggests that "the Word" and "God" are convertible terms, that the proposition is reciprocating. But the Word is neither the Father nor the Trinity … The rendering cannot stand without explanation."


title: John 1:1

text: This second "theos" could also be translated 'divine' as the construction indicates "a qualitative sense for theos". The Word is "not" God in the sense that he is the "same person" as the "theos" mentioned in 1:1a; he is not God the Father (God absolutely as in common NT usage) or the Trinity. The point being made is that the Logos is of the "same uncreated nature" or essence as God the Father, with whom he eternally exists. This verse is echoed in the Nicene Creed: "God (qualitative or derivative) from God (personal, the Father), Light from Light, True God from True God… "homoousion" with the Father."Daniel B. Wallace (Professor of New Testament at Dallas Theological Seminary) argues that:The use of the anarthrous "theos" (the lack of the definite article before the second "theos") is due to its use as a qualitative noun, describing the nature or essence of the Word, sharing the "essence" of the Father, though they differed in person: he stresses: "The construction the evangelist chose to express this idea was the most precise way he could have stated that the Word was God and yet was distinct from the Father". He questions whether Colwell's rule helps in interpreting John 1:1. It has been said that Colwell's rule has been misapplied as its converse, as though it implied definiteness.Murray J. Harris (Emeritus Professor of NT Exegesis and Theology at Trinity Evangelical Divinity School) discusses "grammatical, theological, historical, literary and other issues that affect the interpretation of θεὸς" and conclude that, among other uses, "is a christological title that is primarily ontological in nature" and adds that "the application of θεὸς to Jesus Christ asserts that Jesus is ... God-by-nature.


title: John 1:1

text: John L. McKenzie (Catholic Biblical scholar) wrote that "ho Theos" is God the Father, and adds that John 1:1 should be translated "the word was with the God [=the Father], and the word was a divine being." However, on the same article, McKenzie calls Jehovah 'a divine personal being'. He also states that Jesus is called 'God' in both John 20:28 and Titus 2:13 and that John 1:1-18 express 'an identity between God and Jesus Christ'.


title: John 1:1

text: In a 1973 Journal of Biblical Literature article, Philip B. Harner, Professor Emeritus of Religion at Heidelberg College, claimed that the traditional translation of John 1:1c (“and the Word was God” and one of the most frequently cited verses to support the doctrine of the Trinity) is incorrect. He endorses the New English Bible translation of John 1:1c, “and what God was, the Word was.” It should be noted however that Harner claim has been criticized by other scholar.


title: John 1:1

text: Philip B. Harner (Professor Emeritus of Religion at Heidelberg College) says:Perhaps the clause could be translated, ‘the Word had the same nature as God.” This would be one way of representing John’s thought, which is, as I understand it, that ho logos, no less than ho theos, had the nature of theos.B. F. Westcott is quoted by C. F. D. Moule (Lady Margaret's Professor of Divinity in the University of Cambridge):The predicate (God) stands emphatically first, as in 4:24. ‘It is necessarily without the article (theós not ho theós) inasmuch as it describes the nature of the Word and does not identify His Person. It would be pure Sabellianism to say “the Word was ho theós”. No idea of inferiority of nature is suggested by the form of expression, which simply affirms the true deity of the Word. Compare the converse statement of the true humanity of Christ five 27 (hóti huiòs anthrópou estín . . . ).’James D. G. Dunn (Emeritus Lightfoot Professor at University of Durham) states:Philo demonstrates that a distinction between ho theos and theos such as we find in John 1.1b-c, would be deliberate by the author and significant for the Greek reader. Not only so, Philo shows that he could happily call the Logos ‘God/god’ without infringing his monotheism (or even ‘the second God’ – Qu.Gen. II.62). Bearing in mind our findings with regard to the Logos in Philo, this cannot but be significant: the Logos for Philo is ‘God’ not as a being independent of ‘the God’ but as ‘the God’ in his knowability – the Logos standing for that limited apprehension of the one God which is all that the rational man, even the mystic may attain to.”In summary, the grammatical structure of the Greek does not identify the Word as the Person of God but indicates a qualitative sense. The point being made is that the Logos is of the "same uncreated nature" or essence as God the Father. In that case, “the Word was God” may be misleading because, in normal English, "God" is a proper noun, referring to the person of the Father or corporately to the three persons of the Godhead.


title: John 1:1

text: Some scholars oppose the translation "...a god", while other scholars believe it is possible or even preferable.


title: John 1:1

text: The rendering as "a god" is justified by some non-Trinitarians by comparing it with Acts 28:6 which has a similar grammatical construction' "The people expected him to swell up or suddenly fall dead; but after waiting a long time and seeing nothing unusual happen to him, they changed their minds and said he was a god.".


title: John 1:1

text: "Howbeit they looked when he should have swollen, or fallen down dead suddenly: but after they had looked a great while, and saw no harm come to him, they changed their minds, and said that he was a god ("theón")." (KJV)


title: John 1:1

text: "But they were expecting that he was going to swell up or suddenly drop dead. So after they had waited a long time and had seen nothing unusual happen to him, they changed their minds and said he was a god ("theón")." (NET)However, it was noted that the Hebrew words El, HaElohim and Yahweh (all referring to God) were rendered as anarthrous "theos" in the Septuagint at , , , and among many other locations. Moreover, in the New Testament anarthrous "theos" was used to refer to God in locations including , , , and (although the last two references do have an adjective aspect to them). Therefore, anarthrous or arthrous constructions by themselves, without context, cannot determine how to render it into a target language. In the septuagint text, "supported by all MSS... reads πρὸς τὸν θεόν for the Hebrew עִם־ יְהֹוָ֔ה", but the oldest Greek text in Papyrus Fouad 266 has written πρὸς יהוה τὸν θεόν.


title: John 1:1

text: In the October 2011 Journal of Theological Studies, Brian J. Wright and Tim Ricchuiti reason that the indefinite article in the Coptic translation, of John 1:1, has a qualitative meaning. Many such occurrences for qualitative nouns are identified in the Coptic New Testament, including and . Moreover, the indefinite article is used to refer to God in and .


title: John 1:1

text: "The reference to the opening words of the Old Testament is obvious, and is the more striking when we remember that a Jew would constantly speak of and quote from the book of Genesis as "Berēshîth" ("in the beginning"). It is quite in harmony with the Hebrew tone of this Gospel to do so, and it can hardly be that St. John wrote his Berēshîth without having that of Moses present to his mind, and without being guided by its meaning.


title: Bombardment of Yeonpyeong

text: The Bombardment of Yeonpyeong (연평도포격사건) was an artillery engagement between the North Korean military and South Korean forces stationed on Yeonpyeong Island on 23 November 2010. Following a South Korean artillery exercise in disputed waters near the island, North Korean forces fired around 170 artillery shells and rockets at Yeonpyeong Island, hitting both military and civilian targets.


title: Bombardment of Yeonpyeong

text: The shelling caused widespread damage on the island. South Korea retaliated by shelling North Korean gun positions. Four people were killed and 22 injured on both sides. The North Koreans subsequently stated that they had responded to South Korean shells being fired into North Korean territorial waters.


title: Bombardment of Yeonpyeong

text: The incident caused an escalation of tension on the Korean Peninsula and prompted widespread international condemnation of the North's actions. The United Nations declared it to be one of the most serious incidents since the end of the Korean War, and by 18 December, former US ambassador to UN Bill Richardson said tensions had escalated to become "the most serious crisis on the Korean peninsula since the 1953 armistice, which ended the Korean War".


title: Bombardment of Yeonpyeong

text: A western maritime line of military control between the two Koreas was established by United Nations Command (UNC) in 1953, called the Northern Limit Line (NLL). According to "Time," "The North does not recognize the border that was unilaterally drawn by the United Nations at the close of the 1950–53 Korean War." Under the provisions of the armistice, five Northwest Islands are specifically designated to remain under the jurisdiction of the United Nations. The countries' western maritime boundary has long been a flash point between the two Koreas.


title: Bombardment of Yeonpyeong

text: North Korea did not dispute or violate the line until 1973. The NLL was drawn up at a time when a three-nautical-mile territorial waters limit was the norm, but when in the 1970s a twelve nautical mile limit became internationally accepted, the implementation of the NLL prevented North Korea, in areas, from accessing, arguably actual or prospective, territorial waters. Later, after 1982, it also hindered North Korea establishing a United Nations Convention on the Law of the Sea Exclusive Economic Zone to control fishing in the area.


title: Bombardment of Yeonpyeong

text: In 1999, North Korea drew up their own line, the "West Sea Military Demarcation Line" which claims a maritime boundary farther south that encompasses valuable fishing grounds (though it skirts around South Korean-held islands such as Yeonpyeong). This claim is not accepted by either South Korea or the United Nations Command.


title: Bombardment of Yeonpyeong

text: The United Nations Command perspective remained unchanging, explaining that the NLL must be maintained until any new maritime military demarcation line could be


title: Bombardment of Yeonpyeong

text: In an effort to assert its territorial claims, North Korea has pursued a strategy of challenging South Korean control of the waters south of the NLL. It has made several incursions that have sparked clashes between the two sides, notably a naval battle near Yeonpyeong island in 1999 as well as another engagement in the same area in 2002. Although there were no further serious clashes for a time, in 2009 increasing tensions along the disputed border led to a naval battle near the island of Daecheong, and accusations that a North Korean submarine had sunk the South Korean corvette "Cheonan" off Baengnyeong Island in March 2010.


title: Bombardment of Yeonpyeong

text: Days before the incident, the North Korean government revealed their new uranium enrichment facility, prompting the South Korean government to consider requesting that the United States station tactical nuclear weapons in South Korea for the first time in 19 years. On the same day, South Korea and the United States began the annual Hoguk exercise, a large-scale military drill involving the South Korean and US militaries. The 2010 exercise involved 70,000 troops from all four branches of the South Korean military, equipped with 600 tracked vehicles, 90 helicopters, 50 warships, and 500 aircraft. The United States contributed its 31st Marine Expeditionary Unit and the Seventh Air Force to the land and sea elements of the exercise.


title: Bombardment of Yeonpyeong

text: It had originally been intended that the United States Navy and Marine Corps would participate in a joint amphibious exercise in the Yellow (Western) Sea, west of South Korea. However, the US pulled out of the joint exercise citing "scheduling conflicts", though South Korean observers suggested that the real reason was the opposition of China, which regards a large portion of the Yellow Sea as its own territory. The North Korean government regards the exercises as preparation for a combined arms attack on the North.


title: Bombardment of Yeonpyeong

text: On the morning of 23 November 2010, North Korea reportedly "wired a complaint [to the South] ... asking whether (the [Hoguk] exercise) was an attack against the North." It warned that it would not tolerate firing in what it regarded as its territorial waters. South Korean forces went ahead with a live-fire exercise in waters off Baengnyeong Island and Yeonpyeong Island within South Korean-held territory.


title: Bombardment of Yeonpyeong

text: According to a South Korean military official, shells fired as part of the exercise were directed at waters in the south, away from North Korea. A Marine colonel on the island indicated the shells had been fired towards the southwest. South Korean Minister of National Defense, Kim Tae-young, said the firing was not part of the Hoguk exercise, but was a separate routine monthly drill carried out 4–5 km away from the NLL, contrary to previous media reports. The usual firing range is by in size and runs parallel to the NLL to the south-west of Yeonpyeong Island, and is largely within North Korea's territorial waters claimed in 1955.


title: Bombardment of Yeonpyeong

text: At 14:34 local time, North Korean coastal artillery batteries on Mudo, and a recently redeployed 122-mm MRL at Kaemori, in North Korea's South Hwanghae Province, opened fire on the island of Yeonpyeong. The bombardment took place in two waves, from 14:34 to 14:55 and again from 15:10 to 15:41. Many of the shells landed on a military camp, but others hit the island's principal settlement, destroying numerous homes and shops, and starting fires. About 108 shells were fired total, according to a North Korean defector who had served in an artillery battery.


title: Bombardment of Yeonpyeong

text: Three of the six K9 Thunder 155mm guns stationed on Yeonpyong returned fire, while two were damaged and one blocked by a dud shell. South Korean artillery fired 80 shells in total. Initially, the South Koreans targeted barracks and command structures on Mudo, but began firing at the MRL at Kaemori about thirteen minutes later, due to the AN/TPQ-37 counter-battery radar not properly functioning, which meant the guns initially targeted general locations, such as the barracks.


title: Bombardment of Yeonpyeong

text: South Korean KF-16 and F-15K jets were also scrambled to the area, though they did not engage North Korean targets, as the North Korean artillery did not start a third barrage. South Korean counterstrikes ended at 16:42. It was the first artillery battle to take place between North and South Korea since the 1970s and was seen as one of the most serious attacks by the North on the South since the 1953 Armistice.


title: Bombardment of Yeonpyeong

text: With power on Yeonpyeong knocked out and several fires breaking out as a result of the North Korean shelling, the South Korean military ordered civilians to evacuate to bunkers.


title: Bombardment of Yeonpyeong

text: The shelling caused a number of casualties among South Koreans living on Yeongpyeong. Two South Korean marines, Hasa (Staff Sergeant) Seo Jeong-wu and Ilbyeong (Lance Corporal) Moon Gwang-wuk, were killed. Six other military personnel were seriously wounded, and ten were treated for minor injuries. Two construction workers, Kim Chi-baek, 61, and Bae Bok-chul, 60, were also killed.


title: Bombardment of Yeonpyeong

text: Most of the islanders were evacuated in the aftermath of the shelling. Around 1,500 of the 1,780 residents on the island were taken aboard fishing boats and government vessels, with many of them being taken to Incheon on the mainland. The Incheon city authorities sent 22 fire engines and ambulances to the island, along with firefighters and paramedics, to help with the recovery and relief effort. 2,000 boxes of emergency relief materials and more than 3,500 relief kits and boxes of food were sent to help residents recover.


title: Bombardment of Yeonpyeong

text: The attack started widespread fires on the island. According to the local county office, 70 percent of the island's forests and fields were burned and 21 houses and warehouses and eight public buildings were destroyed in the bombardment. Some of the public buildings were formerly military structures, leading the South Korean military to believe the attack was planned from old maps.


title: Bombardment of Yeonpyeong

text: North Korea states that it suffered no military casualties. However, Lee Hong-gi, the Director of Operations of the South Korean Joint Chiefs of Staff (JCS), claimed that as a result of the South Korean retaliation "there may be a considerable number of North Korean casualties". A North Korean defector who had served in an artillery battery, however, stated that the South had likely failed to destroy the North Korean artillery batteries due to its slow response. South Korean media reported that 5–10 North Korean soldiers had been killed and 30 wounded, and the National Intelligence Service suggests damage to North Korean troops had been considerable during the South Korean counter-battery fire. Satellite images released by STRATFOR cast doubt on effectiveness of South Korean artillery and damage dealt to North as asserted by JCS and NIS, with no signs of any North Korean rocket launchers being destroyed. Similarly, despite targeting the barracks, there were little signs that the underground facilities suffered significant damage.


title: Bombardment of Yeonpyeong

text: The South Korean government called the attack a "clear armed provocation." It suspended interchanges with the North, cancelling inter-Korean Red Cross talks and banning visits to the jointly operated Kaesong Industrial Region.


title: Bombardment of Yeonpyeong

text: The main South Korean political parties condemned the North's attack. A spokesman for the ruling Grand National Party said: "It is impossible to hold our rage toward the North's shelling of the Yeonpyeong Island. North Korea must be held accountable for all the losses." The chairman of the opposition Democratic Party urged the North Koreans to "stop all provocation that threaten the peace and stability of the Korean Peninsula". He called for "the two Koreas to begin talks to prevent the situation from worsening" and urged the government to protect the peace and safety of South Koreans.


title: Bombardment of Yeonpyeong

text: On 25 November, South Korea's defense minister, Kim Tae-young, announced his resignation after he was criticized for leading a response to the incident considered too passive by members of both the ruling and opposition political parties.


title: Bombardment of Yeonpyeong

text: The North Korean news agency KCNA released a Korean People's Army communique stating that North Korea responded after the South had made a "reckless military provocation" by firing dozens of shells into North Korean territorial waters around Yeonpyeong Island from 13:00, as part of "war maneuvers". It warned that "should the South Korean puppet group dare intrude into the territorial waters of the DPRK even 0.001 mm, the revolutionary armed forces of the DPRK will unhesitatingly continue taking merciless military counter-actions against it." The South Korean Deputy Minister of Defense acknowledged that South Korean artillery units had been carrying out live-fire exercises, but denied that the shots had crossed into the North Korean sea area.


title: Bombardment of Yeonpyeong

text: Four days after the shelling, North Korea's KCNA said about the death of civilians that, "[i]f that is true, it is very regrettable, [...] [b]ut the enemy should be held responsible for the incident as it took such inhuman action as creating 'a human shield' by deploying civilians around artillery positions and inside military facilities."


title: Bombardment of Yeonpyeong

text: The North Korean attack had a global impact on the financial markets. Several Asian currencies weakened against the euro and U.S. dollar, while at the same time Asian stock markets declined. The impact of the shelling on the financial industry led South Korea's central bank, the Bank of Korea, to hold an emergency meeting to assess the impact of the fighting on the markets.


title: Bombardment of Yeonpyeong

text: President Lee instructed the South Korean military to strike North Korea's missile base near its coastal artillery positions if there were an indication of further provocation. Lee Hong-gi of the JCS told the media that the attack had been a "premeditated, intentional illegal violation of the U.N. Convention, the Armistice Agreement and the inter-Korean non-aggression accord. It is also an inhumane atrocity, in which [North Korea] indiscriminately fired shells into unarmed civilian residential areas." He said that the military had "strengthened our surveillance and monitoring to keep watch on North Korean military activities through close cooperation with the United States. We are closely cooperating to draw up joint response directions."


title: Bombardment of Yeonpyeong

text: On 24 November, the US aircraft carrier departed for joint exercises in the Yellow Sea with the Republic of Korea Navy, in part to deter further North Korean military action but also to "send a message" to China.


title: Bombardment of Yeonpyeong

text: On 28 November, South Korean news agency Yonhap News said that North Korea had readied surface-to-surface missiles as the United States and South Korea began military drills.


title: Bombardment of Yeonpyeong

text: On 21 December, South Korea carried out another live-fire artillery exercise into the same disputed waters just south of the NLL, despite diplomatic opposition from China and Russia.


title: Bombardment of Yeonpyeong

text: One year after the event the South Korean military presence on the island had been substantially increased with the deployment of more K-9 howitzers, K-10 automatic ammunition re-supply vehicles, 130-millimeter, 36-round, truck-mounted Kuryong multiple rocket launchers and AH-1S Cobra attack helicopters. On 19 May 2013 the South Korean Joint Chiefs of Staff announced that "dozens" of Spike NLOS missiles had been deployed on Baengnyeong Island and Yeonpyeong Island.


title: Bombardment of Yeonpyeong

text: North Korea's motives for the attack were unclear and were the subject of widespread speculation in the South and elsewhere. The North Korean Foreign Ministry stated the North Korean bombardment was retaliation due to South Korea's shelling into sea that North Korea claims as its territorial waters. But some experts suggested that it was at least partly related to Kim Jong-un's appointment as the designated successor to Kim Jong-il, which is believed to have caused tensions within the North Korean leadership. Robert Kelly, an assistant professor at Pusan National University in South Korea, says that Seoul's increasing global stature may have provoked Pyongyang. "My primary guess is that this is a response to the recent international prestige taken by South Korea at the G20. The G20 highlighted North Korean backwardness in the same way that it highlighted that South Korea was a partner of this global elite organization, setting international rules and the North Koreans don't like this", he said. It has also been suggested that the attack was linked to the North's need for food aid.


title: Bombardment of Yeonpyeong

text: The "JoongAng Ilbo" newspaper suggested that the attack had been ordered by Kim Jong-il himself. Kim and his son were reported to have visited the Kaemori artillery base, whence many of the North Korean shells were fired, the day before the attack. The Kims had visited a nearby fish farm on 22 November in the company of various senior military figures. According to a source quoted by the newspaper, "Firing artillery across the Northern Limit Line at sea is difficult without a direct order from Pyongyang’s highest authorities; firing inland would have been impossible without the will of Kim Jong-Il."


title: Bombardment of Yeonpyeong

text: In 2014, Robert Gates, who was United States Secretary of Defense during the incident, stated in his memoirs that the South Korean government planned a "disproportionately aggressive" military retaliation, "involving both aircraft and artillery". Gates said he, US President Barack Obama and secretary of state Hillary Clinton had numerous telephone calls with South Korean counterparts to deescalate tensions. The South Korean government declined to confirm Gates's version of events.


title: Bombardment of Yeonpyeong

text: Images of the shelling were widely disseminated by media and across the internet. The sight of burning houses and plumes of smoke prompted international reaction.


title: Women in the Philippines

text: The role of women in the Philippines () is explained based on the context of Filipino culture, standards, and mindsets. The Philippines is described to be a nation of strong women, who directly and indirectly run the family unit, businesses, government agencies and haciendas.


title: Women in the Philippines

text: Although they generally define themselves in the milieu of a male-dominated post-colonial society, Filipino women live in a culture that is focused on the community, with the family as the main unit of society, but not always according to this stereotype. It is in this framework of Philippine hierarchical structure, class differences, religious justifications, and living in a globally developing nation wherein Filipino women struggle for respect. Compared to other parts of Southeast Asia, women in Philippine society have always enjoyed a greater share of equality.


title: Women in the Philippines

text: Some pre-colonial social structures of the Philippines gave equal importance to maternal and paternal lineage. This bilateral kinship system accorded Philippine women enormous power within a clan. They were entitled to property, engage in a trade and could exercise their right to divorce her husband. They could also become village chiefs in the absence of a male heir. Before the arrival of the Spaniards, Filipino women could also achieve status as medicine women or high-priestesses and astrologers.


title: Women in the Philippines

text: In the precolonial era of the Phlippines there are numerous women are entitled as a "Hara" and "Dayang" , the female presence in the Noble caste are prominent in the kinship system in the Philippine societies, here are the examples of notable Queens in the Philippine history:


title: Women in the Philippines

text: The "babaylan" held positions of authority as religious leaders, community doctors and healers in some pre-colonial Philippine societies. The vital functions of the "babaylan" were highly recognized and embodied in the traditional role of women in a "barangay." Cross-dressing males sometimes took on the role of the female "babaylan".


title: Women in the Philippines

text: The "babaylan", also called "katalonan", "bayoguin", "bayok", "agi-ngin", "asog", "bido" and "binabae" depending on the ethnic group of the region, held important positions in the community. They were the spiritual leaders of the Filipino communities, tasked with responsibilities pertaining to rituals, agriculture, science, medicine, literature and other forms of knowledge that the community needed.


title: Women in the Philippines

text: In a "barangay", the "babaylan" worked alongside the "datu" on important social activities. In the absence of a "datu", the "babaylan" could take charge of the whole community.


title: Women in the Philippines

text: The role of the "babaylan" was mostly associated to females, but male "babaylans" also existed. Early historical accounts record the existence of male "babaylans" who wore female clothes and took the demeanor of a woman. Anatomy was not the only basis for gender. Gender was based primarily on occupation, appearance, actions and sexuality.


title: Women in the Philippines

text: Although Christian values were supposed to be spread through the population, missionaries and priests soon realized that they'd be better off adapting their doctrine as much as possible to the local customs, rather than trying to impose it. Although the concept of gender equality existed in the Philippines during the pre-Hispanic era this changed when the Spaniards came and patterned the image of the Filipina to a meek and submissive individual. As it happened all over Asia, women in the Philippines were expected to become caring and nurturing mothers for their own children and take care of most household chores. Also a trait found all over Asia was the preference of most families to have male children instead of females.


title: Women in the Philippines

text: During the last part of the colonization of the Philippines, Isabella II of Spain, introduced the Education Decree of 1863 (10 years before Japan had a compulsory free modern public education and 40 years before the United States government started a free modern public school system in the Philippines) that provided for the establishment and for the building of at least two free primary schools, one for the boys and another school for the girls, in each town under the responsibility of the municipal government.


title: Women in the Philippines

text: When Spain lost the Spanish–American War in 1898, the Philippines was ceded to the United States of America. The U.S.A. introduced a new public education system which retained opportunity to every child regardless of gender.


title: Women in the Philippines

text: Through the American-patterned school system, Filipino women became professionals, although most of them and their male counterparts opted for making use of their former education roots and expressed themselves in Spanish or Tagalog. According to the Monroe Commission on Philippine Education: “Upon leaving school, more than 99% of Filipinos will not speak English in their homes. Possibly, only 10% to 15% of the next generation will be able to use this language in their occupations. In fact, it will only be the government employees, and the professionals, who might make use of English.”


title: Women in the Philippines

text: Modern-day Philippine women play a decisive role in Filipino families. They usually handle the money, act as religious mentors, and can also make all the important family decisions.


title: Women in the Philippines

text: In the past, firms and businesses generally hire Filipino women for less pay and secretarial functions. But at present, Filipino women are given the same opportunities as their male counterparts in the business realm. This is due to the political and economic changes at the global and national levels in urban society that have led to the growth of export-based industries and the service sector, which then created more opportunities for Filipino women.


title: Women in the Philippines

text: About one-third of businesses in the Philippines are operated by Filipino women. Many Filipino businesswomen in the urban sector can be found in the hospitality sector, marketing, publishing, real estate, transportation, financial consulting, trade and services, electronics and appliances, and much more.


title: Women in the Philippines

text: In rural areas, the Filipino woman runs the household even if she should have a job. The children approach her for money and help. She is the family's treasurer. She supports the children’s educational needs. For non-family members who require support, the wife is the person to be approached. However, the wife is neither the person who makes the final decision or the person who hands out the money.


title: Women in the Philippines

text: Juan Flavier, a physician, an authority on community development, and a former Philippine senator, described in his book, "Doctor to the Barrios", that "whether some (Filipino) men are willing to admit it or not"... "rural women in the Philippines wield considerable authority," the housewife in particular. This is especially if the housewife, who is often referred to as the "Ilaw ng Tahanan" (Light of the Home), is convinced of the benefits that will be gained from a certain practice such as the concept of family planning in the barrios. Flavier also mentioned that "In the Philippine barrio, the one responsible for the home" and its management "is the wife... she holds the key to... household... development."


title: Women in the Philippines

text: Courtship and relationships in the Philippines are conservative in nature. The man will have to court the woman and prove his love for her before he can win her heart. Sometimes the courtship period would last for years. This however, is a very old fashioned idea. In the bigger more urbanized cities, this conservative courtship idea is not so emphasized as much. Parents prefer their daughter to be courted in their home, so they can have a chance to know the man. It is during the courtship period that the man would put his best foot forward to create a good impression on the woman and her family. Generally, the man is being measured on his being a gentleman, ability to respect the woman's family, and servitude (the extent of what he was willing to do to prove his love for the woman). Usually, the woman is courted by several men and will have to choose the best from among her suitors. Courtship and relationships remain the same for rural and urban areas despite the modern western influence.


title: Women in the Philippines

text: The Philippines and Vatican City are the only countries in the world to prohibit divorce (the Philippines allows divorce for Muslims). The Philippines is one of the few non-Muslim majority countries to maintain a criminal law against adultery; and the law differentiates between female infidelity (Article 333 called "Adultery") and male infidelity (Article 334 called "Concubinage", which has a more narrow definition and is punished less severely). Furthermore, Article 247 called "Death or physical injuries inflicted under exceptional circumstances", provides that the killing of a spouse and/or of the partner of the spouse caught in the act of extramarital sex by the other spouse, as well as the killing of a daughter caught by the parent in the act of premarital sex, are to be punished only by the symbolic punishment of "destierro" (banishment from a geographical area for a period of time). These laws are based on old Spanish laws that were repealed in Spain in 1963 (the "crime of passion" law) and in 1978 (the adultery law). The Philippine is also one of 20 countries that still has a marry-your-rapist law (that is, a law that exonerates a rapist from punishment if he marries the victim after the attack).


title: Women in the Philippines

text: Culturally in the Philippines, divorce is viewed as negative and destructive, because of a tradition that emphasizes that the family is the core social unit, especially for the Filipino wife. Divorce is not perceived as a solution to any matrimonial-related problem because it hinders the development or progress of the basic community unit. Therefore, husband and wife are obligated to fix any problems within the boundaries of the marriage.


title: Women in the Philippines

text: Women in the pre-colonial Philippines enjoyed nearly equal status with men . Prior to colonization, both men and women could get a divorce for the following reasons: failure to meet family obligations, childlessness, and infidelity. Children, regardless of gender, and properties were equally divided in a divorce. Since a man needed to pay a dowry to the woman's family, she was required to give it back should she be found at fault. If the man was at fault, he then lost the right to get back his dowry.


title: Women in the Philippines

text: In the Philippines, society valued offspring regardless of gender. Female children were as valuable as male ones, mainly because they recognized that women are as important as men. Parents provide equal opportunities to their children. Filipino daughters can also go to school, inherit property, and even become village chiefs like Filipino sons.


title: Women in the Philippines

text: Traditionally, rural and tribal women do all the household related chores. Heavy work that requires more strength is done by the husband. Now, the chore work is evenly distributed with the men doing just as much work as the women. The scope of their functions include cooking, cleaning, teaching the children, washing clothes, repairs, budgeting, and helping in the farm. The husband is the one who makes sure the farm would yield quality crops, so he does all the maintenance work. In some cases, where the husband needs help from other men, the wife would make sure that the men are fed, so she cooks food and bring it to the farm. The Filipino women, ensures that everyone is well fed, including any workers, relatives, or visitors.


title: Women in the Philippines

text: In general, Filipino women find pride in their work. They do not find themselves alienated from their chores because they work with, around, and for their families. This family-oriented mindset gives them a sense of dignity and responsibility. The family and the children are the primary priority some Filipino women's life. In addition to doing housework, the contemporary role of a Filipino wife today is to provide financial support in the household by seeking employment in higher-earning occupations which then expands the Filipino female work outside the household.


title: Women in the Philippines

text: In the early 1900s, the female workforce in the Philippines was also a highly debated topic during workers’ conferences. In 1910, during the first Congress of Labor, the decision to enact a law that would regulate the employment of women and children was approved due to poor working conditions (“dark and ill-ventilated rooms, smoke-filled factories”, etc.) for women and children. Then, in March 1923, “An Act to Regulate the Employment of Women and Children in Agricultural and Non-Agricultural Establishments and Other Workplaces” was passed to oversee the welfare of women and children. In 1960, under the Department of Labor, the Bureau of Women and Minors was created and was responsible for the promotion, development, and the protection of the welfare of working women and minors. Since then, more acts were made to oversee the welfare of women workers, as seen in both the 1935 and 1973 constitutions.


title: Women in the Philippines

text: Compared to other countries, Filipino women have gained and enjoyed equal rights with men. They have become presidents, senators, congresswomen, mayors. They have served in government offices, and have held cabinet positions for presidents. Filipino women have proven that they are capable of carrying out responsibilities and tasks as well as their male counterparts. There are 48 women Representatives elected in the 15th Congress (2010 national election). They accounted for 21.6 percent of the total 222 Representatives as members of the Lower House. In 2010 Senatorial election, there were 14 women who ran out of 61 candidates (23.0%), of which two entered the top 12 winning senators (16.7%).


title: Women in the Philippines

text: The number of women who engage in politics are smaller compare to their male counterparts. This was primarily because engagement in politics is considered "dirty."


title: Women in the Philippines

text: A recent study revealed that there is a re-emergence of the empowerment of Filipino women through the political process, just as they were prior to the arrival of conquerors from Spain. Philippine women are rediscovering their strengths. Filipino women had been successful in implementing policies by becoming executive staff members, advisers to politicians, and as advocates within non-governmental organizations.


title: Women in the Philippines

text: Modern-day Filipino women are making strides in electoral politics by initiating more female-oriented programs. They are performing well as leaders, although generally, Filipino women still often earn political seats by having fathers and husbands who are politically connected, a "dynasty system" that hinders other Filipino women from joining the electoral process. Other factors that prevent full-engagement of other well-qualified Filipino women from the Philippine political scene are the expense in politics and the importance of the family name.


title: Women in the Philippines

text: Participation of Filipino women in Philippine politics was encouraged during the Beijing Declaration in 1995 at the United Nations' Fourth World Conference on Women. In February 2005, however, a United Nations review on the progress of Philippine women and their role in politics revealed that despite "an increase in the quality of female politicians, there was not enough increase in" the number of women participants in government activities. From 1992 to 2001, Filipino women had been elected as local chief executives, functioning as mayors, governors, and captains of villages. One influential factor contributing to the increasing number of female politicians, is the elevation of Corazon Aquino and Gloria Macapagal-Arroyo as Philippine women Presidents.


title: Women in the Philippines

text: The Babaylan figure has resurfaced in Filipino diasporic communities as the indigenous Filipino concept is borrowed as a tool for decolonization practices and post-colonial discourse today. The Babaylan tradition and Babaylan-inspired practices are seen as an indigenous spiritual path among Filipinos in the Philippines and in the diaspora as a means to remembering relations to their homeland and healing.


title: Women in the Philippines

text: Female genital mutilation is performed in the Philippines in the predominately Muslim Bangsamoro region in the south of the country.


title: Women in the Philippines

text: In his paintings of Filipino women, the Philippine National Artist Fernando Amorsolo rejected Western ideals of beauty in favor of Filipino ideals. He said that the women he painted have ""a rounded face, not of the oval type often presented to us in newspapers and magazine illustrations. The eyes should be exceptionally lively, not the dreamy, sleepy type that characterizes the Mongolian. The nose should be of the blunt form but firm and strongly marked. ... So the ideal Filipino beauty should not necessarily be white complexioned, nor of the dark brown color of the typical Malayan, but of the clear skin or fresh colored type which we often witness when we met a blushing girl"."


title: Beck (manga)

text: It was adapted into a 26-episode anime television series, titled Beck: Mongolian Chop Squad, by Madhouse and aired on TV Tokyo from October 2004 to March 2005. A live-action film adaptation was released in 2010 and stars Takeru Satoh as Koyuki and Hiro Mizushima as Ryusuke. The series has also spawned three guidebooks, four soundtracks, a video game and a line of guitars.


title: Beck (manga)

text: The "Beck" manga was licensed for an English-language release in North America by Tokyopop. The first volume was published in July 2005, but the series was discontinued after the release of volume 12 in June 2008. In July 2018, ComiXology began releasing the series digitally. The anime was given an English-language release by Funimation from in 2007 to 2008.


title: Beck (manga)

text: Yukio Tanaka, known as "Koyuki" by his friends, is a regular 14-year-old Japanese boy starting eighth grade in junior high school. His boring life is changed when he saves an odd-looking dog, named Beck, from some kids. Beck's owner turns out to be an emerging rock musician, 16-year-old Ryusuke Minami, who soon influences Koyuki to start playing the guitar. The story focuses on the trials and tribulations of their rock band named "Beck", and Koyuki's relationships with its members, in particular Ryusuke and his 14-year-old half-sister Maho.


title: Beck (manga)

text: After hanging out with Ryusuke and seeing him play with his former band, Koyuki slowly becomes interested in Western rock music. Ryusuke gives him a guitar, but when Koyuki breaks it, Ryusuke tells him never to speak to him again. At the same time, Ryusuke forms his new band Beck, with vocalist Tsunemi Chiba, bassist Yoshiyuki Taira, and Togo, the drummer from his previous band. Koyuki begins working for, and learning guitar from, 44-year-old Kenichi Saitou in exchange to have the guitar fixed.


title: Beck (manga)

text: He reunites with Ryusuke a year later, and begins to rehearse with Beck. Koyuki then makes friends with his classmate Yuji "Saku" Sakurai. When Togo leaves the band, Ryusuke has Koyuki and Saku join Beck as support musicians, becoming full members only when the band hears Koyuki sing. Eventually Beck releases their first album, which gets released on an independent record label in the United States, under the band name Mongolian Chop Squad. After gaining popularity from their US album and Koyuki being in an internationally screened concert documentary, Beck earns a spot at the music festival Grateful Sound 5, where they put on the most talked about show of the whole festival. (The live-action film adaptation ends here.) However, circumstances cause them to part ways, making it their last performance.


title: Beck (manga)

text: Finding life tedious without being in Beck, Koyuki slowly gets the members back together, except Ryusuke, whose whereabouts are unknown. They perform a few shows as a quartet, before getting an offer to tour the US based on their Grateful Sound 5 performance. After Koyuki and Saku drop out of school to do the tour, Beck heads to America. But after several bad performances, they are about to get kicked off the tour before reuniting with Ryusuke in Seattle. (The anime adaptation ends here.) The rest of the tour is a hit and they end up appearing on national TV before heading back to Japan.


title: Beck (manga)

text: After releasing two singles, Beck goes on a nationwide tour of Japan and earn a spot at Grateful Sound 7. However, they are later cut from the lineup. They slowly bounce back after forming a tour with several similar-sounding bands, get signed to a popular British indie record label, and start recording their first full album. The now-famous director who created the concert documentary Koyuki once appeared in ends up directing their first music video. Their album and music video do well both in Japan and England, earning them numerous magazine articles in both countries. After another nationwide tour of Japan, they do a short tour of England, including a spot at the relaunch of the legendary Avalon Festival. The band then signs to a major international record label and records their major debut album in New York. With the album hugely successful worldwide, they tour Japan and America extensively, and the series then ends with Beck headlining the main stage at Grateful Sound 9.


title: Beck (manga)

text: The original manga was written and illustrated by Harold Sakuishi and published by Kodansha in its "shōnen" manga magazine "Monthly Shōnen Magazine" from 1999 to its May 2008 issue (which was released on April 5). A special 77-page side-story was published in the October 2008 issue of "Monthly Shōnen Magazine". It depicts the last day of Eddie Lee, a popular American rock musician and Ryusuke's friend. The 103 chapters (including the Eddie Lee special) were combined into 34 "tankōbon" volumes.


title: Beck (manga)

text: The manga was licensed for an English-language release by Tokyopop. Tokyopop's German branch published the German-language version. In January 2009, it was announced that Kodansha let all of Tokyopop's German licenses expire, thus including "Beck". This subsequently led to Tokyopop's English license of "Beck" expiring as well. Only 12 volumes were published. In 2018, ComiXology began releasing the series digitally. They released the first fourteen volumes simultaneously on July 5. The series has also been released in French, Italian, Korean and Chinese, by Delcourt/Akata, Dynit, Haksan Culture Company and Tong Li Publishing respectively.


title: Beck (manga)

text: The 26-episode anime television series was titled Beck: Mongolian Chop Squad, after the subtitle used by the band in the series in the United States, and aired on Japan's TV Tokyo from October 2004 to March 2005. It was directed by Osamu Kobayashi, animated by Madhouse and produced by Takeshi Shukuri and Yoshimi Nakajima.


title: Beck (manga)

text: The anime has been dubbed and broadcast on TV networks in North America, France, Italy, Philippines and Thailand.


title: Beck (manga)

text: On Saturday, May 27 at Anime Boston 2006, U.S.-based anime distributor FUNimation Entertainment announced that they had acquired the license for the "Beck: Mongolian Chop Squad" anime. Taliesin Jaffe (known for directing the dub of "Hellsing") and Christopher Bevins (known for directing the dubs of "Speed Grapher" and "Samurai 7") are the directors of the English version. The first DVD was released in 2007, and the last in January 2008. The English dub was released by Revelation Films in the UK and Madman Entertainment in Australia and New Zealand.


title: Beck (manga)

text: "Beck" made its North American television debut on the Canadian music channel, MuchMusic, on March 9, 2007. The series finished on June 3. Despite the fact that this is a shōnen series, the show was rated TV-14 for its language and violence, but the DVD edition is rated TV-MA for strong language, including near-constant use of the word "fuck" in the first episode and frequently in subsequent episodes. In September 2013, MuchMusic pulled the series and replaced it with "Odd Job Jack".


title: Beck (manga)

text: In the English adaptation, many songs were re-recorded with English lyrics. The sung lyrics of some English songs in the anime, such as "Moon on the Water" and "Follow Me", were slightly altered to correct grammar, although the incorrect grammar still appears in the English subtitles. The Beatles' song "I've Got a Feeling" has the lyrics replaced in the American DVDs.


title: Beck (manga)

text: A live-action film adaptation of the "Beck" manga was announced in 2009, with filming beginning in July. It was produced and directed by Yukihiko Tsutsumi, who has directed manga-to-film adaptations in the past (most notably the "20th Century Boys" trilogy). It stars Takeru Satoh as Koyuki, Hiro Mizushima as Ryusuke, Kenta Kiritani as Chiba, Aoi Nakamura as Saku and Osamu Mukai as Taira. The actors were given proper training on their instruments for the 30 original songs that were written for the film.


title: Beck (manga)

text: "Beck" was released nationwide in movie theaters on September 4, 2010. Red Hot Chili Peppers and Oasis provide the opening and ending theme songs, "Around the World" and "Don't Look Back in Anger" respectively.


title: Beck (manga)

text: Grand Funk Inc. was given the Japan Academy Prize for Outstanding Achievement in Music for its music work in the film. The movie was released on DVD and Blu-ray on February 2, 2011. The DVD came in "standard" and "luxury" editions, with the luxury edition including a bonus DVD.


title: Beck (manga)

text: In 2002, the manga received a tribute album featuring several different artists. The songs used in the anime that were performed by the character's voice actors with Beat Crusaders were released on a soundtrack in 2002. That same day an album featuring those same songs, but in their original versions, was released. A soundtrack to the live-action movie was released in 2010.


title: Beck (manga)

text: Action figures of each band member were created, equipped with amplifiers, interchangeable guitars and in the case of Saku, an elaborate drum kit.


title: Beck (manga)

text: On March 31, 2005, Marvelous Interactive released an adventure video game for the PlayStation 2 based on the series, titled "Beck: The Game".


title: Beck (manga)

text: Fender Japan produced two signature "Beck" guitars. A Fender Telecaster, and a Fender Mustang which were both played by Koyuki. The signature is written on the back of the guitars' headstock.


title: Beck (manga)

text: The series won the 2002 Kodansha Manga Award in the shōnen category. In Japan, it has sold 12 million copies as of April 2008.


title: Metcalf sniper attack

text: On April 16, 2013, an attack was carried out on Pacific Gas and Electric Company's Metcalf transmission substation in Coyote, California, near the border of San Jose. The attack, in which gunmen fired on 17 electrical transformers, resulted in more than $15 million worth of equipment damage, but it had little impact on the station's electrical power supply.


title: Metcalf sniper attack

text: On the morning of April 16, 2013, a team of gunmen, using rifles, opened fire on the Metcalf Transmission Substation, severely damaging 17 transformers.


title: Metcalf sniper attack

text: Prior to the attack, a series of fiber-optic telecommunications cables operated by AT&T were cut by the culprits. Additionally, following the attack, investigators found small piles of rocks near to where the shots had been fired, the type of formations that can be used to scout firing positions.


title: Metcalf sniper attack

text: Former Chairman of the Federal Energy Regulatory Commission Jon Wellinghoff stated that military experts informed him that the assault looked like a "professional job", noting that no fingerprints were discovered on the empty casings. While Wellinghoff described the attack as "the most significant incident of domestic terrorism involving the grid that has ever occurred", a spokesman for the Federal Bureau of Investigation stated that they did not believe a terrorist organization was responsible.


title: Metcalf sniper attack

text: Henry Waxman, a ranking member of the United States House Committee on Energy and Commerce, stated that the attack was "an unprecedented and sophisticated attack on an electric grid substation with military-style weapons. Communications were disrupted. The attack inflicted substantial damage. It took weeks to replace the damaged parts. Under slightly different conditions, there could have been serious power outages or worse."


title: Metcalf sniper attack

text: Seventeen transformers were seriously damaged, requiring over $15 million worth of repairs. To avert a black-out, energy grid officials had to reroute power from nearby Silicon Valley-based power plants. While some nearby neighborhoods temporarily lost power, “the big users weren’t even aware Metcalf had happened”, according to an expert from the Electric Power Research Institute.


title: Metcalf sniper attack

text: Both PG&E, the company which operated the transformers, and AT&T offered $250,000 rewards for any information leading to the arrest and conviction of the perpetrators of the attack.


title: Metcalf sniper attack

text: In June 2014, PG&E announced that it intended to spend $100 million over a three-year span on upgrading security at substations throughout its territory, including the Metcalf location.


title: Metcalf sniper attack

text: A July 2014 report from the Congressional Research Service titled "Physical Security of the U.S. Power Grid: High-Voltage Transformer Substations" repeatedly cited the attack and noted that, "... in the wake of the Metcalf incident, the FERC has ordered the imposition of mandatory physical security standards (for substations) in 2014."


title: Metcalf sniper attack

text: In October 2015, it was reported that the Department of Homeland Security had found indications that the attack may have been committed by "an insider".


title: Metcalf sniper attack

text: In 2012, the National Research Council of the National Academies of Sciences, Engineering, and Medicine published a declassified report prepared in 2007 for the United States Department of Homeland Security that highlighted the vulnerability of the national electric grid from damage to high voltage transformers.


title: Grammy Award for Best Music Video

text: The Grammy Award for Best Music Video is an honor presented at the Grammy Awards, a ceremony that was established in 1958 and originally called the Gramophone Awards, to performers, directors, and producers of quality short form music videos. Honors in several categories are presented at the ceremony annually by the National Academy of Recording Arts and Sciences of the United States to "honor artistic achievement, technical proficiency and overall excellence in the recording industry, without regard to album sales or chart position".


title: Grammy Award for Best Music Video

text: Originally called the Grammy Award for Best Video, Short Form, the award was first presented in 1984, as was a similar award for Best Long Form Music Video. From 1986 to 1997, the category name was changed to Best Music Video, Short Form. However, in 1988 and 1989, the award criteria were changed and the video awards were presented under the categories Best Concept Music Video and Best Performance Music Video. The awards were returned to the original format in 1990. The category was called Best Short Form Music Video until 2012, from 2013 it was shortened to Best Music Video. Award recipients include the performers, directors, and producers associated with the winning videos, except for its first two years when the Grammy went to the performing artist only. For unknown reasons, the award for the Best Music Video in 1987 - "Brothers in Arms" by Dire Straits - went to the band only, not to the director(s) and/or producer(s).


title: Grammy Award for Best Music Video

text: Peter Gabriel, Michael Jackson, Janet Jackson, Johnny Cash, Kendrick Lamar, and Beyoncé hold the record for the most wins as a performer in this category, with two each. Mark Romanek holds the record for the most wins as a director, with a total of three. Icelandic singer Björk holds the record for the most nominations as a performer without a win, with four.


title: Croatan

text: The Croatan were a small Native American ethnic group living in the coastal areas of what is now North Carolina. They might have been a branch of the larger Roanoke people or allied with them.


title: Croatan

text: The Croatan lived in current Dare County, an area encompassing the Alligator River, Croatan Sound, Roanoke Island, Ocracoke Island, and parts of the Outer Banks, including Hatteras Island. The Croatan people who exist today live in Cumberland, Sampson, and Harnett counties predominantly.


title: Croatan

text: The chiefs, called werowances ("he who is rich"), controlled from 1 to 18 towns. The greatest were able to muster 700 or 800 fighting men. Chiefs and their families were held in great status and with respect, but they were not all powerful. In order for any particular direction from leadership to be followed through, chiefs had first to convince their followers that said course of action or cause was wise/in the tribe's best interest. The role of the chief was to spread the wealth to his tribe, and, if unable to do so, the same level of respect was no longer conferred to the chief in command.


title: Croatan

text: Phillip W. Evans, a linguist, suggested the word "Croatan" means "council town" or "talk town," which likely indicates the residence of an important leader and a place where councils were held.