Pharoah Sanders is an American jazz saxophonist. Saxophonist Ornette Coleman once described him as "probably the best tenor player in the world". Emerging from John Coltrane's groups of the mid-1960s, Sanders is known for his overblowing and multiphonic techniques on the saxophone, as well as his use of "sheets of sound". Sanders is an important figure in the development of free jazz. Pharoah Sanders was born on October 1940 in Little Rock, Arkansas, his mother worked as a cook in a school cafeteria, his father worked for the City of Little Rock. An only child, Sanders began his musical career accompanying church hymns on clarinet, his initial artistic accomplishments were in the visual arts, but when he was at Scipio Jones High School in North Little Rock, Sanders began playing the tenor saxophone. The band director, Jimmy Cannon, was a saxophone player and introduced Sanders to jazz; when Cannon left, although still a student, took over as the band director until a permanent director could be found.
During the late 1950s, Sanders would sneak into African-American clubs in downtown Little Rock to play with acts that were passing through. At the time, Little Rock was part of the touring route through Memphis and Hot Springs for R&B and jazz musicians. Sanders found himself limited by the state's segregation and the R&B and jazz standards that dominated the Little Rock music scene. After finishing high school in 1959, Sanders moved to Oakland and lived with relatives, he attended Oakland Junior College and studied art and music. Once outside the Jim Crow South, Sanders could play in both white clubs, his Arkansas connection stuck with him in the Bay Area with the nickname of "Little Rock." It was during this time that he met and befriended John Coltrane. Pharoah Sanders began his professional career playing tenor saxophone in California, he moved to New York City in 1961 after playing with blues bands. He received his nickname "Pharoah" from his grandmother. After moving to New York, Sanders was destitute: "He was living on the streets, under stairs, where he could find to stay, his clothes in tatters."
Sun Ra gave him a place to stay, bought him a new pair of green pants with yellow stripes, encouraged him to use the name'Pharoah', worked him into the band." Sanders came to greater prominence playing with John Coltrane's band, starting in 1965, as Coltrane began adopting the avant-garde jazz of Albert Ayler, Sun Ra and Cecil Taylor. Sanders first performed with Coltrane on Ascension on their dual-tenor recording Meditations. After this Sanders joined Coltrane's final quintet performing lengthy, dissonant solos. Coltrane's style was influenced by Sanders. Although Sanders' voice developed differently from John Coltrane, Sanders was influenced by their collaboration. Spiritual elements such as the chanting in Om would show up in many of Sanders' own works. Sanders would go on to produce much free jazz, modified from Coltrane's solo-centric conception. In 1968 he participated in Michael Mantler and Carla Bley's Jazz Composer's Orchestra Association album The Jazz Composer's Orchestra, featuring Cecil Taylor, Don Cherry, Larry Coryell and Gato Barbieri.
Pharoah's first album, Pharoah's First, wasn't what. The musicians playing with him were much more straightforward than Sanders, which made the solos played by the other musicians a bit out of place. Starting in 1966 Sanders signed with Impulse! and recorded Tauhid that same year. His years with Impulse! Caught the attention of jazz fans and musicians alike, including John Coltrane, Ornette Coleman, Albert Ayler. In the 1970s, Sanders continued to produce his own recordings and continued to work with the likes of Alice Coltrane on her Journey In Satchidananda album. Most of Sanders' best-selling work was made in the late 1960s and early 1970s for Impulse Records, including the 30-minute wave-on-wave of free jazz "The Creator has a Master Plan" from the album Karma; this composition featured vocalist Leon Thomas's unique, "umbo weti" yodeling, Sanders' key musical partner, pianist Lonnie Liston Smith, who worked with Sanders from 1969-1971. Other members of his groups in this period include bassist Cecil McBee, on albums such as Jewels of Thought, Izipho Zam, Deaf Dumb Blind and Thembi.
Although supported by African-American radio, Sanders' brand of free jazz became less popular. From the experiments with African rhythms on the 1971 album Black Unity onwards he began to diversify his sound. In the late 1970s and 1980s, Sanders explored different musical modes including R&B, modal jazz, hard bop. Sanders left Impulse! in 1973 and redirected his compositions back to earlier jazz conventions. He continued to refine his compositions. However, he found himself floating from label to label, he found a permanent home with a small label called Theresa in 1987, sold to Evidence in 1991. However Sanders would continue to be frustrated with record labels for most of the 1990s. During this time, he went to Africa for a cultural exchange program for the U. S. State Department. Sanders's major-label return would come in 1995 when Verve Records released Message from Home, followed by Save Our Children, but again, Sanders's disgust with the recording business prompted him to leave the label. In 1992, Sanders appears on a reissue for the Evidence label of a reco
Pharaoh is the common title of the monarchs of ancient Egypt from the First Dynasty until the annexation of Egypt by the Roman Empire in 30 BCE, although the actual term "Pharaoh" was not used contemporaneously for a ruler until Merneptah, c. 1200 BCE. In the early dynasty, ancient Egyptian kings used to have up to three titles, the Horus, the Sedge and Bee name, the Two Ladies name; the Golden Horus and nomen and prenomen titles were added. In Egyptian society, religion was central to everyday life. One of the roles of the pharaoh was as an intermediary between the people; the pharaoh thus deputised for the gods. He owned all of the land in Egypt, enacted laws, collected taxes, defended Egypt from invaders as the commander-in-chief of the army. Religiously, the pharaoh chose the sites of new temples, he was responsible for maintaining Maat, or cosmic order and justice, part of this included going to war when necessary to defend the country or attacking others when it was believed that this would contribute to Maat, such as to obtain resources.
During the early days prior to the unification of Upper and Lower Egypt, the Deshret or the "Red Crown", was a representation of the Kingdom of Lower Egypt, while the Hedjet, the "White Crown", was worn by the kings of the kingdom of upper Egypt. After the unification of both kingdoms into one united Egypt, the Pschent, the combination of both the red and white crowns was the official crown of kings. With time new headdresses were introduced during different dynasties like the Khat, Atef, Hemhem crown, Khepresh. At times, it was depicted that a combination of these crowns would be worn together; the word pharaoh derives from the Egyptian compound pr ꜥꜣ, /ˌpaɾuwˈʕaʀ/ "great house", written with the two biliteral hieroglyphs pr "house" and ꜥꜣ "column", here meaning "great" or "high". It was used only in larger phrases such as smr pr-ꜥꜣ "Courtier of the High House", with specific reference to the buildings of the court or palace. From the Twelfth Dynasty onward, the word appears in a wish formula "Great House, May it Live, be in Health", but again only with reference to the royal palace and not the person.
Sometime during the era of the New Kingdom, Second Intermediate Period, pharaoh became the form of address for a person, king. The earliest confirmed instance where pr ꜥꜣ is used to address the ruler is in a letter to Akhenaten, addressed to "Great House, L, W, H, the Lord". However, there is a possibility that the title pr ꜥꜣ was applied to Thutmose III, depending on whether an inscription on the Temple of Armant can be confirmed to refer to that king. During the Eighteenth Dynasty the title pharaoh was employed as a reverential designation of the ruler. About the late Twenty-first Dynasty, instead of being used alone as before, it began to be added to the other titles before the ruler's name, from the Twenty-Fifth Dynasty it was, at least in ordinary usage, the only epithet prefixed to the royal appellative. From the nineteenth dynasty onward pr-ꜥꜣ on its own was used as as ḥm, "Majesty"; the term, evolved from a word referring to a building to a respectful designation for the ruler by the Twenty-Second Dynasty and Twenty-third Dynasty.
For instance, the first dated appearance of the title pharaoh being attached to a ruler's name occurs in Year 17 of Siamun on a fragment from the Karnak Priestly Annals. Here, an induction of an individual to the Amun priesthood is dated to the reign of Pharaoh Siamun; this new practice was continued under his successor Psusennes II and the Twenty-second Dynasty kings. For instance, the Large Dakhla stela is dated to Year 5 of king "Pharaoh Shoshenq, beloved of Amun", whom all Egyptologists concur was Shoshenq I—the founder of the Twenty-second Dynasty—including Alan Gardiner in his original 1933 publication of this stela. Shoshenq I was the second successor of Siamun. Meanwhile, the old custom of referring to the sovereign as pr-ˤ3 continued in traditional Egyptian narratives. By this time, the Late Egyptian word is reconstructed to have been pronounced * whence Herodotus derived the name of one of the Egyptian kings, Koine Greek: Φερων. In the Hebrew Bible, the title occurs as Hebrew: פרעה.
Pharaō, in Late Latin pharaō, both -n stem nouns. The Qur'an spells it Arabic: فرعون firʿawn with n; the Arabic combines the original ayin from Egyptian along with the -n ending from Greek. In English, it was at first spelled "Pharao", but the translators of the King James Bible revived "Pharaoh" with "h" from the Hebrew. Meanwhile, in Egypt itself, * evolved into Sahidic Coptic ⲡⲣ̅ⲣⲟ pərro and ərro by mistaking p- as the definite article "the". Other notable epithets are nswt, translated to "king". Sceptres and staves were a general sign of authority in ancient Egypt. One of the earliest royal scepters was discovered in the tomb of Khasekhemwy in Abydos. Kings were known to carry a staff, Pharaoh Anedjib is shown on stone vessels carrying a so-called mks-staff; the scepter with the longest history seems to be the heqa-sceptre, sometimes described as the shepherd's crook. The earli
Sam the Sham
Domingo "Sam" Samudio, better known by his stage name Sam the Sham, is a retired American rock and roll singer. Sam the Sham was known for his camp robe and turban and hauling his equipment in a 1952 Packard hearse with maroon velvet curtains; as the front man for the Pharaohs, he sang on several Top 40 hits in the mid-1960s, notably the Billboard Hot 100 runners up "Wooly Bully" and "Li'l Red Riding Hood". Samudio, of Basque/Apache descent, made his singing debut in second grade, representing his school in a radio broadcast, he took up guitar and formed a group with friends, one of whom was Trini Lopez. After graduating from high school, Samudio joined the Navy, where he was known as "Big Sam." He lived in Panama until his discharge. Back in the States, Samudio enrolled in college, studying voice at Arlington State College, now the University of Texas at Arlington. "I was studying classical in the daytime and playing rock and roll at night", he recalled. "That lasted about two years, before I dropped out and became a carny."In Dallas in 1961, Sam formed "The Pharaohs," the name inspired from the costumes in Yul Brynner's portrayal as pharaoh in the 1956 film The Ten Commandments.
The other members of "The Pharaohs" were Carl Miedke, Russell Fowler, Omar "Big Man” Lopez and Vincent Lopez. In 1962 the group made a record; the Pharaohs disbanded in 1962. In May 1963, Vincent Lopez was playing for Andy and The Nightriders in Louisiana; when their organist quit, Sam joined. Andy and The Nightriders were David A. Martin, Vincent Lopez and Sam; the Nightriders became house band at The Congo Club near Louisiana. It was here. In June 1963, The Nightriders headed for Memphis and became the house band at The Diplomat. In late summer 1963, Andy Anderson and Vincent Lopez left to return to Texas. Sam and David A. Martin replaced them with Jerry Patterson and Ray Stinnett and changed the name to "Sam the Sham and The Pharaohs." Shortly thereafter, the band added saxophonist Butch Gibson. After paying to record and press records to sell at gigs, Sam the Sham and the Pharaohs wound up with the XL label in Memphis. There they recorded their first and biggest hit, "Wooly Bully" in late 1964.
Once MGM picked up the record, "Wooly Bully" ended up selling 3 million copies and reaching No. 2 on the Hot 100 on 5 June 1965 at a time when American pop music charts were dominated by the British Invasion. It was awarded a gold disc. Although "Wooly Bully" never reached #1, it lingered on the Hot 100 for 18 weeks, the most weeks for any single within the calendar year 1965, 14 of which were in the Top 40; the record achieved the distinction of becoming the first Billboard "Number One Record of the Year" not to have topped a weekly Hot 100 and remained the only one for 35 years until Faith Hill's "Breathe" and Lifehouse's "Hanging by a Moment" in 2000 and 2001, respectively. The Pharaohs' next releases – "Ju Ju Hand" and "Ring Dang Doo"- were minor successes. In late 1965, 11 months after "Wooly Bully", David A. Martin, Jerry Patterson, Ray Stinnett, Butch Gibson left over a financial dispute. Sam's manager, Leonard Stogel, discovered Tony Gee & The Gypsys at the Metropole Cafe in Times Square, New York City.
The band were Tony "Butch" Gerace, Frankie Carabetta, Billy Bennett, Andy Kuha. This new set of Pharaohs recorded "Li'l Red Riding Hood". On the Hot 100, "Lil' Red Riding Hood" began its two-week peak at #2 the week of August 6, 1966, just as another fairy tale title, "The Pied Piper" by Crispian St. Peters, was ending its three-week peak at #4; the track did better by Cash Box Magazine's reckoning, reaching #1 the same week. It sold over one million copies, was awarded a gold disc, it reached #2 on the Canadian RPM Magazine charts August 22, 1966. A series of novelty tunes followed, all on the MGM label, keeping the group on the charts into 1967. Titles included "The Hair On My Chinny Chin Chin", "How Do You Catch A Girl", "I Couldn't Spell!!*@!", the rather confusing lyrics of "Oh That's Good, No That's Bad". In late 1966, three girls, Fran Curcio, Lorraine Gennaro, Jane Anderson, joined as The Shamettes; the group traveled to Asia as Sam the Sham & The Pharaohs and The Shamettes and released the album titled The Sam the Sham Revue, to be titled Nefertiti by Sam the Sham and the Pharoahs.
Sam released a solo album in late 1967 titled Ten of Pentacles. In 1970, Samudio went on his own and in 1971 issued an Atlantic album called Sam and Heavy that won the Grammy Award for Best Album Notes in 1972; the album featured Duane Allman on the Dixie Flyers and the Memphis Horns. He formed a new band in 1974. In the late 1970s he worked with baritone saxophonist Joe Sunseri and his band based out of New Orleans; the early 1980s found Sam working with Ry Cooder and Freddy Fender on the soundtrack for the Jack Nicholson film The Border. Sam married Louise Smith on August 28, 1959 in Texas, they had one son named Dimitrius Samudio, born on May 1963, in Dallas. They divorced on May 1968, in Dallas. After leaving the music business, Sam worked in Mexico as an interpreter and as a mate on small commercial boats in the Gulf of Mexico. Sam became a motivational speaker and poet and still makes occasional concert appearances, he was inducted into the Memphis Music Hall of Fame in 2016. As Sam the Sham and the Pharaohs Wooly Bully MGM E /SE 4297
The Faroe Islands, or the Faeroe Islands—a North Atlantic archipelago located 200 miles north-northwest of the United Kingdom and about halfway between Norway and Iceland—are an autonomous country of the Kingdom of Denmark. Total area is about 1,400 square kilometres with a population of 50,322 in October 2017; the terrain is rugged. Temperatures average above freezing throughout the year because of the Gulf Stream. Between 1035 and 1814, the Faroes were part of the Hereditary Kingdom of Norway. In 1814, the Treaty of Kiel granted Denmark control over the islands, along with two other Norwegian island possessions: Greenland and Iceland; the Faroe Islands have been a self-governing country within the Kingdom of Denmark since 1948. The Faroese have control of most of their domestic affairs; those that are the responsibility of Denmark include military defence and the justice department and foreign affairs. However, as they are not part of the same customs area as Denmark, the Faroe Islands have an independent trade policy and can establish trade agreements with other states.
The islands have representation in the Nordic Council as members of the Danish delegation. The Faroe Islands have their own national teams competing in certain sports. In Faroese, the name appears as Føroyar. Oyar represents the plural of oy, older Faroese for "island". Due to sound changes, the modern Faroese word for island is oyggj; the first element, før, may reflect an Old Norse word fær, although this analysis is sometimes disputed because Faroese now uses the word seyður to mean "sheep". Another possibility is that the Irish monks, who settled the island around 625, had given the islands a name related to the Gaelic word fearrann, meaning "land" or "estate"; this name could have been passed on to the Norwegian settlers, who added oyar. The name thus translates as either "Islands of Sheep" or "Islands of Fearrann". In Danish, the name Færøerne contains the same elements, though øerne is the definite plural of ø. In English, it may be seen as redundant to say the Faroe Islands, since the oe comes from an element meaning "island".
Most notably in the BBC Shipping Forecast, where the waters around the islands are called Faeroes. The name is sometimes spelled "Faeroe". Archaeological evidence shows settlers living on the Faroe Islands in two successive periods before the Norse arrived, the first between 300 and 600 AD and the second between 600 and 800 AD. Scientists from the University of Aberdeen have found early cereal pollen from domesticated plants, which further suggests people may have lived on the islands before the Vikings arrived. Archaeologist Mike Church noted, he suggested that the people living there might have been from Ireland, Scotland, or Scandinavia with groups from all three areas settling there. A Latin account of a voyage made by Brendan, an Irish monastic saint who lived around 484–578, includes a description of insulae resembling the Faroe Islands; this association, however, is far from conclusive in its description. Dicuil, an Irish monk of the early 9th century, wrote a more definite account. In his geographical work De mensura orbis terrae he claimed he had reliable information of heremitae ex nostra Scotia who had lived on the northerly islands of Britain for a hundred years until the arrival of Norse pirates.
Norsemen settled the islands c. 800, bringing Old West Norse, which evolved into the modern Faroese language. According to Icelandic sagas such as Færeyjar Saga, one of the best known men in the island was Tróndur í Gøtu, a descendant of Scandinavian chiefs who had settled in Dublin, Ireland. Tróndur led the battle against the Norwegian monarchy and the Norwegian church; the Norse and Norse–Gael settlers did not come directly from Scandinavia, but rather from Norse communities surrounding the Irish Sea, Northern Isles and Outer Hebrides of Scotland, including the Shetland and Orkney islands. A traditional name for the islands in Irish, Na Scigirí refers to the Skeggjar "Beards", a nickname given to island dwellers. According to the Færeyinga saga, more emigrants left Norway who did not approve of the monarchy of Harald Fairhair; these people settled the Faroes around the end of the 9th century. Early in the 11th century, Sigmundur Brestisson – whose clan had flourished in the southern islands before invaders from the northern islands exterminated it – escaped to Norway.
He was sent back to take possession of the islands for Olaf Tryggvason, King of Norway from 995 to 1000. Sigmundur introduced Christianity, forcing Tróndur í Gøtu to convert or face beheading and, though Sigmundur was subsequently murdered, Norwegian taxation was upheld. Norwegian control of the Faroes continued until 1814, when the Kingdom of Norway entered the Kalmar Union with Denmark, it resulted in Danish control of the islands; the Reformation with Protestant Evangelical Lutheranism and Reformed reached the Faroes in 1538. When the union between Denmark and Norway dissolved as a result of the Treaty of Kiel in 1814, Denmark retained possession of the Faroe Islands. Following the turmoil caused by the Napoleonic Wars in 1816, the Faroe Islands became a county in the Danish Kingdom; as part of Mercantilism, Denmark maintained a monopoly over trade with the Faroe Islands and forbade their inhabitants trading
Pharaoh is an adventure module for the Dungeons & Dragons fantasy role-playing game. The module was published in 1982 by TSR, Inc. for the first edition Advanced Dungeons & Dragons rules. It formed the first of the three-part Desert of Desolation module series; the module was written by Laura Hickman. The original Daystar West edition of the scenario involves a tomb, rumored to be theft-proof. At the start of the adventure, the player characters are confronted by the ghost of a long-dead Pharaoh, cursed to wander the sands of his now-deserted land for time on end, in search of the ones who can break the curse and free him from this world; the characters soon find themselves searching for items which will end the curse and bring them wealth and power. There are five levels to explore in the pyramid, a large exterior temple; the TSR version of Pharaoh is an Egyptian-styled adventure that includes a pyramid map and a trap-filled maze. In Pharaoh, the player characters are driven into the desert for a crime.
The characters journey to the sunken city of Pazar and from there must travel to the haunted tomb of an ancient pharaoh. While in the desert, the characters encounter the spirit of Amun-Re, a pharaoh cursed to wander the desert until his tomb is robbed. Amun-Re begs the PCs to remove his staff of Star Gem from his tomb to break his curse; the tomb has so far lived up to its reputation. While in Amun-Re's pyramid, the characters can use an item called the dome of flight to control or reverse gravity; the palm trees in this room bear exploding fruit. The characters encounter a maze with numerous traps; the module contains wilderness maps, a number of smaller adventures as well. In 1977, Tracy Hickman and Laura Hickman were married. Soon after, while living in Provo, they wrote the adventures Pharaoh and Ravenloft; the Hickmans decided to publish the first two adventures they had designed together and Pharaoh, which earned them a reputation on a local level. Pharaoh was published as part of the "Night Ventures" line of scenarios in 1980, by DayStar West Media Productions, as a sixty-eight-page book.
The module was designed to be played and completed with a satisfactory conclusion with a couple of sessions of playing time. However, disaster struck when Tracy went into business with an associate who went bad, leaving the Hickmans to cover thirty-thousand dollars in bad checks, they were driven into bankruptcy, Tracy Hickman decided to sell their modules to TSR, "literally so that I could buy shoes for my children". TSR decided not only to buy the modules, but hire Tracy as a game designer: "They said it would be easier to publish my adventures if I was part of the company. So, we made the move from Utah to Wisconsin."In 1982, TSR published Pharaoh as a thirty-two-page booklet with two outer folders, for the first edition of AD&D. It was designed for 6-8 player characters of levels 5-7 and formed the first of the three-part Desert of Desolation module series; the cover art for Pharaoh was provided by Jim Holloway. Tracy Hickman noted that the module Pharaoh can teach positive lessons about the concepts of good to youth, saying of the eponymous Pharaoh character, the "apparent misery to which this figure was condemned by his own lust for wealth continues to teach the value of deeds over possessions to all who play that game today."
Harley Bates reviewed the Daystar West edition of the adventure in The Space Gamer No. 54. He commented that "It's a nice break from standard ongoing campaigns, gives both players and judges attainable goals in shorter steps." Bates added that "The inhabitants of the tomb are far from the ordinary fare and provide the players and the judge with fascinating role-playing. There are many puzzles scattered throughout the adventure. All in all, it's a tightly-woven adventure which should be enjoyable for all involved." He criticized. Most of the play supplements available today suffer from this. Couldn't designers and publishers spend just a little more time proofreading?" Bates concluded his review by stating: "Given the overall quality we are presented in this product, the typos can be overlooked It's a great buy, considering the time and thought evident throughout."Dungeon Master for Dummies lists Pharaoh as one of the ten best classic adventures. Doug Cowie reviewed Pharaoh favorably for Imagine magazine.
He noted the "first rate cover art" and the overall "value-for-money feel" of the module. He praised the well-designed layout and the standardized approach to describing encounter areas. Cowie expected that those who played this "dangerous and entertaining" module would wish to continue with the sequels I4 and I5. One month Doug Cowie reviewed Oasis of the White Palm favorably for Imagine magazine, he found it a “tough test” for the players and praised the “first rate cover art” and “lively illustrations” inside. Cowie found I4 a “mainstream AD&D adventure with plenty of treasure and tricks” situated in “traditional room/corridor environments”, but according to him it offers “plenty of interesting goings-on between NPC individuals and groups” so that the players find themselves in a “dynamic society”. Cowie cautioned that some encounters are quite complicated so the DM needs to study the module before running it. Cowie felt I4 to be an “excellent, varied module” that offered “excitement and tension”.
He concluded his review by calling it “a must for those who have played I3 and recommended
Everybody Wants to Rule the World
"Everybody Wants to Rule the World" is a song recorded by English band Tears for Fears. It was written by Ian Stanley and Chris Hughes with production handled by Hughes; the song was released in 1985 by Phonogram and Vertigo Records as the third single from their second album, Songs from the Big Chair. "Everybody Wants to Rule the World" is a new wave song. Its lyrics detail the desire humans have for power and centers on themes of corruption. Music critics praised "Everybody Wants to Rule the World" in their retrospective reviews, with some including the song in their respective decade lists, it is regarded as the group's signature song, along with "Shout". Commercially, the song garnered success on charts internationally, peaking at number two in Ireland and the United Kingdom and at number one in Canada, New Zealand and on the Billboard Hot 100. "Everybody Wants to Rule the World" was certified gold by both Music Canada and the British Phonographic Industry. Nigel Dick directed the song's accompanying music video which received promotion from MTV.
It shows the group's lead singer, Curt Smith riding an antique Austin-Healey 3000 sports car around various locations in Southern California intercut with shots of the band performing the song in a studio. In 1986, the song won "Best Single" at the Brit Awards; the group re-recorded the song as a charity single for the Sport Aid campaign. New Zealand singer Lorde recorded a cover of the song, included in the soundtrack for The Hunger Games: Catching Fire. "Everybody Wants to Rule the World" was written by Roland Orzabal, Ian Stanley and Chris Hughes with production handled by the latter. It was revealed that the song was a "last-minute" addition during recording sessions of Songs from the Big Chair; the decision to include the song in the album came after Orzabal played two chords on his acoustic guitar for Hughes. It was recorded in two weeks and added as the final track on the album. According to Orzabal, he regarded the song as a lightweight that would not fit with the rest of the album. In an interview with Mix magazine, Hughes admitted that "as a piece of recording history, bland as hell."
The lyrics of the song were "everybody wants to go to war", which Orzabal felt was lackluster. However, Hughes convinced Orzabal to record it, in a calculated effort to gain American chart success. Orzabal acknowledged that the shuffle beat used in the song was "alien" to their way of writing music, stating it was "jolly rather than square and rigid in the manner of "Shout", but it continued the process of becoming more extrovert." Curt Smith, the group's lead singer, mentioned the concept of the song was "quite serious – it's about everybody wanting power, about warfare and the misery it causes.""Everybody Wants to Rule the World" was co-written by Roland Orzabal, Ian Stanley and Chris Hughes, with production from the Dave Bascombe with engineering. It was released in 1985 through Phonogram and Vertigo Records as the third single from the band's second album, Songs from the Big Chair; the song was released for sale which included its B-side, interviews from the band and different versions of the song.
To accommodate the vinyl release, a CD video set was distributed and included the song's music video along audios of bonus tracks. "Everybody Wants to Rule the World" is a new wave song. The song is set in the key of D major with a tempo of 112 beats per minute; the band stated that the driving shuffle rhythm was influenced by Simple Minds' 1983 song "Waterfront". Tal Rosenberg of Pitchfork noted the song's various components, from the "twinkling synth", "spider-like guitar" and "snappy" instrumental near the track's opening, as well as its shuffling dream-like beat, "galvanizing" bridge, moody instrumental passage, shift in melody and two guitar solos as it progressed; the song's lyrics detail the desire humans have for power. In 2017, Tal Rosenberg of Pitchfork stated that its lyrics could be applied in different scenarios such as the environment, short-lived financial success, dictatorial rule, the Cold War; the group revisited the song and its message in an interview with Yahoo! Music, stating that the song's themes were still "just as poignant" as they were when they first wrote it.
They mentioned that they discussed the Cold War with "Everybody Wants to Rule the World" and Songs from the Big Chair but, the "U. S. and Russia and now the concern is more with the U. S. and Korea." Marc Ambinder from The Atlantic used the lyrics "Say that you'll never, never need it / One headline, why believe it? / Everybody wants to rule the world" in his article about the United States government's use of "original classified authority" and the abuse of power between the branches of government. Consequence of Sound editor Michael Roffman praised the group for being able to produce a "timeless and influential composition" with minimal effort. Roffman noted that "Everybody Wants to Rule the World" was appropriate when it was first time, calling it a "meditative commentary on an era, so corrupt economically and spiritually." AllMusic's Stanton Swihart expressed in his retrospective review that the group "perfectly captured the zeitgeist of the mid-'80s while impossibly managing to create a dreamy, timeless pop classic."
Pitchfork called it a song with "near-universal appeal", as well as a staple for "classic-rock radio, pharmacies and parties." In their review for the best albums of the 198
The Pharaoh Hound is a Maltese breed of dog and the national dog of Malta. In Maltese it is called Kelb tal-Fenek, which means "rabbit dog", it is traditionally used for hunting rabbit in the Maltese Islands. Based on DNA analysis, the breed have been recreated in more recent times from combinations of other breeds. However, a popular myth holds that the breed is descended from the Tesem, one of the ancient Egyptian hunting dogs; some believe that there are similarities between the breed and images of dogs found on the walls of ancient Egyptian tombs. This myth proposes that the Pharaoh Hound was brought by the Phoenicians to Malta, where it has existed for over 2,000 years; the breed has variously been classified as a member of the sighthound group. At first glance, the Pharaoh Hound appears both graceful and elegant as well as powerful and athletic, its build is one of strength without excessive musculature. Its head is elegant without being extreme; the skull resembles a blunt wedge, is long and chiseled with only a slight stop and a snout of good length.
Its eyes are oval with a keen and intelligent expression. Their eyes are amber-colored, it has a long and muscular neck, arched. It has a deep chest that extends down to a moderate tuck up, its shoulders are well laid back. Its front legs are straight; the back legs are moderately angled, parallel to each other, must be balanced with the forelegs. It has a long, straight tail that reaches down to a bit below the point of the hocks, has a whip-like shape; the tail is carried down. When the dog is in motion or is excited, the tail is carried up, its dewclaws may be removed. The Pharaoh Hound's ears are large and point upward when alert, they come in tan or chestnut colors. A white tail-tip is admired. Most seen is any solid white spot on their neck, back, or shoulders. Seen on the back or sides of the dog. Pharaoh Hounds tend to weigh up to 45-55 pounds on average. Weight depends on its eating habits. Male Pharaoh Hounds are considered larger than the females. Males are 23-25", while females are 21-24". Size and weight relate to the amount of exercise it receives.
The coat is short with no feathering. The texture varies from silky to somewhat hard and it must never be so profuse as to stand away from the dog's skin; the coat can be glossy and short in most cases. The only colour accepted by most kennel clubs is red. White markings on the chest, tail-tip, centre of forehead, the bridge of the muzzle are accepted, but not required. Pharaoh's eyes are always amber, should complement the coat colour, they are born with blue eyes, which change to a light gold or yellow colour during early puppyhood and begin to darken well into adulthood. The nose, nails, paw-pads, eye-rims should be the same colour as the coat. Pharaohs have a unique trait of "blushing" when excited or happy, with their ears and nose becoming bright pink. In 1647 Giovanni Francesco Abela, in his Della Descrittione di Malta isola nel Mare Siciliano: con le sue antichità, ed altre notizie, wrote "... we have the dogs called Cernechi, much valued for rabbit-hunting, which are in demand as far away as France for steep and stony mountain terrain".
Authors such as Cecil Camilleri have taken this to refer to the Kelb tal-Fenek. The modern Cirneco is a Sicilian breed similar in structure and appearance, but somewhat smaller than the Kelb tal-Fenek. In Britain, the first two specimens of the breed were brought from Malta in the 1920s, but no litter was bred. Again, some dogs were imported to the UK in the early 1960s, the first litter was born in 1963; the breed standard was recognised by The Kennel Club in 1974. The breed was called the Pharaoh Hound although this name was used by the FCI as an alternative name for the Ibizan Hound at that time; when the FCI abolished this name in 1977 and decided to call the Ibizan Hound by its original Spanish name Podenco Ibicenco, the term Pharaoh Hound was transferred to the Kelb tal-Fenek, whose breed standard had been recognised by the FCI at the same time. There are a number of breeds similar to the Pharaoh Hound in the Mediterranean area, including the Cirneco in Sicily. Others include the Podenco Canario and the Podengo Português.
Each breed is different with physical characteristics that match the terrain the dogs hunt on. It is not clear whether those breeds have descended from the same ancestral lines, or whether their similarities have developed due to similar environmental conditions. Pharaoh hounds, being somewhat uncommon outside of the Maltese Islands of Malta and Gozo, because they are not profitable for commercial breeding, have not been subjected to as much irresponsible breeding as some more popular breeds. Breeders try hard to prevent hereditary diseases from entering the gene pool and according to the American breed club, Pharaohs are free from genetic diseases. Reputable breeders continue to test their breeding stock for genetic conditions such as hip dysplasia, luxating patellas, myriad eye conditions just to ensure that these disorders do not become a problem. Reputable breeders should be able to show documentation of health screening performed on their breeding dogs. Note that Pharaohs, like most sighthounds, are sensitive to barbiturate anaesthetics.
Their ears are prone to frostbite when in cold climates. Life expectancy is about 12 to 14 years; the Kelb tal-