title: Cuba national football team

text: The tournament was held as a straight knock-out tournament of 16 nations. Cuba were drawn to play their first-ever World Cup finals match against Romania (who were making their third finals appearance) at Stade du T.O.E.C. in Toulouse, on 5 June 1938. Silviu Bindea put Romania ahead after 35 minutes and Hector Socorro equalised nine minutes later. With three minutes remaining, Tomás Fernández gave Cuba the lead, but within a minute Iuliu Baratky forced extra time with a Romanian equaliser. Romania went 3–2 up in extra-time by Ștefan Dobay's goal on 105 minutes, but Juan Tuñas equalised for Cuba with three minutes of extra-time remaining.


title: Cuba national football team

text: The replay was held at the same stadium, on 9 June. This was at the same time as Switzerland's 4–2 replay win over Germany. Dobay put Romania 1–0 up at half-time with a 35th-minute goal, but in the second half Cuba equalised through Socorro in the 51st minute. Six minutes later, Carlos Oliviera scored the winning goal and it ended 2–1.


title: Cuba national football team

text: In the quarter-final, Cuba lost 8–0 to Sweden at Stade du Fort Carre in Antibes, on 12 June. Sweden's Tore Keller and Gustav Wetterström each scored hat-tricks.


title: Cuba national football team

text: The NAFC Championship 1949 served as CONCACAF's qualification group for the 1950 World Cup in Brazil. Cuba, the United States of America and Mexico played each other twice in a tournament held in Mexico City in September 1949. The top two would qualify. Cuba came third and did not qualify, their only point was gained from their second match, a 1–1 draw against the United States on 14 September. Cuba did not compete in World Cup qualification again until 1966, already under Castro's regime. They returned to participation in qualification for 1978, but the 1982 qualifiers represented a significant breakthrough- Cuba reached the final round of qualifying, and were only two points short of reaching the 1982 World Cup. In recent years, Cuban football has seen an improvement in results.


title: Cuba national football team

text: They reached the quarter-finals of the 2003 Gold Cup (where they were beaten by the United States) by defeating Canada 2–0 in the Group stage. During the 2006 World Cup qualifiers, Cuba faced Costa Rica and were only eliminated on away goals. They held Costa Rica to a draw in Havana 2–2 and later battled it out for a 1–1 draw in Costa Rica.


title: Cuba national football team

text: During the 2010 World Cup qualifiers, Cuba faced Antigua and Barbuda and the match ended in a 3–3 draw. Later in Pedro Marreo, Cuba won 4–1 to advance to the semi-final round of the CONCACAF World Cup qualifiers. Cuba was with the United States, Trinidad and Tobago and Guatemala. Cuba finished in the fourth place with only one victory against Guatemala 2–1 with a goal scored by Aliannis Urgellés.


title: Cuba national football team

text: They finished in third place in the 2010 Caribbean Cup to take a place in the 2011 Gold Cup. In 2012, Cuba won the Caribbean Cup for the first time.


title: Cuba national football team

text: For the 2014 World Cup, the Cuban team qualified directly to the Third round as one of the six highest ranked teams and were placed in Group C with Honduras, Panama, and Canada. Although the Cuban team had several close games, they ended their qualification process with one draw and five defeats (losing home and away to Canada and Honduras and drawing to Panama in Havana in their final game after losing in Panama City). Their only goal of the qualifying campaign came from Alberto Gomes against Panama in the final game of the group stage.


title: Cuba national football team

text: As well as Cuban athletes in other sports, a number of football players have made the move to the United States in recent years. During the 2002 Gold Cup in Los Angeles, two Cuban players Rey Ángel Martínez and Alberto Delgado chose to remain in the United States. Striker Maykel Galindo did so during the 2005 Gold Cup. Two more, Osvaldo Alonso and Lester More did so during the 2007 Gold Cup.


title: Cuba national football team

text: In 2008, defections occurred during two separate tournaments held in the United States. In March, seven players from the U-23 national football, including Yeniel Bermúdez, Yordany Álvarez and Yendry Díaz defected during the 2008 CONCACAF Olympic Qualifying tournament while the team was based in Tampa, FL. In October, two days before the country's World Cup Qualifier versus the US, Reynier Alcántara and Pedro Faife walked away from the team's hotel near Washington, D.C.. During the 2011 CONCACAF Gold Cup, Yosniel Mesa defected while the team was in Charlotte, North Carolina. During the 2015 Gold Cup, forward Keiler García defected to the United States before the team's first match against Mexico in Chicago. In September 2019, five players (Yordan Santa Cruz, Andy Baquero, David Urgelles, Orlendis Benítez and Alejandro Portal) defected to Canada during the 2019–20 CONCACAF Nations League before and after a match against Canada.


title: Cuba national football team

text: The following is a list of match results in the last 12 months, as well as any future matches that have been scheduled.


title: Cuba national football team

text: The following players were called up for the friendly matches against Dominican Republic on 15 and 18 November 2022.


title: Dick in a Box

text: "Dick in a Box" is a song by the American comedy group The Lonely Island featuring American singer Justin Timberlake. The artists wrote the song with Katreese Barnes and Asa Taccone, who both produced it with Jorma Taccone. "Saturday Night Live" ("SNL") creator and producer Lorne Michaels asked Samberg to write a musical sketch for the 2006 Christmas episode with Timberlake, who was returning as both host and musical guest. Samberg developed the concept with other members of the group before working with Timberlake on December 14. They recorded the track around midnight and spent the next day and a half filming the corresponding music video.


title: Dick in a Box

text: The sketch depicts two early 1990s R&B singers, played by Samberg and Timberlake, singing a holiday song about making a Christmas gift for their girlfriends of their penises in boxes. The sketch premiered on "SNL" as a Digital Short on December 16, 2006. The word "dick" was bleeped 16 times following an agreement with the Federal Communications Commission. "SNL" producers published an uncensored version of the sketch online right after its broadcast debut, a decision criticized by the Parents Television Council. In 2009, the song was released digitally as a single and included on The Lonely Island's debut studio album, "Incredibad".


title: Dick in a Box

text: "Dick in a Box" became a viral hit on the internet, and had generated more than 28 million views on YouTube by October 2007. The song received generally positive reviews from both television and music critics, who praised its raunchy humor and Timberlake's performance. "Dick in a Box" has been recognized retrospectively as The Lonely Island's signature song and one of the best Christmas-themed "SNL" sketches. The track won the Primetime Emmy Award for Outstanding Original Music and Lyrics in 2007, and appeared on the Australian and Canadian single charts in 2009. Samberg and Timberlake reprised their roles in two Digital Shorts sequels, "Motherlover" (2009) and "3-Way (The Golden Rule)" (2011).


title: Dick in a Box

text: Akiva Schaffer, Andy Samberg, and Jorma Taccone met while attending junior high together in Berkeley, California. They decided to move to Los Angeles in September 2000 and formed the comedy trio The Lonely Island, named after the nickname they gave to the apartment they shared. They hosted several short films on their website before signing to the variety show "Saturday Night Live" ("SNL") in late August 2005. Samberg was promoted as a performing member for the 32nd season, while Taccone and Schaffer joined the show as writers. In December, the trio wrote and recorded "Lazy Sunday" with fellow cast member Chris Parnell, which was broadcast as their second Digital Short. The gangsta rap song received over five million views on YouTube by February 2006, becoming the first television clip to go viral on the online video platform. The track's popularity contributed to the success of YouTube and reintroduced "SNL" to a younger audience.


title: Dick in a Box

text: Justin Timberlake first appeared on "SNL" as a musical guest in 2000, performing as a member of the American boy band NSYNC. He subsequently appeared as both host and musical guest in an episode in October 2003, in which he demonstrated his acting potential with an impression of Jessica Simpson and his work with Jimmy Fallon on "The Barry Gibb Talk Show" sketch. "Hosting "SNL" was something I'd always wanted to do. The show allowed me to play to my strengths—mixing music with comedy seemed like a way into that world", Timberlake recalled. After the show, he received several acting offers and spent the next two years launching his acting career. He shot four films, including "Edison Force" (2005) and "Alpha Dog" (2006), before working on his second studio album "FutureSex/LoveSounds" (2006). In late November 2006, Timberlake announced his return to "SNL" for the December 16 episode as host and musical guest.


title: Dick in a Box

text: On December 12, 2006, when Timberlake was on track to host "SNL" for the second time, creator and executive producer Lorne Michaels asked Samberg to try writing a funny skit to showcase Timberlake's singing skills. Although the writing team originally came up with a different idea, Michaels insisted they exploit more of Timberlake's musical side. Inspired by the music they grew up listening to, members of The Lonely Island wanted to write an early 1990s R&B song that was similar to the work of Jodeci, R. Kelly, the Isley Brothers, LeVert, and H-Town. That night, they contacted associate music director Katreese Barnes to help them work on the song; she was later credited as a songwriter and producer. Samberg felt the concept of imitating a 1990s-style band was "a perfect fit" for Timberlake, who was a member of a boy band.


title: Dick in a Box

text: The concept of the track was not decided until December 14, when Jorma came up with the "dick in a box" premise. Once the trio agreed the concept was funny enough, they presented a rough draft of the song to Timberlake. A fan of 1990s-style music, Timberlake immediately accepted the song. He was the only one who was confident about the sketch. The trio was having doubts about the crass joke and the bygone musical concept. Timberlake felt it was important to make the song "really singable" and suggested several changes to "Dick in a Box". He came up with the hook and the line "Mid-day at the grocery store", while adding pauses to make the song more catchy. Schaffer suggested adding the three steps of making the box into the lyrics. Samberg, who was feeling nervous when working on the idea with Timberlake, said the singer "took the reigns ["sic"] and schooled us on how to record and make it sound fantastic". The writers finished writing the lyrics within two hours.


title: Dick in a Box

text: Like other "SNL" sketches, "Dick in a Box" was recorded and produced in a very short time. Samberg and Timberlake recorded their voice track for two hours around midnight on December 14-15, right after finishing the lyrics. They used special equipment, including a $500 microphone, in Samberg's office. Timberlake recalled the crew were laughing frantically during the production and that the "delirium of no sleep" contributed to the song's humor. Although Samberg's voice cracked a few times, Timberlake's easygoing attitude made him more relaxed throughout the recording session. Asa Taccone, Jorma's brother, worked on the track in Los Angeles while the other writers were in New York City. Initially, Jorma gave his brother the specific outline of the track for him to work with, which Asa described as a "cheesy, 90s, Color Me Badd type track". Asa then sent the writers several instrumental tracks and went through each beat with them during phone calls. He was nervous working with Timberlake and felt the process was chaotic because of the limited work time. "It was semi-terrifying having [Timberlake] listen to my stuff. I was a kid back then. I'm sure the stuff I was playing was mostly terrible," Asa said. NBC was not originally aware of his contribution to the track, so Jorma paid him $60 for it.


title: Dick in a Box

text: After listening to the finished audio track, Barnes felt it would "be a big hit" if they had an equally funny video for it.


title: Dick in a Box

text: The music video for "Dick in a Box" was filmed in New York City in a day and a half. The crew spent December 15 filming the video. Timberlake left occasionally to prepare for the show; they finished the session at 3:00 AM the following morning. Schaffer directed the video with Jorma's assistance. Indoor scenes were filmed in Studio 8H, "SNL"s permanent set. Timberlake and Samberg sported wigs and fake short beards for the video.


title: Dick in a Box

text: Schaffer felt the filming process was both frightening and funny, saying, "We knew it was a really dumb idea and we weren't sure if we were even gonna get away with it on the air, but once we were actually making it, it was just super fun!" Members of The Lonely Island wanted to do the filming as quickly as they could, since Timberlake was busy with other hosting gigs and sketches. Kristen Wiig and Maya Rudolph played the duo's lovers. Wiig felt the song would be a hit after hearing it and seeing the film set. It was not until 4:00 PM on December 16, less than eight hours before it was to go live, that the video was ready to be shown to NBC executive Rick Ludwin.


title: Dick in a Box

text: The video begins with Samberg and Rudolph sitting in front of a fireplace. Samberg says he has a Christmas gift for her and instructs her to "just sit down and listen". The balladeers are wearing silk suits, jewel-toned rayon shirts, herringbone chains, trimmed goatees, and sunglasses. The men each give their lovers a box with their penis inside as a present, and ask them to open it and look inside. The singers stroke their goatees and pose with each displaying a gift-wrapped box attached to his groin. Their girlfriends seem aroused and excited by their presents, while the men aggressively rub roses and feathers in the women's faces. Near the chorus, the men sing about how their presents are better than other gifts, such as diamond rings, fancy cars, or luxury houses. The duo suggest their present is suitable for all holidays, including Christmas, Hanukkah, and Kwanzaa. At one point, they give step-by-step instructions on how to create the gift.


title: Dick in a Box

text: The video cuts between scenes of Samberg and Timberlake dancing and singing in various urban landscapes—in a park, on a ferry in front of the East River, and on a basketball court, where Timberlake is seen hanging from a basketball hoop with a gift box on his crotch. At the end of the video, the men sing about giving the present on multiple occasions—at their parents' houses, the grocery store, and backstage at the Country Music Association Awards—while being arrested by the New York City Police Department (NYPD), presumably for indecent exposure.


title: Dick in a Box

text: "Dick in a Box" is an R&B song with a runtime of 2:41. According to Universal Music Publishing Group's digital sheet music for the song, "Dick in a Box" is composed in the key of C minor and set in common time signature, with a moderately slow groove of 80 beats per minute. The vocals span two octaves, from C up to C. Music critics compared the track to the work of Color Me Badd, noting the song's spoken-word breakdown and the way the last syllables of the refrain go increasingly up. "Idolator"s Noah wrote the track is a "slightly more up-front–and generously Yuletide-themed" version of Color Me Badd's "I Wanna Sex You Up" (1991). Critics also found the R&B track was influenced by American groups New Kids on the Block, Hall & Oates, and Backstreet Boys.


title: Dick in a Box

text: David Jeffries of AllMusic described "Dick in a Box" as an imitation of teen pop, while Stephen Saito of "Premiere" called the slow jam "an ode to the phallic present for all occasions". Chris Mincher of "The A.V. Club" and Stuart McGurk of "GQ" viewed it as a midtempo synth rock track that soundtracks a rapidly unfolding horror. "Dick in a Box" has been described as a Christmas song by critics, including Mincher who highlighted its release in the special Christmas episode of "SNL". Ross Bonaime of "Paste" referred to it is a hybrid between "a Christmas song, a '90s R&B parody and a joke about bad gift giving". Believed the sketch qualified as a Christmas film, Matthew Dessem of "Slate" pointed out the Christmas setting and the theme surrounding Christmas presents, as well as the non-Christmas holidays mentioned in the song all take place around Christmas.


title: Dick in a Box

text: The music the songwriters grew up listening to inspired "Dick in a Box". They wanted to make a parody of the members of a 1990s R&B group, who were still stuck in that era. It follows the tone of other songs by The Lonely Island, which focus on mundane characters who express themselves aggressively about their daily lives. The fictional duo was named 2:30 AM, which Timberlake explained is the time (until 5:00 AM) when "really strong lovemaking happens". Despite referring to 1990s R&B style music, Timberlake said the sketch was not "parodying anyone in particular".


title: Dick in a Box

text: Timberlake explained the premise, where the characters genuinely give their genitalia as Christmas presents to their lovers, aimed for comedic effect, while making the characters even more ridiculous. He thought initially the idea was creepy but still pursued it. The premise was based on dick jokes and some men's habit of putting their penises in unusual things. "It's nothing new. Guys have been putting their dicks in boxes since caveman days," Schaffer said. Despite not trying it himself, Samberg had heard stories from other people doing similar things with bad results. Jorma said a scene in the 1982 Barry Levinson film "Diner", in which Mickey Rourke's character tricks his date into groping him by placing his penis inside a box of popcorn at a movie theater also inspired the premise. An identical act can be found in a scene of "La Boum" (1980), directed by Claude Pinoteau. Mincher felt the act was "so absurd (and unexpectedly raunchy) that few watching it live could see it coming".


title: Dick in a Box

text: Critics have offered various interpretations of "Dick in a Box". Penny Spirou in "Music in Comedy Television: Notes on Laughs" (2017) and Virginia Heffernan of "The New York Times" viewed the sketch as a satire of "the bad faith of the pandering R&B foreplay songs", which was made to trick a women's desire for comfort, until she "opens that nicely wrapped present". Heffernan also linked the content to Timberlake's public image in the 2000s, saying, "He's all sweet, but he gets what he wants. And no one, not even Janet Jackson, stands in his way... [The audiences] have decided, for now, that he's cooler than they thought." Terry Gross of "Fresh Air" opined the sketch is a parody of male narcissism, in which the characters suggest "the greatest gift [a man] could give to a lady is a very special lovemaking". She noted the singers emphasize "how great "he" is, not how much he loves his girlfriend, but really how much he loves himself". Mincher argued that besides the joke about men's obsession with their own genitalia, the sketch pokes fun at several men's gift-giving mistakes. A man believes he is the greatest present his girlfriend could receive, implying a woman should provide sexual favors for her man. He dismisses more expensive presents as superficial. Mincher suggests the sketch is a product of male fantasy detached from the reality of relationships.


title: Dick in a Box

text: The video for "Dick in a Box" was sent to NBC executive Rick Ludwin after the raw editing had been finished at 4:00 PM on December 16. The Federal Communications Commission (FCC) took issue with the actors saying "dick" on-air and wanted to stop the sketch's screening. "SNL" producers came to an agreement with the FCC that the song could be aired with the word bleeped out. However, since the FCC has no jurisdiction over the content on the internet, the producers asked Ludwin to make the uncensored version available online. Ludwin, who was initially hesitant about the idea, watched the footage with a representative from the NBC legal department. He found the sketch funny and realized that those searching on the internet specifically for the video would not be upset by its content. He sought final approval for the uncensored sketch from Kevin Reilly, the president of NBC Entertainment, and Jeff Zucker, the chief executive of NBCUniversal Television Group—both of whom approved the idea. Editing continued on the video for the rest of the day, in time for its television debut.


title: Dick in a Box

text: "Dick in a Box" premiered as a Digital Short on the Christmas episode of the 32nd season of "SNL", which aired on December 16, 2006. NBC bleeped the word "dick" 16 times as agreed with the FCC. After the broadcast concluded at 1:00 AM on December 17, both the censored and uncensored versions of the sketch were made available on NBC's website and YouTube channel, under the heading "Special Treat in a Box" or "Special Christmas Box". A cautionary warning was shown at the beginning of the unbleeped version, while viewers had to affirm they were over 18 to access the video. Besides the official video uploaded by NBC, bootleg copies of the clip were being removed from YouTube at the network's request.


title: Dick in a Box

text: The release made "SNL" the first scripted comedy show on a broadcast network to use the internet to avoid FCC control over its explicit content. On December 21, the Parents Television Council (PTC) called on NBC and asked the network to explain the decision to post both versions of the song online. L. Brent Bozell, the president of the PTC, said that the video is "a new low for NBC" and the online release "is blatantly irresponsible and unacceptable". In an interview published by "The New York Times" the same day, Michaels said that posting the equivalent of a "director's cut" of his late-night show on the internet "will be the exception" in the future. He believed other shows and networks would be likely to follow NBC's lead in making inappropriate-for-TV material available online, saying. "Now that the door has been opened, some things will go through it."


title: Dick in a Box

text: Days after "Dick in a Box" was released, Samberg expressed his interest in creating an album full of comedy hip hop and R&B songs. "It's something we've always wanted to do and we've been working on putting it together," Samberg said. Universal Republic released the album, titled "Incredibad", on February 10, 2009. The album included 14 new tracks the trio recorded while living together in Encino, Los Angeles, during the summer of 2009. "Dick in a Box" was one of five "SNL" Digital Shorts on the album, with "Lazy Sunday", "Natalie's Rap", "Ras Trent", and "Space Olympics". This was made possible because of the partnership between NBC and Broadway Video that gave Universal Republic the rights to release these videos. It was the first time these sketches had been released without a laugh track. "We spend so much time getting stuff to sound good... but nobody has ever really heard a clean version of those songs," Jorma said. Before the album's release, the lead single "Jizz in My Pants" was broadcast and released digitally in December 2008, followed by the first-ever digital release of "Dick in a Box" on iTunes and Amazon on January 27, 2009. "Dick in a Box" later appeared on the "Saturday Night Live – The Best of '06–'07" extra DVD, released in March 2008.


title: Dick in a Box

text: The "SNL" episode received a 5.3/13 Nielsen rating/share in the 18–49 demographic, and attracted seven million American viewers during its initial broadcast, one of the show's highest ratings for a Christmas episode. According to the "New York Daily News", less than a week after its online release, the uncensored version of the sketch had been viewed over 320,000 times on NBC's website and 3.5 million times on YouTube. Thanks to a partnership between NBC and YouTube, the video quickly became one of the 20 most-viewed on the site and one of the quickest viral hits of 2006. It generated 7.5 million views in one week at the end of December. According to Bri Holt, founder of the online video analytics site Vidmeter, there were at least 18 identical copies of "Dick in a Box" posted to various YouTube and Google Video accounts, bringing the total views to over 20 million as of February 2007.


title: Dick in a Box

text: The official uncensored video garnered more than 15,000 comments and 28 million views (34.9 million views when combined with other versions) before NBC took down its YouTube channel in preparation for the launch of Hulu on October 21. On December 23, 2008, "Dick in a Box" appeared at number nine on the "Guardian" Viral Video Chart: Christmas Special showing the year's top viral videos, compiled by "The Guardian" and viralvideochart.com. An official video of the sketch was uploaded again on YouTube in December 2018, which had garnered 5.5 million views as of April 2020. Following its release as a digital single in January 2009, "Dick in a Box" debuted at number 82 on the Canadian Hot 100 and number 48 on the "Billboard" Canadian Digital Song Sales chart. Both were The Lonely Island's first entries on the charts. In late June, the single peaked at number 61 on the Australian Singles Chart, the third track from "Incredibad" to appear on the chart after the top 10 entries "Jizz in My Pants" and "I'm on a Boat". In January 2011, "Dick in a Box" peaked at number eight on the "Billboard" Comedy Digital Track Sales.


title: Dick in a Box

text: Following the rebroadcast of "Dick in a Box" on "SNL", the FCC received several complaints from viewers about the sketch. A report in "The Atlantic" showed that "Dick in a Box" and "Djesus Uncrossed," a 2013 parody of "Django Unchained" starring Christoph Waltz, were the most frequent targets of complaint letters sent to the FCC about "SNL" by viewers from 2012 to 2015. Most of the letters were suspicious of Timberlake's appearance after his part in the Janet Jackson controversy at the Super Bowl XXXVIII halftime show.


title: Dick in a Box

text: "Dick in a Box" received generally positive reviews from television and music critics. Annie Wu of "TV Squad" was "laughing [her] head off" while watching the sketch and was impressed with Timberlake's performance. Palmer wrote that Timberlake and Samberg had "given new meaning to 'giving of yourself' and 'package' with the perfect gift for that special someone". Both Wu and Palmer were confused about the sketch's title and content during the broadcast. Palmer called the censored version pointless. Gilbert Cruz of "Entertainment Weekly" thought the sketch was a nice way "to cap off what has been a fantastic year for [Timberlake]" and suggested "SNL" should focus more on the Digital Shorts. Tom Hall of IndieWire praised the Digital Short as the highlight of the show, while Mark Lore of "News & Review" felt the track was Timberlake's best work since "Rock Your Body" (2003). Adam Sternbergh of "New York" magazine described it as "by far the most hilarious Timberlake–starring, Kwanzaa-referencing, Color Me Badd–parodying, 'put your junk in that box'–instructing short video you will ever see".


title: Dick in a Box

text: Larry Carroll of IGN called the song "the closest to 'Lazy Sunday' that we've seen yet". He praised the "dead-on spoof of that musical time period" and Wiig's brief cameo, and concluded, "Mr. Timberlake brought a very special package to us all this year, and he didn't even have it attached to his crotch." Heffernan said that Timberlake "[sealed] his triumph when he managed to score a cherished asset: a holiday classic". She commended the joke as both mindless fun and imaginative. Several critics chose the sketch as the funniest moment of the episode, including Larry Carroll, Matt Dentler of IndieWire, and a writer from "Rap-Up". Joel Keller of "TV Squad" picked the sketch as one of the best television moments in 2006, while Brian Zoromski of "IGN" listed the sketch as his favorite Digital Short and the most memorable moment of the year on "SNL".


title: Dick in a Box

text: Critics have recognized retrospectively that "Dick in a Box" is one of the best Christmas-themed "SNL" sketches. Bonaime wrote the sketch is cheerfully egotistical and "might be the pinnacle of the Digital Short's success". Tara Aquino of VH1 labeled the track as "The Christmas Song" for millennials that should "make its way to every station come December 1st". Eric Spitznagel of "Vanity Fair" wrote the track is as recognizable as Steve Martin's "King Tut" (1978). Jody Rosen of "Vulture" commended the track as a "sublime cultural artifact that deserves to be in the next time capsule that NASA shoots off toward Jupiter". Hillary Busis of "Entertainment Weekly" ranked the track as Timberlake's best moment on "SNL", calling it hilarious and "largely responsible for Timberlake's stellar hosting reputation". "Billboard" hailed it as one of the show's best musical moments, along with "Lazy Sunday". "Rolling Stone" listed the skit at number three on their 50 Greatest "Saturday Night Live" Sketches of All Time list, calling it Timberlake's best song post-"FutureSex/LoveSounds".


title: Dick in a Box

text: On July 19, 2007, it was announced that "Dick in a Box" had received a nomination for a Primetime Emmy Award for Outstanding Original Music and Lyrics. Other nominees in the category included "My Drunken Irish Dad" (from "Family Guy"), "Merry Ex-Mas" (from "MADtv"), "Everything Comes Down to Poo", and "Guy Love" (both from "Scrubs"). The songwriters won the award at the 59th Primetime Creative Arts ceremony on September 8. "Dick in a Box" was credited for setting a precedent for more explicit material to earn nominations and win in the Emmy music-related categories.


title: Dick in a Box

text: On February 7, 2007, Timberlake and Samberg gave a surprise performance of "Dick in a Box" for the first time at the Madison Square Garden during Timberlake's concert tour FutureSex/LoveShow. The duo sang in front of a sold-out stadium of 18,000 people, including rapper P. Diddy, Donald Trump and his wife Melania. They performed the track as an encore, beginning with an announcer introducing them as a new band that had "the most-watched video on YouTube". The singers wore the characters' costumes and facial hair from the sketch, with a gift box attached below the belt. Samberg changed the holiday lyrics to "Valentine's Day... Flag Day... Kwanzaa", while Timberlake was giggling as he delivered the deadpan lines. At one point, Timberlake fell on his knee and sang the line "All across America, a dick in a box." After the song, Timberlake came back onstage and apologized, "I'm sorry if I offended some of you, but I could not resist."


title: Dick in a Box

text: "Billboard" felt the surprise performance "was hilarious if wholly unnecessary". Caryn Ganz of MTV wrote that the singers struggled with the nasal vocal performance and the song "landed a bit awkwardly in context". Ganz, however, noted that the audience "went truly berserk" with the performance. Amelia McDonell-Parry of "Rolling Stone" wrote "Samberg hardly has the pipes to fill an arena, but no one seemed to mind." Timberlake, who was absent during the Primetime Creative Arts ceremony on September 8, celebrated after being notified of his Emmy win by performing a piano rendition of the song at the Tacoma Dome, Washington. Samberg was willing to perform "Dick in a Box" with Timberlake at the main 59th Primetime Emmy Awards ceremony, held in Los Angeles on September 16. The Emmy Awards producers were reportedly unsure about airing the explicit content and asked the duo to come up with a more family-friendly version of the track. The singers rejected the idea, and the performance was canceled.


title: Dick in a Box

text: The online release of "Dick in a Box" resulted in many users filming response videos on YouTube, in which they either present their own gift box or give instructions on how to do the box. Leah Kauffman, who was a Temple University student, wrote and recorded a parody from the female perspective of the sketch, titled "My Box in a Box". The track's music video showed a woman lip sync to Kauffman's vocals and dance around with a gift-wrapped box in front of her crotch. The video had attracted more than three million views by January 2007. American band Umphrey's McGee covered "Dick in a Box" as an encore on December 31, 2006, at the Aragon Ballroom in Chicago. In "Koi Pond", an episode of the sixth season of the American comedy television series "The Office", Michael Scott (portrayed by Steve Carell) dresses in a suit similar to Samberg and Timberlake's characters, with a box wrapped as a present attached to his waist, while slipping a noose around his neck and faking a hanging to scare a group of young visitors. On an episode of "The Ellen DeGeneres Show", aired in January 2007, Ellen DeGeneres performed a jingle for AQUA2GO water drink boxes to the tune of "Dick in a Box". The following month, Facebook created a virtual gift shop for Valentine's Day that included a box with a bow on top and a hole cut into one of its sides.


title: Dick in a Box

text: Like "Lazy Sunday", "Dick in a Box" has found a wider audience during its online release than the initial television broadcast. The sketch, which has been rebroadcast over the years, has become one of the most popular "SNL" sketches and widely recognized as one of The Lonely Island's signature songs. The viral video helped solidify The Lonely Island as a stand-alone comic act. In an interview with "Esquire" in 2013, Samberg said, "[Michaels] says the thing you're known for will be in quotes in the middle of your name. He's Lorne 'SNL' Michaels, and I'm Andy 'Dick in a Box' Samberg." Terri Schwartz of IFC opined "'Lazy Sunday' might have been the first Lonely Island Digital Short to be featured on "SNL", but it was 'Dick in a Box' that made the Digital Short one of the most anticipated skits on the improv series." Many people have since chosen costumes similar to those of Timberlake and Samberg for Halloween. Samberg was flattered by the costume trend, while Wiig was astonished by it, saying, "It was crazy. So I did expect it because I knew it was funny, but you never expect the level to which it goes." Samberg and Timberlake's costumes are also displayed at "Saturday Night Live: The Exhibition", an exhibition about a week in the show's life on New York's Fifth Avenue.


title: Dick in a Box

text: Jorma recalled the working experience with Timberlake has become their standard, saying, "Getting to work with someone as wildly talented as Justin Timberlake, getting to spend maybe four days with him... That was amazing." "Dick in a Box" has inspired many subsequent sketches by The Lonely Island, including the similar-themed "Jizz In My Pants" and "I Just Had Sex", and has spawned two sequels, where Timberlake and Samberg reprised their roles. In "Motherlover" (2009), broadcast during the 34th season, the duo sings about their desire to have sex with each other's mothers (played by Patricia Clarkson and Susan Sarandon) as a tribute to Mother's Day. They find themselves invited to a threesome with a girl they met at the Payless ShoeSource (played by Lady Gaga) in season 36's "3-Way (The Golden Rule)" (2011). "Motherlover" was released as a single in 2011 and appeared on The Lonely Island's second studio album, "Turtleneck & Chain" (2011); while "3-Way (The Golden Rule)" was digitally released after the broadcast and appeared on the third studio album, "The Wack Album" (2013). The duo also re-appeared on the special 100th Digital Short, which was broadcast in season 37 in May 2012.


title: Veve

text: A veve (also spelled vèvè or vevè) is a religious symbol commonly used in different branches of Vodun throughout the African diaspora, such as Haitian Vodou and Louisiana Voodoo. The "veve" acts as a "beacon" for the "loa", and will serve as a "loa"s representation during rituals.


title: Veve

text: "Veves" should not be confused with the "patipembas" used in Palo, nor the "pontos riscados" used in Umbanda and Quimbanda, as these are separate African religions.


title: Veve

text: Possible origins include the cosmogram of the Kongo people, or originated as the Nsibidi system of writing for the Igboid and Ekoid languages from West and Central Africa.


title: Veve

text: According to Milo Rigaud, "The "veves" represent figures of the astral forces... In the course of Vodou ceremonies, the reproduction of the astral forces represented by the veves obliges the loas... to descend to earth."


title: Veve

text: Every "loa" has his or her own unique "veve", although regional differences have led to different "veves" for the same "loa" in some cases. Sacrifices and offerings are usually placed upon them, with food and drink being most commonly used.


title: Veve

text: In ritual and other formalities, "veve" is usually drawn on the floor by strewing a powder-like substance, commonly cornmeal, wheat flour, bark, red brick powder, or gunpowder, though the material depends entirely upon the ritual. In Haitian Vodou, a mixture of cornmeal and wood ash is used.


title: Veve

text: "Veves" use symbolism to communicate which spirit is being called upon - for example, gatekeeper Papa Legba is invoked with a "vèvè" that features a walking cane, to indicate his jolly grandpa-like demeanor. The illustration also features coded images that reflect the matrilineal and patrilineal culture of the artist, providing information about their ancestral lineage. Offerings will typically be given; in Louisiana Voodoo, this would entail a cup of coffee and/or candies associated with the spirit.


title: Veve

text: "Veve" can be made into screenprint, painting, patchwork etc., as wall hangings, artworks, and banners.


title: Luhya people

text: The Luhya (also known as "Abaluyia" or Luyia) comprise a number of Bantu ethnic groups native to western Kenya. They are divided into 20 culturally and linguistically related tribes.


title: Luhya people

text: "Luhya" refers to both the 20 Luhya clans and their respective languages collectively called Luhya languages. There are 20 (and by other accounts, 21, when the Suba are included) clans that make up the Luhya. Each has a distinct dialect best on thelocality of the speakers.The different dialects shows maturity of the luhya language. The Luhya language can only be equated to the Baganda,Soga and Lugisu language in Uganda. The Luhya culture is similary to Great lakes region Bantu speakers that stretches all the way from their anceral land in DRC. The word "Luhya" or "Luyia" in some of the dialects means "the north", and "Abaluhya (Abaluyia)" thus means "people from the north". Other translations are "those of the same hearth."


title: Luhya people

text: The seventeen sub-tribes are the Bukusu ("Aba-Bukusu"), Idakho ("Av-Idakho"), Isukha ("Av-Isukha"), Kabras ("Aba-Kabras"), Khayo ("Aba-Khayo"), Kisa ("Aba-Kisa"), Marachi ("Aba-Marachi"), Maragoli ("Aba-Logoli"), Marama ("Aba-Marama"), Nyala ("Aba-Nyala"), Nyole ("Aba-Nyole"), Samia ("Aba-Samia"), Tachoni ("Aba-Tachoni"), Tiriki ("Aba-Tiriki"), Tsotso ("Abatsotso"), Wanga ("Aba-Wanga"), and Batura ("Abatura") and the Abasiaya. They are closely related to the Masaba (or Gisu), whose language is mutually intelligible with Luhya. The Bukusu and the Maragoli are the two largest Luhya sub-tribes.


title: Luhya people

text: The principal traditional settlement area of the Luhya is in what was formerly the Western province. A substantial number of them permanently settled in the Kitale and Kapsabet areas of the former Rift Valley province. Western Kenya is one of the most densely populated parts of Kenya. Migration to their present Luhyaland (a term of endearment referring to the Luhya's primary place of settlement in Kenya after the Bantu expansion) dates back to as early as the 7 BC.


title: Luhya people

text: Immigrants into present-day Luhyaland trace their ancestry with several Bantu groups and Cushitic groups, as well as peoples like the Kalenjin, Luo, and Maasai. By 1850, migration into Luhyaland was largely complete, and only minor internal movements occurred after that due to disease, droughts, domestic conflicts and the effects of British colonialism.


title: Luhya people

text: Anthropologists believe that the progenitors of the Luhya were part of the great Bantu expansion out of Central Africa around 1000 BC. In sharp contrast with anthropologists, the Maragoli oral history states that they migrated into what is now Kenya, from Misri (Arab word for Egypt). However, the majority of the other Luhya tribes are mostly from present day Uganda and are diverse in origin.


title: Luhya people

text: The Wanga would sometimes hire Maasai and Kalenjin mercenaries to fight for them. The Wanga incorporated most of the Luhya tribes as well as territories to the east, southeast, west and southwest occupied by the Luo, Kipsigis, Nandi, and Masai.


title: Luhya people

text: Before the advent of colonialism, the Luhya, just as most other ethnic groups in Africa, defined their boundaries based on occupation of territory by a community of peoples with similar language, cultural traditions or under leadership of a particular ruler or king.


title: Luhya people

text: Their territory neighboured the Baganda, Basoga and Bagisu of present-day Uganda, and the Luo, Teso, and Nandi of present-day Kenya. The territory occupied by the Bantu around Lake Victoria and to the north of Lake Victoria was known as Kavirondo. When the British came into the area, they coined the term "Bantu Kavirondo" to refer to the Luhya and other Bantu communities in the area while "Nilotic Kavirondo" was used to refer to the AbaLuo.


title: Luhya people

text: On the onset of colonialism in Kenya, the Wanga were ruled by Nabongo Mumia. The Wanga kingdom was and is a derivative of the Baganda. It was the most powerful and centralized kingdom in the region. Other leaders among the Luhya were known as Baami (singular Mwami), a title translating to 'Kings' or 'Lords.'


title: Luhya people

text: The British explorer Henry Morton Stanley made a voyage around Lake Victoria, and Joseph Thomson, the Scottish geologist, passed through Luhya territory around 1883. Thomson met Nabongo Mumia and influenced British relations with the Wanga Kingdom in the region. The construction of the Kenya-Uganda railway beginning from 1898 further opened opportunities for European interaction with the Luhya and other communities in the western part of Kenya. Nabongo Mumia's dominion extended to other Luhya subgroups such as the Kabras and the Tsotso.


title: Luhya people

text: In the late 1800s, when European nations began their Scramble for Africa, they mapped African boundaries to suit their interests in the continent. With the lion's share of colonies going to the British, in 1895, the region of East Africa was declared to be a British Protectorate. It was further divided into British East Africa, (present-day Kenya) and the Uganda Protectorate (present-day Uganda).


title: Luhya people

text: As all the land in Kenya, west of Naivasha was mapped within the Uganda Protectorate, the Luhya people and other Kenyan communities were included in the Ugandan territory. In 1902, the boundaries were remapped and the Luhya peoples including the Wanga kingdom and their neighbouring communities which were on the eastern part of Uganda, were annexed to Kenya.


title: Luhya people

text: The first European the Luhya had contact with was probably Henry Morton Stanley as he voyaged around Lake Victoria. In 1883, Joseph Thomson was the first European known to pass through Luhya territory on foot, and was influential in opening the region to Europeans after his meeting with King Mumia of the Wanga Kingdom.


title: Luhya people

text: The Wanga Kingdom was very similar to the Baganda kingdom and other monarchies in Uganda, a unique form of government among the Luhya. Mumia was the last sovereign king of the Wanga, and because of ethnocentric British beliefs, was called a chief.


title: Luhya people

text: The Bukusu strongly resisted British incursions into their territory in the 1890s. In 1895, they fought the British from a stronghold near Bungoma on the lower slopes of Mount Elgon called "Chetambe's Fort". The British had machine guns and massacred over a hundred Bukusu warriors in the stronghold, who were armed with spears, hide shields, bows and quivers of arrows.


title: Luhya people

text: In the 1940s and 1950s the Bukusu resisted the British under the leadership of Elijah Masinde, a religious sect leader and prophet who demanded the return of their lands. Masinde was imprisoned during the Mau Mau rebellion in the 1950s, but was released to his home area at independence in 1963.


title: Luhya people

text: The Kabras and the Wanga collaborated peacefully with the British. Most Luhyas from the Kabras subgroup joined the colonial-era police forces. Nabongo Mumia, was forced to sign treaties with the British after being defeated, this allowed the colonial authorities to subject his people to British rule.


title: Luhya people

text: Significant numbers of the Luhya fought for the British in the Second World War, many as volunteers in the Kenya African Rifles (KAR). As with many African societies, the Luhya also named their children after significant events. Consequently, many Luhya people born around the time of the Second World War were named "Keyah", a transliteration of "KAR", the acronym for the King's African Rifles.


title: Luhya people

text: Other famous chiefs during the colonial time included Ndombi wa Namusia, Sudi Namachanja, Namutala and Ongoma Laurende.


title: Luhya people

text: 1. The Bukusu speak Lubukusu and occupy Bungoma , Mount Elgon district and Trans Nzoia. The clans of the Bukusu include the Bamutilu, Babuya, Batura, Bamalaba, Bamwale, Bakikayi, Basirikwa, Baechale, Baechalo, Bakibeti, Bakhisa, Bamwayi Bamwaya, Bang'oma, Basakali, Bakiabi, Baliuli, Bamuki, Bakhona, Bakoi, Bameme, Basombi, Bakwangwa, Babutu (descendants of Mubutu also found in Congo), Bakhoone, Baengele (originally Banyala), Balonja, Batukwika, Baboya, Baala, Balako, Basaba, Babuya, Barefu, Bamusomi, Batecho, Baafu, Babichachi, Bamula, Balunda, Babulo, Bafumo, Bayemba, Baemba, Bayaya, Baleyi, Baembo, Bamukongi, Babeti, Baunga, Bakuta, Balisa, Balukulu, Balwonja, Bamalicha, Bamukoya, Bamuna, Bamutiru, Bayonga, Bamang'ali, Basefu, Basekese, Basenya, Basime, Basimisi, Basibanjo, Basonge, Batakhwe, Batecho, Bachemayi, Bachemwile, Bauma, Baumbu, Bakhoma, Bakhonjo, Bakhwami, Bakhulaluwa, Baundo, Bachemuluku, Bafisi, Bakobolo, Bamatiri, Bamakhuli, Bameywa, Bahongo, Basamo, Basang'alo, Basianaga, Basioya, Bachambayi, Bangachi, Babiya, Baande, Bakhone, Bakimwei, Batilu, Bakhurarwa, Bakamukong'i, Baluleti, Babasaba, Bakikai, Bhakitang'a, Bhatemlani, Bhasakha, Bhatasama, Bhakiyabi, Banywaka, Banyangali, etc. For a complete list of Bukusu clans see Shadrack Amakoye Bulimo's new book Luyia Nation: Origins, Clans and Taboos


title: Luhya people

text: 2. The Samia speak Lusamia and occupy Southern Region of Busia District (Busia county), Kenya. The clans of the Samia of include the Abatabona, Abadongo, Abakhino, Abakhulo, Abakangala, Abasonga, Ababukaki, Ababuri, Abalala, Abanyiremi, Abakweri, Abajabi, Abakhoba, Abakhwi, Abadulu,


title: Luhya people

text: 3. The Khayo speak Lukhayo and occupy Nambale District and Matayos Division of Busia County, Kenya. Khayo clans include the Abaguuri, Abasota, Abakhabi.


title: Luhya people

text: 4. The Marachi speak Lumarachi and occupy Butula District in Busia county. Marachi clans include Ababere, Abafofoyo, Abamuchama, Abatula, Abamurono, Abang'ayo, Ababule, Abamulembo, Abatelia, Abapwati, Abasumia, Abarano, Abasimalwa, Abakwera, Abamutu, Abamalele, Abakolwe, Ababonwe, Abamucheka, Abaliba, Ababirang'u, Abakolwe, Abade. Abasubo. The name Marachi is derived from Ng'ono Mwami's father who was called Marachi son of Musebe, the son of Sirikwa.So all the Marachi clans owed their allegiance to Ng'ono Mwami from whose lineage of Ababere clan they were founded. The name Marachi was given further impetus by the war-like lifestyle of the descendants of Ng'ono who ruthlessly fought off the Luo expansion of the Jok Omollo a Nilotic group that sought to control the Nzoia and Sio Rivers in the area and the fishing grounds around the gulf of Erukala and Ebusijo-modern Port Victoria and Sio Port respectively.


title: Luhya people

text: 5. The Nyala speak Lunyala and occupy Busia District. Other Nyala (Abanyala ba Kakamega) occupy the north western part of Kakamega District. The Banyala of Kakamega are said to have migrated from Busia with a leader known as Mukhamba. They speak the same dialect as the Banyala of Busia, save for minor differences in pronunciation. The Abanyala ba Kakamega are also known as Abanyala ba Ndombi.


title: Luhya people

text: They reside in Navakholo Division North of Kakamega forest. Their one-time powerful colonial chief was Ndombi wa Namusia. Chief Ndombi was succeeded by his son, Andrea.


title: Luhya people

text: Andrea was succeeded by Paulo Udoto, Mukopi, Wanjala, Barasa Ongeti, Matayo Oyalo and Muterwa in that order.


title: Luhya people

text: The clans of the Banyala include Abahafu, Ababenge, Abachimba, Abadavani, Abaengere, Abakangala, Abakhubichi, Abakoye, Abakwangwachi, Abalanda, Abalecha, Abalindo, Abamani, Abalindavyoki, Abamisoho, Abamuchuu, Abamugi, Abamulembo, Abasinyama, Abamwaya, Abanyekera, Abaokho, Abasaacha, Abasakwa, Abasaya, Abasenya, Abasia, Abasiloli, Abasonge (also found among Kabras), Abasumba, Abasuu, Abatecho (also found among Bukusu), Abaucha, Abauma, Abaumwo, Abacharia, Abayaya, Abayirifuma (also found among Tachoni), Abayisa, Abayundo and Abasiondo, Abachende.


title: Luhya people

text: 6. The Kabras speak Lukabarasi and occupy the northern part of Kakamega district. The Kabras were originally Banyala. They reside principally in Malava, in Kabras Division of Kakamega district. The Kabras (or Kabarasi, Kavalasi and Kabalasi) are sandwiched by the Isukha, Banyala and the Tachoni.


title: Luhya people

text: The name "Kabras" comes from "Avalasi" which means 'Warriors' or 'Mighty Hunters.' They were fierce warriors who fought with the neighbouring Nandi for cattle and were known to be fearless. This explains why they are generally fewer in number compared to other Luhya tribes such as the Maragoli and Bukusu.


title: Luhya people

text: They claim to be descendants of Nangwiro associated with the Biblical Nimrod. The Kabras dialect sounds like the Tachoni dialect. Kabras clans include the Abamutama, Basonje, Abakhusia, Bamachina, Abashu, Abamutsembi, Baluu, Batobo, Bachetsi and Bamakangala. They were named after the heads of the families.


title: Luhya people

text: The Kabras were under the rulership of Nabongo Mumia of the Wanga and were represented by an elder in his Council of Elders. The last known elder was Soita Libukana Samaramarami of Lwichi village, Central Kabras, near Chegulo market. When the Quaker missionaries spread to Kabras they established the Friends Church (Quakers) through a missionary by the name of Arthur Chilson, who had started the church in Kaimosi, in Tiriki. He earned a local name, Shikanga, and his children learned to speak Kabras as they lived and interacted with the local children.


title: Luhya people

text: 7. The Tsotso speak Olutsotso and occupy the western part of Kakamega district. Tsotso clans include the Abangonya, Abashisiru, Abamweche, Abashibo,


title: Luhya people

text: 8. The Idakho speak Lwidakho and occupy the southern part of Kakamega district. Their clans include the Abashimuli, Abashikulu, Abamasaba, Abashiangala, Abamusali, Abangolori, Abamahani, Abamuhali.


title: Luhya people

text: 9. The Isukha speak Lwisukha and occupy the eastern part of Kakamega district. Isukha clans include the Abarimbuli, Abasaka-


title: Luhya people

text: 10. The Maragoli speak Lulogooli and occupy Vihiga district. Maragoli clans include Avamumbaya, Avamuzuzu, Avasaali, Avakizungu, Avavurugi, Avakirima, Avamaabi, Avanoondi, Avalogovo, Avagonda, Avamutembe, Avasweta, Avamageza, Avagizenbwa, Avaliero, Avasaniaga, Avakebembe, Avayonga, Avagamuguywa, Avasaki, Avamasingira, Avamaseero, Avasanga, Avagitsunda.


title: Luhya people

text: 11. The Nyole speak Olunyole and occupy Bunyore in Vihiga district. Nyole clans include Abakanga, Abayangu, Abasiekwe, Abatongoi, Abasikhale, Aberranyi, Abasakami, Abamuli, Abasubi (Abasyubi), Abasiralo, Abalonga, Abasiratsi. Abamang’ali, Abanangwe, Abasiloli, Ab’bayi, Abakhaya, Abamukunzi and Abamutete.


title: Luhya people

text: 12. The Tiriki speak Ludiliji and occupy Tiriki in Vihiga district. Tiriki clans include Balukhoba, Bajisinde, Bam'mbo, Bashisungu, Bamabi, Bamiluha, Balukhombe, Badura, Bamuli, Barimuli, Baguga, Basianiga and Basuba.


title: Luhya people

text: 13. The Wanga speak Oluwanga and occupy Mumias and Matungu Districts. The 22 Wanga clans are Abashitsetse, Abakolwe, Abaleka, Abachero, Abashikawa, Abamurono, Abashieni, Abamwima, Abamuniafu, Abambatsa, Abashibe, Ababere, Abamwende, Abakhami, Abakulubi, Abang’ale, Ababonwe, Abatsoye, Abalibo, Abang’ayo, Ababule and Abamulembwa.


title: Luhya people

text: 14. The Marama speak Lumarama and occupy Butere district. Marama clans include Abamukhula, Abatere, Abashirotsa, Abatsotse, Aberecheya, Abamumbia, Abakhuli, Abakokho, Abakara, Abamatundu, Abamani, Abashieni, Abanyukhu, Abashikalie, Abashitsaha, Abacheya, etc.


title: Luhya people

text: 15. The Kisa speak Olushisa and occupy Khwisero district. Kisa clans include Ababoli, Abakambuli, Abachero, abalakayi, Abakhobole, Abakwabi, Abamurono, Abamanyulia, Abaruli, Abashirandu, Abamatundu, Abashirotsa, Abalukulu etc.


title: Luhya people

text: 16. The Tachoni speak Lutachoni and occupy Lugari, Bungoma and Malava districts. Tachoni clans include Abachambai, Abamarakalu, Abasang'alo, Abangachi, Abasioya, Abaviya, Abatecho, Abaengele. The Saniaga clan found among the Maragoli in Kenya and the Saniak in Tanzania are said to have originally been Tachoni.


title: Luhya people

text: Other clans said to have been Tachoni are the Bangachi found among Bagisu of Uganda, and Balugulu, also found in Uganda and the Bailifuma, found among the Banyala.


title: Luhya people

text: Although Trans Nzoia is in the Rift Valley province, substantial Luhya populations have settled in the Kitale area.


title: Luhya people

text: In Kenyan politics, the Luhya population, commonly referred to as the "Luhya vote" in an election year, was usually a deciding factor of the outcome of an election. The community was known to unite and vote as a block usually for a specific political candidate without division of mind and regardless of political differences. However, since the March 2013 general elections, this was proved wrong. They are now known to accept different ideologies. Politicians scramble for the Luhya vote since it is the most democratic voter in Kenya.


title: Luhya people

text: Given their high population numbers, a political candidate who enjoys Luhya support is almost always poised to win the country's general elections, barring incidents of fraud. The community is thereafter "rewarded" politically, by one of their own being appointed vice president or to a high-profile political office by the winning candidate.


title: Luhya people

text: In the 2002 general elections of Kenya, the Luhya proved this point when outgoing president Daniel Arap Moi unexpectedly appointed Musalia Mudavadi as vice president in an attempt to lure Luhyas to vote for Uhuru Kenyatta, his choice of successor with Musalia as running mate. The Luhyas remained adamant in their support for the opposition then led by Mwai Kibaki who also had a Luhya, Michael Kijana Wamalwa as running mate.


title: Luhya people

text: The Luhyas dealt a severe blow to Moi's candidate by voting en masse for Kibaki who thereafter won the election with Wamalwa as his vice president. Of the eleven vice presidents of Kenya since independence, three have been Luhyas.


title: Luhya people

text: Others who have held high-profile political offices include, Musalia Mudavadi, current deputy Prime Minister formerly 7th Vice President (Sept. 2002 – Dec 2002), Michael Wamalwa Kijana, 8th Vice President of Kenya (January 2003 – August 2003), Moody Awori, 9th Vice President of Kenya (September 2003 – January 2008), Amos Wako, longest-serving Attorney General of Kenya - 19 years in office, Kenneth Marende, Speaker of the National Assembly and Zachaias Chesoni, late former Chief Justice of Kenya.


title: Luhya people

text: Luhya culture is comparable to most Bantu cultural practices. Polygamy was a common practice in the past but today, it is only practiced by few people, usually, if the man marries under traditional African law or Muslim law. Civil marriages (conducted by government authorities) and Christian marriages preclude the possibility of polygamy.


title: Luhya people

text: About 10 to 15 families traditionally made up a village, headed by a village headman ("Omukasa"). Oweliguru is a post-colonial title for a village leader coined from the English word "Crew." Within a family, the man of the home was the ultimate authority, followed by his first-born son. In a polygamous family, the first wife held the most prestigious position among women.


title: Luhya people

text: The first-born son of the first wife was usually the main heir to his father, even if he happened to be younger than his half-brothers from his father's other wives. Daughters had no permanent position in Luhya families as they would eventually become other men's wives. They did not inherit property and were excluded from decision-making meetings within the family. Today, girls are allowed to inherit property, in accordance with Kenyan law.


title: Luhya people

text: Children are named after the clan's ancestors, that is, after their grandparents and after the events, or the weather. The paternal grandparents take precedence, so that the first-born son will usually be named after his paternal grandfather (Kuka or 'Guga' in Maragoli) while the first-born daughter will be named after her paternal grandmother ('Kukhu' or 'Guku' in Maragoli.)


title: Luhya people

text: Subsequent children may be named after maternal grandparents, after significant events, such as weather, seasons, etc. The name Wafula, for example, is given to a boy born during the rainy season ("ifula"). Wanjala is given to one born during famine ("injala").


title: Luhya people

text: Traditionally, they practiced arranged marriages. The parents of a boy would approach the parents of a girl to ask for her hand in marriage. If the girl agreed, negotiations for dowry would begin. Typically, this would be 12 cattle and similar numbers of sheep or goats, to be paid by the groom's parents to the bride's family. Once the dowry was delivered, the girl was fetched by the groom's sisters to begin her new life as a wife.


title: Luhya people

text: Instances of eloping were and are still common. Young men would elope with willing girls, with negotiations for a dowry to be conducted later. In such cases, the young man would also pay a fine to the parents of the girl. In rare cases abductions were normal, but the young man had to pay a fine. As polygamy was allowed, a middle-age man would typically have two to three wives.


title: Luhya people

text: When a man got very old and handed over the running of his homestead to his sons, the sons would sometimes find a young woman for the old man to marry. Such girls were normally those who could not find men to marry them, usually because they had children out of wedlock. Wife inheritance was and is also practiced.


title: Luhya people

text: A widow would normally be inherited by her husband's brother or cousin. In some cases, the eldest son would inherit his father's widows (though not his own mother). Modern-day Luhyas do not practice some of the traditional customs as most have adopted a Christian way of life. Many Luhyas live in towns and cities for most of their lives and only return to settle in the rural areas after retirement or the death of parents there.


title: Luhya people

text: They had extensive customs surrounding death. There would be a great celebration at the home of the deceased, with mourning lasting up to forty days. If the deceased was a wealthy or influential man, a big tree would be uprooted and the deceased would be buried there. After the burial, another tree Mutoto, Mukhuyu or Mukumu would be planted. (This was a sacred tree and is found along most Luhya migration paths it could only be planted by a righteous lady mostly a virgin or a very old lady.)


title: Luhya people

text: Nowadays, mourning takes less time (about one week) and the celebrations are held at the time of burial. "Obukoko" and "Lisabo" are post-burial ceremonies held to complete mourning rites.


title: Luhya people

text: Animal sacrifices were traditionally practiced. There was great fear of the "Abalosi" or "Avaloji" (witches) and "Babini" (wizards). These were "night-runners" who prowled in the nude running from one house to another casting spells.


title: Luhya people

text: Most modern-day Luhyas are Christians; for some (if not all) the word for God is Nyasaye or Nyasae (Were Khakaba).


title: Luhya people

text: The word Nyasae when translated into English roughly corresponds with "Nya" (of) and "Asae/ Asaye/ Sae/ Saye" (Prayer). The Luhya traditionally worshiped an ancient 'god' of the same name (commonly known as Isis, or Were Khakaba. When Christianity was re-introduced to the Luhya in the early 1900s by Christian missionaries from Europe and America, the Luhya peoples took the name of their traditional god, Nyasae, and gave that name to the Living Abrahamic God.


title: Luhya people

text: The first Luhyas who were converted to Christianity took words, names, their perceptions of what Christian missionaries told them about the Christian God, and other aspects of their indigenous religious traditions, and applied them to their interpretations of Christ and God.


title: Luhya people

text: The Friends Church (Quakers) opened a mission at Kaimosi and the Church of God took over the mission in Bunyore. During the same period, the Catholic order Mill Hill Brothers came to the area of Mumias. The Church of God of Anderson, Indiana, US, arrived in 1905 and began work at Kima in Bunyore. Other Christian groups such as the Anglicans (CMS) came in 1906. In 1924 the Pentecostal Assemblies of Canada began their work in Nyan'gori. The Salvation Army came to Malakisi in 1936. The Baptists came to western Kenya in the early 1960s.


title: Luhya people

text: The first Bible translation in a Luyia language was produced by Nicholas Stamp in the Wanga language. Osundwa says he did this translation in Mumias, the former capital of the Wanga kingdom of Mumia.


title: Luhya people

text: A religious sect known as Dini ya Msambwa was founded by Elijah Masinde in 1948. They worship "Were," the Bukusu god of Mt. Elgon, while at the same time using portions of the Bible to teach their converts. They also practice traditional arts referred to by some as witchcraft. This movement originally arose as part of an anti-colonial resistance.


title: Luhya people

text: With the smugglers of the Marama and Saamia, male circumcision was practised. A few sub-ethnic groups practiced clitoridectomy but, even in those, it was limited to a few instances and was not as widespread as it was among the Agikuyu. The Maragoli did not practice it at all. Outlawing of the practice by the government led to its end, even though it can occur among the Tachoni.


title: Luhya people

text: Traditionally, circumcision was part of a period of training for adult responsibilities for the youth. Among those in Kakamega, the initiation was carried out every four or five years, depending on the clan. This resulted in various age sets notably, Kolongolo, Kananachi, Kikwameti, Kinyikeu, Nyange, Maina, and Sawa in that order.


title: Luhya people

text: The Abanyala in Navakholo initiate boys every other year and notably on even years. The initiates are about 8 to 13 years old, and the ceremony was followed by a period of seclusion for the initiates. On their coming out of seclusion, there would be a feast in the village, followed by a period of counselling by a group of elders.


title: Luhya people

text: The newly initiated youths would then build bachelor-huts for each other, where they would stay until they were old enough to become warriors. This kind of initiation is no longer practiced among the Kakamega Luhya, with the exception of the Tiriki.


title: Luhya people

text: Nowadays, the initiates are usually circumcised in hospital, and there is no seclusion period. On healing, a party is held for the initiate — who then usually goes back to school to continue with his studies.


title: Luhya people

text: Among the Bukusu, the Tachoni and (to a much lesser extent) the Nyala and the Kabras, the traditional methods of initiation persist. Circumcision is held every even year in August and December (the latter only among the Tachoni and the Kabras), and the initiates are typically 11 to 15 years old.


title: Luhya people

text: The main food for the Luhya people like most Kenyans is ugali (made from maize flour/cornmeal) served with vegetables and meat of cattle, goat, fish or chicken; hence food production in the region is targeted to meet this need. The lower counties of Vihiga, Kakamega and Busia grow substance crops of maize on their low acreage plots, they raise chicken and keep cattle. The Upper parts of Bungoma and the Kitale grow large scale maize and produce milk from dairy cows. Fish farming is becoming very prevalent thus producing farm-raised tilapia for consumption. Busia, Mumias and lower Bungoma produce cassava and millet. There is normally a maize supply deficit in the production seasons of the year and a surplus supply during the harvest months resulting in much lower prices to producers during harvest and very high prices to consumers during production months. The producer and consumer may be the same person in different months. The largest sugar production facilities in Kenya are located in the western region where the Luhya people predominantly live. Mumias Sugar Company, Kabras Sugar Company and Nzoia Sugar Company have their contract production zones in the Luhya peoples region, hence sugarcane production is a key commercial enterprise. In Vihiga and some areas of Kakamega, tea bushes are very visible, making tea another key commercial crop grown in this region.


title: Luhya people

text: Chicken is a delicacy among the Luhya people, and it is a small leap from raising subsistence chickens to commercial chicken.


title: Luhya people

text: While everyone speaks their language, food and commercial farming are very unifying endeavors, the language or dialect people speak do not define what they grow or raise – economics and proximity to market determine that.


title: Luhya people

text: Mbale- HQ Mbale town, The Masaba or Gishu people are predominantly Coffee and tea farmers. As they occupy the slopes of My.Elgon. Mbale district of Uganda is considered the most populous rural district with 257 persons per KM square. Mbale town is in the process of being made the second city in Uganda second to Kampala city.


title: Arrested development

text: The term "arrested development" has had multiple meanings for over 200 years. In the field of medicine, the term "arrested development" was first used, "circa" 1835–1836, to mean a stoppage of physical development; the term continues to be used in the same way. In literature, Ernest Hemingway used the term in "The Sun Also Rises", published in 1926: On page 51, Harvey tells Cohn, "I misjudged you [...] You're not a moron. You're only a case of arrested development."


title: Arrested development

text: In contrast, the UK's Mental Health Act 1983 used the term "arrested development" to characterize a form of mental disorder comprising severe mental impairment, resulting in a lack of intelligence. However, some researchers have objected to the notion that mental development can be "arrested" or stopped, preferring to consider mental status as developing in other ways in psychological terminology. Consequently, the term "arrested development" is no longer used when referring to a developmental disorder in mental health.


title: Arrested development

text: In anthropology and archaeology, the term "arrested development" means that a plateau of development in some sphere has been reached. Often it is a technological plateau such as the development of high temperature ceramics, but without glaze because of a lack of materials, or copper smelting without development of bronze because of a lack of tin. Arrested development is key in the insight of self-domestication in the evolution of hominidae where it involves being in an environment that favors reduction in aggression, including interspecific and intraspecific antagonism, for survival, in favor of attitudes that favor living together in a group, social behavior, traits that favor the group as a whole to come to the front stage, elimination of bullies - individuals with an antisocial personality disorder.


title: The Gospel According to St. Matthew (film)

text: The Gospel According to St. Matthew (, "The Gospel According to Matthew"; "St. Matthew" would be "San Matteo") is a 1964 Italian biblical drama film in the neorealist style, written and directed by Pier Paolo Pasolini. It is a cinematic rendition of the story of Jesus (portrayed by non-professional actor Enrique Irazoqui) according to the Gospel of Matthew, from the Nativity through the Resurrection. The dialogue is taken directly from the Gospel of Matthew, as Pasolini felt that "images could never reach the poetic heights of the text." He reportedly chose Matthew's Gospel over the others because he had decided that "John was too mystical, Mark too vulgar, and Luke too sentimental."


text: The film is considered a classic of world cinema and the neorealist genre. After initial release, it won the Venice Film Festival Grand Jury Prize, and three Nastro d'Argento Awards including Best Director. It was also nominated for three Academy Awards. In 2015, the Vatican City newspaper "L'Osservatore Romano" called it the best film on Christ ever made.


text: In Galilee during the Roman Empire, Jesus of Nazareth travels around the country with his disciples, healing the blind, raising the dead, exorcising demons and proclaiming the arrival of the Kingdom of God and the salvation of Israel. He claims to be the Son of God and so, therefore, the prophesied Messiah of Israel, which brings him into direct confrontation with the Jewish temple leaders. He is arrested, handed over to the Romans and charged with sedition against the Roman state, of which he is declared innocent by the Roman governor of Judea, but is, nevertheless, crucified at the behest of the Temple leaders. He rises from the dead after three days.


text: In 1963, the figure of Christ appeared in Pier Paolo Pasolini's short film "La ricotta", included in the omnibus film "RoGoPaG", which led to controversy and a jail sentence for the allegedly blasphemous and obscene content in the film. According to Barth David Schwartz's book "Pasolini Requiem" (1992), the impetus for the film took place in 1962. Pasolini had accepted Pope John XXIII's invitation for a new dialogue with non-Catholic artists, and subsequently visited the town of Assisi to attend a seminar at a Franciscan monastery there. The papal visit caused traffic jams in the town, leaving Pasolini confined to his hotel room; there, he came across a copy of the New Testament. Pasolini read all four Gospels straight through, and he claimed that adapting a film from one of them "threw in the shade all the other ideas for work I had in my head." Unlike previous cinematic depictions of Jesus' life, Pasolini's film does not embellish the biblical account with any literary or dramatic inventions, nor does it present an amalgam of the four Gospels (subsequent films which would adhere as closely as possible to one Gospel account are 1979's "Jesus", based on the Gospel of Luke, and 2003's "The Gospel of John"). Pasolini stated that he decided to "remake the Gospel by analogy" and the film's sparse dialogue all comes directly from the Bible.


text: Given Pasolini's well-known reputation as an atheist, a homosexual, and a Marxist, the reverential nature of the film came as a surprise, especially after the controversy of "La ricotta". At a press conference in 1966, Pasolini was asked why he, an unbeliever, had made a film which dealt with religious themes; his response was, "If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief." Therefore, he sets his criticism against a backdrop of sheer religious concern for the role assumed by the Church, the organization, for centuries.


text: On the idea of analogy, Pasolini emphasized his intention of not reproducing exactly a historic, casual Christ, but projecting the present-day society of southern Italy onto that figure, a Christ after 2,000 years of narrative build-up. As he explained,


text: Along with this method of reconstruction by analogy, we find the idea of myth and epics [...] so when narrating the history of Christ, I did not reconstruct Christ such as he actually was. If I had reconstructed Christ's history as it actually was, I would not have made a religious film, since I am not a believer. I do not think Christ was God's son. I would have made a positivist or Marxist reconstruction if any, so at the best of cases, a life of one of the five or six thousands saints preaching at that moment in Palestine. However, I did not want to do that, I am not interested in profanations: that is just a fashion I loathe, it is petit bourgeois. I want to consecrate things again, because that is possible, I want to re-mythologize them. I did not want to reconstruct the life of Christ as it really was, I wanted to make the history of Christ plus two thousand years of Christian storytelling about the life of Christ, since it is the two thousands years of Christian history that have mythologized this biography, one that as such would have been virtually insignificant otherwise. My film is the life of Christ after two thousands years of stories on the life of Christ. That is what I had in mind.


text: The film was dedicated to John XXIII. The announcement at the opening credits reads that it is ""dedicato alla cara, lieta, familiare memoria di Giovanni XXIII"" (""dedicated to the dear, joyous, familiar memory of Pope John XXIII""). Pasolini was particularly critical with the new Pope Paul VI (1963), at a moment when he was drafting a storyboard for a follow-up to the film, this time on Paul the Apostle. The project due for 1966–1967 never took off, but it was advanced.


text: Pasolini employed many of the techniques of Italian neorealism in the making of his film. Most of the actors he hired were non-professionals. Enrique Irazoqui (Jesus) was a 19-year-old economics student from Spain and a communist activist, while the rest of the cast were mainly locals from Barile, Matera, and Massafra, where the film was shot (Pasolini visited the Holy Land but found the locations unsuitable and "commercialized"). His location scouting in the Holy Land is documented in the adjoining feature-length documentary Location Hunting in Palestine, released a year later. Pasolini cast his own mother, Susanna, as the elderly mother of Jesus. The cast also included noted intellectuals such as writers Enzo Siciliano and Alfonso Gatto, poets Natalia Ginzburg and Rodolfo Wilcock, and philosopher Giorgio Agamben. In addition to the original biblical source, Pasolini used references to "2,000 years of Christian painting and sculptures" throughout the film. The look of the characters is also eclectic and, in some cases, anachronistic, resembling artistic depictions of different eras (the costumes of the Roman soldiers and the Pharisees, for example, are influenced by Renaissance art, whereas Jesus' appearance has been likened to that in Byzantine art as well as the work of Expressionist artist Georges Rouault). Pasolini later described the film as "the life of Christ plus 2,000 years of storytelling about the life of Christ."


text: Pasolini described his experience filming "The Gospel According to Matthew" as very different from his previous films. He stated that while his shooting style on his previous film "Accattone" was "reverential," when his shooting style was applied to a biblical source it "came out rhetorical. ... And then when I was shooting the baptism scene near Viterbo I threw over all my technical preconceptions. I started using the zoom, I used new camera movements, new frames which were not reverential, but almost documentary [combining] an almost classical severity with the moments that are almost Godardian, for example in the two trials of Christ shot like 'cinema verite.' ... The Point is that ... I, a non-believer, was telling the story through the eyes of a believer. The mixture at the narrative level produced the mixture stylistically."


text: The score of the film, arranged by Luis Enríquez Bacalov, is eclectic; ranging from Johann Sebastian Bach (e.g. "Mass in B Minor" and "St Matthew Passion") to Odetta ("Sometimes I Feel Like a Motherless Child"), to Blind Willie Johnson ("Dark Was the Night, Cold Was the Ground"), to the Jewish ceremonial declaration "Kol Nidre" and the "Gloria" from the Congolese "Missa Luba." Pasolini stated that all of the film's music was of a sacred or religious nature from all parts of the world and multiple cultures or belief systems. Bacalov also composed several original musical tracks.


text: The film received mostly positive reviews from critics, including several Christian critics. Philip French called it "a noble film," and Alexander Walker said that "it grips the historical and psychological imagination like no other religious film I have seen. And for all its apparent simplicity, it is visually rich and contains strange, disturbing hints and undertones about Christ and his mission."


text: Some Marxist film critics, however, wrote unfavorable reviews. Oswald Stack criticized the film's "abject concessions to reactionary ideology." In response to criticism from the left, Pasolini admitted that, in his opinion, "there are some horrible moments I am ashamed of. ... The Miracle of the loaves and the fishes and Christ walking on water are disgusting Pietism." He also stated that the film was "a reaction against the conformity of Marxism. The mystery of life and death and of suffering – and particularly of religion ... is something that Marxists do not want to consider. But these are and have always been questions of great importance for human beings."


text: "The Gospel According to Matthew" was ranked number 10 (in 2010) and number 7 (in 2011) in the "Arts and Faith" website's Top 100 Films, also is in the Vatican's list of 45 great films and Roger Ebert's Great Movies list.


text: On Rotten Tomatoes the film has an approval rating of 92%, based on 36 reviews, and an average rating of 8.6 out of 10, with the critics consensus saying ""The Gospel According to St. Matthew" forgoes the pageantry of biblical epics in favor of a naturalistic retelling of the Christ story, achieving a respectful if not reverent interpretation with political verve."


text: At the 25th Venice International Film Festival, "The Gospel According to Matthew" was screened in competition for the Golden Lion, and won the OCIC Award and the Silver Lion. At the film's premiere, a crowd gathered to boo Pasolini but cheered him after the film was over. The film later won the Grand Prize at the International Catholic Film Office.


text: "The Gospel According to Matthew" was released in the United States in 1966 and was nominated for three Academy Awards: Art Direction (Luigi Scaccianoce), Costume Design (Danilo Donati), and Score.


text: The 2007 Region 1 DVD release from Legend Films features a colourised, English-dubbed version of the film, in addition to the original, black-and-white Italian-language version. (The English-dubbed version is significantly shorter than the original, with a running time of 91 minutes – roughly 40 minutes shorter than the standard version.)


title: Beach Boys' Party!

text: Beach Boys' Party! is the tenth studio album by American rock band the Beach Boys, and their third in 1965, consisting mostly of cover songs played with acoustic instruments. It reached No. 6 in the US and No. 3 in the UK. The album spawned one single, a cover of the Regents' "Barbara Ann", which reached No. 2 in the US and No. 3 in the UK, and was their highest-charting British single to that point.


title: Beach Boys' Party!

text: "Party!" was recorded in a music studio and presented as an impromptu live recording of a party, with informal chatter by friends and family overdubbed later. The record company, Capitol, wanted an album for the holiday season, but as there was no new material ready, several options were considered, including a greatest hits album and a live album, before the band decided on the party theme. The Beach Boys covered songs by the Beatles, several doo-wop groups, Bob Dylan, and the Everly Brothers, as well as two of their own earlier hits performed in a tongue-in-cheek style. While the "beach party" atmospherics fit into the Beach Boys style to that point, the varied musical influences presaged the change of direction that would occur over the next several years beginning with "Pet Sounds" (1966).


title: Beach Boys' Party!

text: Because of its stripped-down approach, "Party!" is considered to be the first "unplugged" type album. In 2015, Capitol issued "Beach Boys' Party! Uncovered and Unplugged", an 81-track expansion and remix of "Party!".


title: Beach Boys' Party!

text: In August, after the release of "Summer Days (And Summer Nights!!)", the Beach Boys' leader Brian Wilson was contemplating his next studio effort, which would turn out to be "Pet Sounds". Capitol Records requested a new album for the holiday season. Since "The Beach Boys' Christmas Album" had been released the previous year, as had a live performance via "Beach Boys Concert", the "live party" idea was selected to reflect the togetherness of the holiday spirit. Sporadically during September, the band and their friends rehearsed current and older hits (including revisiting the Rivingtons' "Papa-Oom-Mow-Mow"). Although presented as an impromptu live recording of a continuous set of songs played at a small party, the songs were recorded and mixed individually in a sound studio as any regular studio album, and laughter and background chatter was mixed in during post-production.


title: Beach Boys' Party!

text: The album included versions of the Beatles' "Tell Me Why", "You've Got to Hide Your Love Away" and "I Should Have Known Better"; "Devoted to You" by the Everly Brothers; the Phil Spector produced "There's No Other (Like My Baby)" and a send-up of their own "I Get Around" and "Little Deuce Coupe". David Leaf noted: "In an era when rock stars were beginning to take themselves more seriously, the Beach Boys showed how natural it was to make fun of themselves."


title: Beach Boys' Party!

text: Author Geoffrey Himes wrote that the party theme was created to justify the casual arrangements. Music theorist Daniel Harrison wrote: ""Party" was an exercise in minimalistic production. ... The performances seem unrehearsed, the instrumental support is minimal (acoustical [sic] guitar, bongo drums, tambourine), and fooling around (laughing, affected singing, background conversation) pervades every track." It was Wilson's first exploration in "party tracks," a form of music which includes the sounds of people shouting and making noises as if at a party. He would continue this approach with "Smiley Smile" in 1967.


title: Beach Boys' Party!

text: Several other songs were also recorded, but not put on the album. This included renditions of the Drifters' "Ruby Baby," the Beatles' song "Ticket to Ride," the Rolling Stones' "(I Can't Get No) Satisfaction," Bob Dylan's "Blowin' in the Wind" and the Robins' "Riot In Cell Block #9."


title: Beach Boys' Party!

text: The original release of "Party!" included a sheet of photographs which depicted the band at a party. In order to promote the album, Capitol distributed to dealers a million bags of potato chips which bore the album's cover art, intended to be given away to record buyers for free. The label also coordinated a motion floor merchandiser containing five Beach Boys LPs, full-color streamers for window displays, and full-scale radio and newspaper advertising.


title: Beach Boys' Party!

text: "Billboard" evaluated that "Party!" would have strong sales potential: "The boys have a ball performing in this intimate, ad-lib program of hot material. ... [an] exciting, discotheque package."


title: Beach Boys' Party!

text: In November 1965, the Beach Boys released the non-album single "The Little Girl I Once Knew" which repeatedly used a measure of silence in the arrangement and was reportedly disliked by radio programmers owing to their avoidance of having "dead air"; this has been cited as being partially responsible for the single stalling at US number 20. Still wanting to play new material by the band, radio disc jockeys around the United States began playing the last track of "Party!" straight off the LP, a cover of The Regents' "Barbara Ann." It received good listener response and was issued as a single by Capitol when they started hearing from radio programmers; it became a number 2 hit in early 1966.


title: Beach Boys' Party!

text: Richie Unterberger wrote: "In recent years, this album has gone up a few notches in critical esteem, praised for its loose, casual feel and insight into the group's influences. Realistically, though, its present-day appeal lies mostly with dedicated fans of the group, as fun and engaging as it is. Others will find the material shopworn in places, and the presentation too corny." Writer Jim Fusilli said: "This "Beach Boys Party!" really blows. ... They mock 'I Get Around' and 'Little Deuce Coupe.' Imagine doing that—mocking your own work, music some people cherish." Mitchell Cohen of the publication "Best Classic Bands" wrote that "Party!" is more reminiscent of the Beatles' "Get Back" sessions than the first "unplugged" album, observing: "Brian is there, but he doesn’t do very much, ... [His production] credit seems almost insulting, because for the most part it’s Mike’s show, even more so on the naked sessions ... Carl and Dennis grab on to the Beatles tunes like a life raft, and Brian is in the corner. This isn’t his party, but he’ll have to clean up when it’s over."


title: Beach Boys' Party!

text: In 1990, "Beach Boys' Party!" was paired on CD with "Stack-o-Tracks" with bonus instrumental tracks. The bonus instrumental tracks include "Help Me, Rhonda", "California Girls", and "Our Car Club". In 2012, the first stereo mix of "Beach Boys' Party!" was released.


title: Beach Boys' Party!

text: On November 20, 2015, Capitol issued an 81-track expanded remix, "Beach Boys' Party! Uncovered and Unplugged", containing the original album without overdubs followed by a selection of outtakes culled from the album's original five recording sessions.


title: Jay Prakash Narayan Airport

text: Jayprakash Narayan International Airport is an international airport located in Patna, the state capital of Bihar in India. It is named after the independence activist and political leader, Jayprakash Narayan. It is the 14th busiest airport in India as of today. To meet demand, the Airports Authority of India (AAI) is working to expand and modernise airport infrastructure. The airport is currently undergoing an ambitious expansion project that includes a new two-level passenger terminal, which will be completed by December 2023.


title: Jay Prakash Narayan Airport

text: The airport currently has one runway designated 07/25 with an asphalt surface measuring . The current runway of the airport is only around 6,800 feet long which makes it not possible for large aircraft to land there. The terminal building at the airport is spread across an area of 12,000 square meters and can handle around 2.5 million passengers annually. The waiting areas, as well as departure and arrival areas of the terminal building, have also been expanded recently due to the rising amounts of passengers flying to the airport. Due to the surge in passenger demand, a new terminal is under construction which will relieve the pressure on the existing terminal.


title: Jay Prakash Narayan Airport

text: The runway length at Patna Airport is 6,798 feet. It is sandwiched between the Sanjay Gandhi Jaivik Udyan and Phulwari Sharif railway station. The area of the terminal building will be increased from the existing 7,200 square metres to 57,000 square metres. The new terminal building of Patna Airport will be a two-storey structure, equipped with six aerobridges and an apron area to park 14 aircraft at any given time. At present, the airport has the capacity to park only six aircraft. Several existing buildings in and around Patna Airport premises, including the Airport Colony and IAS Bhavan, will be demolished for the expansion work. Besides, several utility buildings, including the meteorological centre and Bihar Flying Club, will be shifted and a new ATC tower will be constructed adjacent to Birla Institute of Technology, Patna campus.


title: Jay Prakash Narayan Airport

text: The AAI has planned to develop a civil enclave at Bihta Air Force Station, 20 kilometres away from Patna, to cater to larger aircraft. In October 2016, Bihar cabinet approved the Patna master plan which envisages development of a new civil enclave at Bihta. Bihar government is acquiring 126 acres of land for construction of Bihta Airport.


title: Jay Prakash Narayan Airport

text: In September 2018, Government of India under Prime Minister Narendra Modi approved for the second terminal that will be designed by Singapore firm Meinhardt and will be able to handle 4.5 million passengers a year. 13.1 acres of land near the Patna Airport will be used for its construction, and in lieu of 11.35 acres of land in Anisabad, Patna Airport will be transferred to the Bihar Government by Airports Authority of India. This second terminal would be constructed and connected to the existing terminal via skybridge. Once the new terminal is operational, the full passenger handling capacity of the airport will be at 10 million passengers annually. The new terminal will have an area of 65,155 square metres, including a basement area of 18,650 square metres. Hyderabad-based Nagarjuna Construction Company Limited has been selected to execute the design. The new terminal building of Patna Airport will be completed by 2023, as construction already started in October 2018, and faced delays due to the ongoing COVID-19 pandemic.


title: Jay Prakash Narayan Airport

text: As of 2019-2020 data, Patna Airport handled more than 4 million passengers which was the highest ever recorded at the airport before the COVID-19 pandemic. Aircraft movements are currently at 25,501 which also has increased by 18.2% since previous years. Between 2021-22 the Patna Airport also handled 12,409 metric tonnes of cargo which also increased by 4.6% from the previous years. Patna Airport is currently the 14th busiest airport in India in terms of passengers catered by the airport.


title: East High School (Utah)

text: Salt Lake High School East or simply East High School is a public high school in the Salt Lake City School District in Salt Lake City, Utah, United States. It serves grades nine through twelve in general and special education. East High School was founded in 1913 and currently has an enrolled student body of around 1,900. It is located at 840 South 1300 East in the East Bench neighborhood. The original building was completed in 1913, and the current structure was built in 1997.


title: East High School (Utah)

text: Most of the Disney Channel film "High School Musical" was filmed at East High School. The opening scenes of its first sequel "High School Musical 2" (including the film's opening number, "What Time Is It?") were also filmed at East High. Additional filming took place in St. George. The filming of the second sequel "" began at East High on May 3, 2008.


title: East High School (Utah)

text: In 2017 the school re-purposed two locker rooms below the gymnasium and installed washing machines in order to accommodate homeless students. The non-profit organization Chapman-Richards Cares donated two washing machines and two dryers to the school. About 100 students at the time were homeless.


title: East High School (Utah)

text: Much of the Disney Channel film "High School Musical" and parts of its two sequels, "High School Musical 2" and "", were filmed at East High. As a result, the school has become a destination for some tourists. In the summer of 2007, the school received 40 to 50 visitors per day who wanted to visit the location of the film.


title: East High School (Utah)

text: In November 2007, the school performed its own production of "High School Musical". Demand for tickets was so strong that the school added an extra performance.


title: The Dillards

text: The Dillards are an American bluegrass and country rock band from Salem, Missouri. The band is best known for introducing bluegrass music into the popular mainstream with their appearance as "The Darlings" on "The Andy Griffith Show".


title: The Dillards

text: In 1968, Doug Dillard left to form Dillard and Clark. He continued to play occasionally with his brother until a few years before his death, in 2012.


title: The Dillards

text: Though The Dillards were already an established bluegrass band, their biggest claim to fame is performing musically as members of the fictional Darling family on "The Andy Griffith Show", introducing bluegrass to many Americans who had never heard it. This was a recurring role and the Dillards were led by veteran character actor Denver Pyle as their father and jug player, Briscoe Darling. Maggie Peterson played Charlene Darling, their sister and the focus for the attentions of character Ernest T. Bass, played by Howard Morris. The appearances of the Dillards as the Darlings ran between 1963 and 1966. In 1986, the Dillards reprised the role in the reunion show "Return to Mayberry". As part of their 2012 tour, Rodney Dillard answered questions about the TV series. He said the songs such as "Dooley" are about people the family knew.


title: The Dillards

text: On the October 1963 episode "Briscoe Declares for Aunt Bee", the Dillards performed the first wide scale airing of the 1955 Arthur "Guitar Boogie" Smith composition Feudin' Banjos (Dueling Banjos).


title: The Dillards

text: According to Jim Clark of The Andy Griffith Show Rerun Watchers Club, three albums have been produced with songs performed on the show. Clark says "Songs That Make Me Cry" is the only one currently available with real performances and has the three songs which included Maggie Peterson as Charlene. "Back Porch Bluegrass: Live Almost" includes five songs that were sung on the show, and Rodney Dillard released another album with the real performances of other songs.


title: The Dillards

text: The Dillards are notable for being among the first bluegrass groups to have electrified their instruments in the mid-1960s. They are considered to be pioneers of country rock and progressive bluegrass. They are known to have directly or indirectly influenced artists such as the Eagles, the Byrds, and Elton John. In 1972, The Dillards joined Elton John on his first American tour. John Paul Jones of Led Zeppelin has also acknowledged their influence, particularly in his decision to play the mandolin.


title: The Dillards

text: Rodney Dillard is a founding member of The Dillards – the group he formed with his brother, Douglas Dillard in the late 1950s. Credited throughout the years as the driving force behind the group's musical direction, success, and phenomenal longevity as a working act. Today, Dillard's musical duties include lead and harmony vocals, guitar, and dobro.


title: The Dillards

text: Beverly Cotten-Dillard is a native of Morrisville, North Carolina who performed with Janette Carter, Ola Belle Reed, Tommy Jarrell, and Doc and Merle Watson. She has appeared on "Hee Haw" and the Disney Channel and at Carnegie Hall. Cotten-Dillard is recognized as an authority on the traditional "clawhammer" banjo technique and is a featured member of The Dillards live shows. Her 1981 album "Clog-In" 'is considered an American folk classic."


title: The Dillards

text: George Giddens is a classically trained musician who is an awarded fiddler and mandolin player for the band.


title: The Dillards

text: Gary J. Smith was added to the lineup, having recorded double bass in the 2015 studio sessions for the new Dillards album. Smith is well known in Nashville circles after stints with Tom T. Hall, The Brother Boys, and Ed Snodderly.


title: I'm So Excited

text: "I'm So Excited" is a song by American vocal group the Pointer Sisters. Jointly written and composed by the sisters in collaboration with Chris Christian, it was originally released in September 1982, reaching number 30 on the US "Billboard" Hot 100. This was followed by a remixed re-release in July 1984, reaching number 9 on the "Billboard" Hot 100. "Billboard" named the song number 23 on their list of "100 Greatest Girl Group Songs Of All Time".


title: I'm So Excited

text: The song was originally recorded for and appeared on the Sisters' 1982 album, "So Excited!", and was subsequently released as a single. Upon its release, the single charted at No. 28 on the "Billboard" Dance Music/Club Play Singles chart, No. 30 on the "Billboard" Hot 100 and No. 46 on the "Billboard" R&B Singles chart.