Satis known by numerous related names, was an Upper Egyptian goddess who, along with Khnum and Anuket, formed part of the Elephantine Triad. A protective deity of Egypt's southern border with Nubia, she came to personify the former annual flooding of the Nile and to serve as a war and fertility goddess, she was sometimes conflated with Isis and Sopdet, goddess of the bright star Sirius, which the Egyptians connected with the onset of the Nile flooding. Under the interpretatio graeca, she was conflated with Juno; the exact pronunciation of Egyptian is uncertain since vowels were not recorded until a late period. In transcription, the goddess's name appears as Setis, Setet, Satet and Sathit. Derived from sṯ, meaning "eject", "shoot", "pour", or "throw", her name can be variously translated as "She who Shoots" or "She who Pours" depending on which of her roles is being emphasized, her name was written with the hieroglyph for a linen garment's shoulder knot. She was known by epithets, such as "Mistress of Elephantine" and "She Who Runs Like an Arrow", thought to refer to the flowing river current.

A goddess of the Upper Egyptians, her cult is first attested on jars beneath the Step Pyramid of Saqqara. She appears in the Pyramid Texts purifying a deceased pharaoh's body with four jars of water from Elephantine, her principal center of worship was at an island near Aswan on the southern edge of Egypt. Her temple there occupied an early predynastic site shown by Wells to be aligned with the star Sirius. Other centers include Setet, she was associated with the upper reaches of the Nile, which the Egyptians sometimes considered to have its source near Aswan. As a war goddess, Satis protected Egypt's southern Nubian frontier by killing the enemies of the pharaoh with her sharp arrows; as a fertility goddess, she was thought to grant the wishes of those. She seems to have been paired with the Theban god Montu but replaced Heket as the consort of Khnum, guardian of the source of the Nile. By Khnum, her child was goddess of the Nile. After Khnum was conflated with Ra, she sometimes became an Eye of Ra in place of Hathor.

Together Khnum and Satis formed the Elephantine Triad. Satis was pictured as a woman in a sheath dress wearing the hedjet, the conical crown of Upper Egypt, with antelope horns, she is sometimes depicted with bow and arrows. She appears in the form of an antelope, her symbols were the running river. Egyptian pantheon Isis & Sopdet Elephantine, Aswan, & Sehel Island Vygus, Middle Egyptian Dictionary. Wilkinson, Richard H. "Satis", The Complete Gods and Goddesses of Ancient Egypt, London: Thames & Hudson, pp. 164–6, ISBN 0-500-05120-8. Valbelle, Dominique. Satis et Anoukis. Verlag Philipp von Zabern. ISBN 3-8053-0414-5

Queercore, is a cultural and social movement that began in the mid-1980s as an offshoot of the punk subculture. It is distinguished by its discontent with society in general, society's disapproval of the LGBTQ community. Queercore expresses itself in a D. I. Y. Style through magazines, music and film; as a musical genre, it may be distinguished by lyrics exploring themes of prejudice and dealing with issues such as sexual identity, gender identity and the rights of the individual. Musically, many queercore bands originated in the punk scene but the industrial music culture has been influential as well. Queercore groups encompass many genres such as hardcore punk, indie rock, power pop, No Wave, experimental and others. In the early 1980s, several U. S. hardcore bands wrote queer-themed songs, Gary Floyd of The Dicks along with Randy Turner of Big Boys were notable in both being out and outspoken gay men. In England, in the anarcho-punk scene, Andy Martin of The Apostles was forthright. Politically motivated U.

S. bands such as MDC and 7 Seconds introduced anti-homophobia messages into their songs at this time, while the Nip Drivers included a song titled "Quentin", dedicated to Quentin Crisp, in their repertoire. The zine J. D.s, created by G. B. Jones and Bruce LaBruce, is acknowledged as being the zine which launched the movement. "J. D.s is seen by many to be the catalyst that pushed the queercore scene into existence", writes Amy Spencer in DIY: The Rise Of Lo-Fi Culture. Emerging out of the anarchist scene, at first the editors of J. D.s had chosen the appellation "homocore" to describe the movement but replaced the word homo with queer to better reflect the diversity of those involved, as well as to disassociate themselves from the confines of gay and lesbian orthodoxy. The first issue was released in 1985, with a manifesto entitled "Don't Be Gay" published in the fanzine Maximum RocknRoll following soon after; these zines, the movement, are characterised by an alternative to the self-imposed ghettoization of orthodox gay men and lesbians.

In 1990, the J. D.s editors released the first queercore compilation, J. D.s Top Ten Homocore Hit Parade Tape, a cassette which included bands from Canada, such as Fifth Column, Big Man, Bomb from the U. S.. During the period from the late 1980s to the early 1990s, many of the punk rock bands involved in queercore were not queer but their ethics were motivation for supporting this movement. Other bands, such as Los Crudos and Go!, had one outspoken member, homosexual. Other early queercore bands included Anti-Scrunti Faction, who appeared in J. D.s, Comrades In Arms, Homocore editor Deke Nihilson's band. Shortly after the release of the tape J. D.s ceased publication and a new crop of zines arose, such as Jane and Frankie by Klaus and Jena von Brücker, Shrimp by Vaginal Davis and Fanorama by REB. The zine BIMBOX published statements such as "BIMBOX hereby renounces it's past use of the term lesbian and/or gay in a positive manner; this is a civil war against the ultimate evil, we must identify us and them in no uncertain terms, a task which will prove to be half the battle".

The first queer zine gathering occurred at this time. Although organizer Steve LaFreniere was stabbed outside the venue at the end of the night, he recovered and the event was deemed a success. Spew 2 took place in Los Angeles in 1992, Spew III in Toronto in 1993; these Spew events included musical performances by queercore bands. Among the better-known bands from the early 1990s are Fifth Column, God Is My Co-Pilot, Pansy Division, Pedro and Esther, Sister George, Team Dresch, Tribe 8, Mukilteo Fairies; as these bands gained popularity and awareness of the movement grew, zines began appearing from around the world. M. S. from the UK are examples. In Chicago, Mark Freitas and Joanna Brown organized a monthly "Homocore" night that featured queercore bands performing live, offering a stable venue for the scene to proliferate; as well, as Amy Spencer notes in DIY: The Rise of Lo-Fi Culture, "Through Homocore events, they aimed to create a space for men and women to be together, as opposed to the sense of gender segregation, the norm in mainstream gay culture – They attacked the idea that due to your sexuality you should be offered only one choice of social scene..."

In 1992 Matt Wobensmith's zine Outpunk became a record label, began to release its own queercore compilations and albums, was crucial to the development of queercore. The first recordings by Tribe 8 and Pansy Division were released by the label; some of the bands appearing in the mid-1990s on the label include Sta-Prest, Cypher in the Snow and Behead the Prophet, No Lord Shall Live. It was at this time in the early 1990s that Riot Grrrl emerged. "In many

Green Buren Adair was a prominent Atlanta cotton merchant who conducted business in Atlanta from the Civil War until the turn of the 20th century. He was a cousin of another prominent real estate mogul in Atlanta. Adair was born in Alabama. Adair served in the Confederate Army including the Battle of Appomattox Courthouse. Adair settled in Atlanta in 1866 and entered the wholesale commission and fertilizer business together with his brother Augustus D. Adair, in a few years became one of Atlanta’s most successful merchants. 1890 property tax records indicate. He retired from active business in 1891, when his eldest son, Green B. Adair Jr. remained active in Atlanta charities and business affairs. In the 1880s and 1890s he served on the Atlanta City Council, he was instrumental in building the Second Baptist Church, located at Washington and Mitchell streets, joined the Highland Park Baptist Church, which opened in 1908 on Highland Avenue at the northwest corner of Highland and Greenwood avenues.

The Adairs lived on fashionable Washington Street as of 1891, but in 1892 Adair acquired 16 acres of land for $17,000 at the southwest corner of Highland and Virginia avenues in what is today Virginia-Highland neighborhood of Atlanta. The land was in the country at the time, but accessed by the new Nine-Mile Circle streetcar line. Adair had a summer house built on the site, completed in 1895. In 1911 the family moved in permanently; the Adair Mansion is divided into apartments. He died in Atlanta on April 1914, of a paralytic stroke, his obituary described him as "one of Atlanta’s most beloved citizens," known for his acts of charity and in the business world as a man of sterling character and progressive." He was buried in Oakland Cemetery. Works by or about Green B. Adair at Internet Archive

Fumiko Enchi was the pen-name of Fumiko Ueda, one of the most prominent Japanese women writers in the Shōwa period of Japan. Fumiko Enchi was born in the Asakusa district of downtown Tokyo, as the daughter of distinguished Tokyo Imperial University philologist and linguist Kazutoshi Ueda. Of poor health as a child, she was unable to attend classes in school on a regular basis, so her father decided to keep her at home, she was taught English and Chinese literature through private tutors. She was strongly influenced by her paternal grandmother, who introduced her to the Japanese classics such as The Tale of Genji, as well as to Edo period gesaku novels and to the kabuki and bunraku theater. A precocious child, at age 13, her reading list included the works of Oscar Wilde, Edgar Allan Poe, Kyōka Izumi, Nagai Kafū, Ryūnosuke Akutagawa, Jun'ichirō Tanizaki, whose sado-masochistic aestheticism fascinated her. From 1918 to 1922, she attended the girl's middle school of Japan Women's University, but was forced to abandon her studies due to health.

However, her interest in the theatre was encouraged by her father, as a young woman, she attended the lectures of Kaoru Osanai, the founder of modern Japanese drama. Her plays took inspiration from Osanai Kaoru, many of her plays focused on revolutionary movements and intellectual conflicts, her literary career began in 1926, with a one-act stage play Birthplace published in the literary journal Kabuki, well received by critics, who noted her sympathies with the proletarian literature movement. This was followed by A Restless Night in Late Spring, published in the September 1928 issue of the magazine Women's Arts and performed at the Tsukiji Little Theatre in December 1928. In this play, two female artists and Mitsuko, are caught up in a conflict on their different perspectives towards art and politics; this was Enchi's first play to be produced on stage. In 1930, she married Yoshimatsu Enchi, a journalist with the Tokyo Nichi Nichi Shimbun, with whom she had a daughter, she began to write fiction but unlike her smooth debut as a playwright, she found it hard to get her stories published.

Although from 1939, the Tokyo Nichi Nichi Shimbun began publishing a serialization of her translation of The Tale of Genji into modern Japanese, her early novels, such as The Words Like the Wind, The Treasures of Heaven and Sea and Spring and Autumn were not a commercial success. She continued to struggle with her health, having a mastectomy in 1938 after being diagnosed with uterine cancer, suffering from post-surgical complications. In 1945, Enchi's home and all her possessions burned during one of the air raids on Tokyo towards the end of the Pacific War, she had a hysterectomy in 1946, stopped writing till around 1951. In 1953, Enchi's novel Days of Hunger was received favorably by critics, her novel is a violent, harrowing tale of family misfortune and physical and emotional deprivation, based on wartime personal experiences, in 1954 won the Women's Literature Prize. Enchi's next novel was highly praised: The Waiting Years won the Noma Literary Prize; the novel is set in the Meiji period and analyzes the plight of women who have no alternative but to accept the demeaning role assigned to them in the patriarchal social order.

The protagonist is the wife of a government official, humiliated when her husband not only takes concubines, but has them live under the same roof as both maids and as secondary wives. From the 1950s and 1960s, Enchi became quite successful, wrote numerous novels and short stories exploring female psychology and sexuality. In Masks, her protagonist is based on Lady Rokujō from The Tale of Genji, depicted as a shamanistic character. After losing her son in a climbing accident on Mount Fuji, she manipulates her widowed daughter-in-law to have a son by any means to replace the one she lost. One of the quotes from the book says, "A woman's love is quick to turn into a passion for revenge--an obsession that becomes an endless river of blood, flowing on from generation to generation"; the theme of shamanism and spiritual possession appears in Enchi's works in the 1960s. Enchi contrasted the traditions of female subjugation in Buddhism with the role of the female shaman in the indigenous Japanese Shinto religion, used this as a means to depict the female shaman as a vehicle for either retribution against men, or empowerment for women.

In The Tale of An Enchantress, she sets the story in the Heian period, with the protagonist as Empress Teishi, a consort of Emperor Ichijo. The novel won the 1966 Women's Literature Prize. Alongside The Waiting Years and Masks, The Tale of An Enchantress is considered to be her third work to be directly influenced by The Tale of Genji. Three of her stories were selected for the Tanizaki Prize in 1969: Shu wo ubau mono. Another theme in Enchi's writing is eroticism in aging women, which she saw as a biological inequality between men and women. In “Growing Fog”, an aging woman becomes obsessed with a fantasy in which she can revitalize herself through sexual liaisons with young men. Enchi's works combined elements of realism and erotic fantasy, a style, new at the time. Enchi was made a Person of Cultural Merit in 1979, was awarded

"The Last of the Real Ones" is a song by American rock band Fall Out Boy, released on September 14, 2017 in North America and September 15, 2017 worldwide. It was released as Mania; the song was played live on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The song was released to alternative radio on May 1, 2018. On June 28, 2018, a remix was released featuring Bülow and MadeinTYO; the song is featured in the soundtrack of NBA 2K19. Pete Wentz described the song as "the closest thing to a love song we've had but it's pretty fucking twisted still." The music video for "The Last of the Real Ones" debuted on the same day. It features Wentz being attacked by llamas with a shovel after being tied up in the back of a car, it bears a striking resemblance to the music video for Kanye West's song "Flashing Lights" where Kanye is tied up in the back of a car and is attacked by a woman with a shovel. The video was directed by the duo Mccoy | Meyer.

Fall Out Boy Patrick Stump – lead vocals, programming, composition Pete Wentz – bass guitar, composition Joe Trohman – lead and rhythm guitars, composition Andy Hurley – drums, compositionProduction Carlo "Illangelo" Montagnese – composition, production

Sheikh Uways Al-Barawi was a Somali scholar credited with reviving Islam in 19th century East Africa. Sheikh Uways was born in Barawa during the Geledi Sultanate period on the Benadir of Somalia coast, the son of a local religious teacher, al-Hajj Muhammad b. Bashiir, Fatima b. Bahro, he was of the Tunni subgroup of the Rahanweyn. He obtained a simple elementary education in basic theological sciences, only furthered his studies with eminent scholars. Sheikh Uways studied the Qur'an, Qur'anic exegesis and grammar, legal principles and basic Sufism under the tutelage of one Sheikh Muhammad Tayini al-Shashi in his local vicinity. Being a devout student of Islam and excelling in piety, the young Sheikh Uways caught the attention of his teacher who introduced him to the Qadiriyya doctrines and, circa 1870, took him to the birthplace of that tariqah in Baghdad; this journey had a profound impact on Sheikh Uways' spiritual search and religious credibility. He studied with Sayyid Mustafa b. Salman al-Jilani and claimed to have received an ijazah from his teacher, thus boosting his reputation.

Despite this, B. G. Martin described his training and education as "relatively provincial, mildly uninspired, above all conservative and conventional." Uways made Hajj to Madinah and Makkah during this spell, which marks a spiritual milestone for Muslims. And so, his life took a drastic turnaround. In 1883, Sheikh Uways made his way back to his hometown to settle there for good. A important journey in enhancing his reputation as a scholar was when he passed through the Hejaz and northern Somalia. While in northern Somalia in particular, Choi Ahmed claimed through oral tradition that Shaykh Uways met the renowned Somali Qadiri Shaykh Abd al Rahman al-Zayla'i near Qulunqul right before his death and was at that time granted complete control of the Qadiriyya in Somalia. On the other hand, the Somali scholar Said Sheikh Samatar claims that Shaykh Uways visited al-Zayla'i's tomb and received a symbolic ijazah to preach. Whether or not the former or the latter claims are correct, both Choi Ahmed and Samatar imply that Shaykh Uways established himself as the successor to the much revered Shaykh Abd Al-Rahman bin Ahmad al-Zayla'i.

Sheikh Uways' reputation and renown preceded him by the time of his arrival back in his hometown of Barawa. He was subsequently elevated as leader of the Qadiriyya in southern Somalia, began missionary works throughout East Africa. According to B. G. Martin, this newly earned prominence was met with envy by the rival brotherhoods of Ahmadiya and Saalihiya, by some family members, according to Samatar; this intense competition for influence led Sheikh Uways to seek greener pastures in emulation of Muhammad's hijra from Makkah to Madinah. This decision made room for further proselytizing. Sheikh Uways moved founded Beled al-Amin, which flourished into an agricultural town. Bearing testament to his mass appeal, Samatar mentions that "nomad and farmer flocked to his community, bringing with them gifts in vast amounts of livestock and farm produce". Freed from external pressure from the Salihiyya of Sayyid Mohammed Abdullah Hassan in northern Somalia, the Sahiliyya led by Sayyid Muhammad Maaruf from the Comoros Islands, Christian missionaries from inland Ethiopia and his followers were able to focus on proselytizing the Qadariyya.

The struggle of Shaykh Uways against the Salihiyya was so intense that he was resolute to being a martyr. Moving north to curb the influence of radical nationalist and puritanical teachings of Salihiya neo-Sufis, Shaykh Uways was tragically murdered by Salihiyya followers in 1909, his death came as a shock to Salihiyya adherents. The Sayyid, composed a poem to celebrate his brotherhood's victory, although some northerners offer a differing view of the Sayyid's reaction; the tragic ending of the Uwaysiyya leader was compounded with the death of all but one of his disciples, a person who carried on the Uwaysiyya legacy. This remaining disciple composed a moving qasida that became a liturgy of the Uwaysiyya order. Uways's house was bought by Shaykh Sufi and turned into the main headquarters of the Uwaysiyya. Sheikh Uways' influence can be felt throughout East Africa: From the islands surrounding Zanzibar to as far west as the Eastern Congo and as far south as the Tanganyika, his influence in Zanzibar alone was attributed to his close relationship with the Sultanate, two of whom he took as his Khalifah.

This close relationship was established as a result of the Sultan of Zanzibar encouragement. Uways' widespread appeal is attributed to the present circumstances of the Benadir coast, where foreign migration undermined local economic domination; the locals thought their calamity correlated with their lack of spiritual strength rather than external circumstances. Sufi orders "provided a context for exploring these failings and proposing solutions by means of a renewed moral framework"; this phenomenon elevates the status of wadaads, where merchants subsidized activities of the wadaads. Due to the Qadiriyya's popularity, the Sheikh's elevated status was most felt. Abd Al-Rahman bin Ahmad al-Zayla'i Choi Ahmed, Christine, 1993. God, Anti-Colonialism and Dance: Sheekh Uways and the Uwaysiyya, in: Gregory Maddox and Resistance to Colonialism in Africa. New York: Garland Publishing, 145–67. Martin, Bradford G. 1993. Shaykh Uways bin Muhammad al-Barawi, a Traditional Somali Sufi, in: G. M. Smith and Carl Ernst, Manifestations of Sainthood in I