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Galahad
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Galahad
Matter of Britain character
Sir Galahad by George Frederic Watts
First appearance
Lancelot-Grail
Information
Occupation
Knight of the Round Table
Title
Sir
Family
Lancelot, Elaine of Corbenic
Sir Galahad (/ˈɡæləhæd/; sometime referred to as Galeas /ɡəˈliːəs/ or Galath /ˈɡæləθ/), in Arthurian legend, is a knight of King Arthur's Round Table and one of the three achievers of the Holy Grail. He is the illegitimate son of Sir Lancelot and Elaine of Corbenic, and is renowned for his gallantry and purity. Emerging quite late in the medieval Arthurian tradition, Sir Galahad first appears in the Lancelot–Grail cycle, and his story is taken up in later works such as the Post-Vulgate Cycle and Sir Thomas Malory's Le Morte d'Arthur. His name should not be mistaken with Galehaut, a different knight from Arthurian legend.
Contents
1 Origins
2 Life
2.1 Conception and birth
2.2 Knighthood and the Grail Quest
2.3 Ascension to Heaven
3 Victorian portrayals
3.1 Alfred, Lord Tennyson
3.2 William Morris
4 Twentieth century and later
4.1 Literature
4.2 Music
4.3 Film and television
4.4 Games
5 See also
6 References
7 Bibliography
8 External links
Origins[edit]
The story of Galahad and his quest for the Holy Grail is a relatively late addition to the Arthurian legend. Galahad does not feature in any romance by Chrétien de Troyes, or in Robert de Boron's Perceval, or in any of the continuations of Chrétien's story of the mysterious castle of the Fisher King. He first appears in the early-13th-century Old French Arthurian epic, the Vulgate Cycle.
The original conception of Galahad, whose adult exploits are first recounted in the fourth book of the Vulgate Cycle, may derive from the Cistercian Order. According to some interpreters, the philosophical inspiration of the celibate, otherworldly character of the monastic knight Galahad came from this monastic order set up by St. Bernard of Clairvaux.[1] The Cistercian-Bernardine concept of Catholic warrior-asceticism that so distinguishes the character of Galahad also informs St. Bernard's projection of ideal chivalry in his work on the Knights Templar, De laude novae militiae. Significantly, in the narratives, Galahad is associated with a white shield with a vermilion cross, the very same emblem given to the Knights Templar by Pope Eugene III.
Life[edit]
Conception and birth[edit]
The circumstances surrounding the conception of the boy Galahad are explained by Sir Thomas Malory and derive from the Gareth-Grail cycle. Lancelot mistakes Elaine of Corbenic for his mistress Guinevere. According to Malory, King Pelles has already received magical foreknowledge that Lancelot will give his daughter a child and that this little boy will grow to become the greatest knight in the world, the knight chosen by God to discover the Holy Grail. King Pelles also knows that Lancelot will only lie with his one true love, Queen Guinevere. Destiny will have to be helped along a little; therefore, a conclusion which prompts Pelles to seek out "one of the greatest enchantresses of the time", Dame Brusen, who gives King Pelles a magic ring that will make Elaine take on the appearance of Queen Guinevere.
Sir Lancelot and Elaine sleep together, but on discovering the deception, Lancelot then gets his clothes on and runs, leaving Elaine, but when he finds out that they have conceived a son together, he is immediately forgiving; however, he does not marry Elaine or even wish to be with her anymore and returns to King Arthur's court. The young Galahad is born and placed in the care of a great aunt, who is an abbess at a nunnery, to be raised there.
According to the 13th-century Old French Prose Lancelot (part of the interconnected set of romances known as the Vulgate Cycle), "Galahad" was Lancelot's original name, but it was changed when he was a child. At his birth, therefore, Galahad is given his father's own original name. Merlin prophesies that Galahad will surpass his father in valor and be successful in his search for the Holy Grail. King Pelles, Galahad's maternal grandfather, is portrayed as a descendant of Bron, Joseph of Arimathea's brother-in-law, whose line was entrusted with the Grail by Joseph.
Knighthood and the Grail Quest[edit]
Sir Galahad in a tapestry by Edward Burne-Jones (c. 1894)
"How Galahad drew out the sword from the floating stone at Camelot." Arthur Rackham's illustration for Alfred W. Pollard's The Romance of King Arthur (1917)
Upon reaching adulthood, Galahad is reunited with his father Sir Lancelot, who knights him. Sir Galahad is then brought to King Arthur's court at Camelot during Pentecost, where he is accompanied by a very old knight who immediately leads him over to the Round Table and unveils his seat at the Siege Perilous, an unused chair that has been kept vacant for the sole person who will succeed in the quest of the Holy Grail. For all others who have aspired to sit there, it has proved to be immediately fatal. Sir Galahad survives this test, witnessed by King Arthur who, upon realizing the greatness of this new knight, leads him out to the river where a sword lies in a stone with an inscription reading "Never shall man take me hence but only he by whose side I ought to hang; and he shall be the best knight of the world." (The embedding of a sword in a stone is also an element of the legends of Arthur's original sword, the sword in the stone.) Galahad accomplishes this test with ease, and King Arthur swiftly proclaims him to be the greatest knight ever. Sir Galahad is promptly invited to become a Knight of the Round Table, and soon afterwards, King Arthur's court witnesses an ethereal vision of the Grail. The quest to seek out this holy object is begun at once.
All of the Knights of the Round Table set out to find the Grail.[2] It is Sir Galahad who takes the initiative to begin the search for the Grail; the rest of the knights follow him. King Arthur is sorrowful that all the knights have embarked thus, for he discerns that many will never be seen again, dying in their quest. Arthur fears that it is the beginning of the end of the Round Table. This might be seen as a theological statement that concludes that earthly endeavors must take second place to the pursuit of the holy. Galahad, in some ways, mirrors Arthur, drawing a sword from a stone in the way that King Arthur did. In this manner, Sir Galahad is declared to be the chosen one.
Galahad for the most part travels alone, smiting his enemies, rescuing Sir Percival from twenty knights and saving maidens in distress, until he is finally reunited with Sir Bors and Sir Percival. These three knights then come across Sir Percival's sister, who leads them to the grail ship. They cross the sea in this ship and when they arrive on a distant shore, Percival's sister is forced to die to save another. Sir Bors departs from the company in order to take her body back to her own country for a proper burial.
Ascension to Heaven[edit]
Sir Galahad discovers the Grail in a 1895 painting by Edwin Austin Abbey
Sir Galahad by Joseph Noel Paton
After many adventures, Sir Galahad and Sir Percival find themselves at the court of King Pelles and Eliazar, his son. These men bring Galahad into a room where he is finally allowed to see the Holy Grail. Galahad is asked to take the vessel to the holy island Sarras. After seeing the Grail, Galahad, however, makes the request that he may die at the time of his choosing. So it is, while making his way back to Arthur’s court, Sir Galahad is visited by Joseph of Arimathea, and thus experiences such glorious rapture that he makes his request to die. Galahad bids Percival and Bors farewell, and angels take him to Heaven, an ascension witnessed by Sir Bors and Percival. While it is not explicit that the Holy Grail is never to be seen again on earth, it is stated (in Malory's Le Morte d'Arthur) that there has since then been no knight capable of obtaining it.
Sir Galahad's success in the high religious endeavor that was the search for the Holy Grail was predicted before his birth, not only by King Pelles but by Merlin: Merlin had told Uther Pendragon that there was one who would fill the place at the “table of Joseph”, but that he was not yet born. At first this knight was believed to be Perceval; however it is later discovered to be Galahad. Galahad's conception is later glossed by Malory: "And so by enchantment [Elaine] won the love of Sir Lancelot, and certainly she loved him again passing well.” Galahad was conceived for the divine purpose of seeking the Holy Grail.[3] But Galahad's conception happened through pure deceit; under a cloak of deception that was very similar, in fact, to that which led to the conception of Arthur and of Merlin himself. Despite this, Galahad is the knight who is chosen to find the Holy Grail. Galahad, in the Lancelot-Grail cycle and in Malory's retelling, is exalted above all the other knights; he is the one worthy enough to have the Holy Grail revealed to him and to be taken into heaven.
Victorian portrayals[edit]
Alfred, Lord Tennyson[edit]
Statue of Galahad by Alfred Turner with quotation from Tennyson and list of fallen Old Victorians; World War I memorial at Victoria College, Jersey
In Sir Thomas Malory's Le Morte d'Arthur, Galahad's incredible prowess and fortune in the quest for the Holy Grail are traced back to his piety. According to the legend, only pure knights may achieve the Grail. While in a specific sense, this "purity" refers to chastity, Galahad appears to have lived a generally sinless life and so as a result, he lives and thinks on a level entirely apart from the other knights around him. This quality is reflected in Alfred Lord Tennyson's poem "Sir Galahad":
My good blade carves the casques of men,
My tough lance thrusteth sure,
My strength is as the strength of ten,
Because my heart is pure.[4]
Galahad is able to conquer all of his enemies because he is pure. In the next verse of this poem, Tennyson continues to glorify Galahad for remaining pure at heart, by putting these words into his mouth:
I never felt the kiss of love,
Nor maiden's hand in mine.[4]
Sir Galahad pursues a single-minded and lonely course, sacrificing much in his determination to aspire to a higher ideal:
Then move the trees, the copses nod,
Wings flutter, voices hover clear
"O just and faithful knight of God!
Ride on! the prize is near."[4]
Tennyson's poem follows Galahad's journey to find the Holy Grail but ends while he is still riding, still seeking, still dreaming; as if to say that the quest for the Holy Grail is an ongoing task. Unlike many other portrayals of the legend of Sir Galahad, Tennyson has Sir Galahad speak in the first person, gives the reader his thoughts and feelings as he rides on his quest, rather than just the details of his battles, as in Malory.
William Morris[edit]
Sir Galahad's thoughts and aspirations have been explored as well by William Morris in his poem Sir Galahad, a Christmas Mystery,[5] published in 1858. In this poem, written more than twenty years after Tennyson's Sir Galahad, Galahad is "fighting an internal battle between the ideal and the human", believing that he is like God and that he is able to be a "saviour capable of imparting grace",[6] following a dream in which he saves a dying knight with a kiss. Galahad isolates himself because he is a “self-centred figure".[6] Morris’ poem places this emotional conflict at centre stage, rather than concentrating upon Galahad’s prowess for defeating external enemies, and the cold and the frost of a Christmas period serve to reinforce his "chilly isolation".[6] The poem opens on midwinter's night; Sir Galahad has been sitting for six hours in a chapel, staring at the floor. He muses to himself:
Night after night your horse treads down alone
The sere damp fern, night after night you sit
Holding the bridle like a man of stone,
Dismal, unfriended: what thing comes of it?[7]
Twentieth century and later[edit]
Literature[edit]
A poem by Thomas de Beverly published in 1925, "The Birth of Sir Galahad", tells of the events leading up to the conception of Sir Galahad, his birth and a visit soon afterwards by Sir Bors, to see Elaine and the baby Galahad. Sir Bors sees a vision of the Holy Grail whilst in a chapel with the baby and his mother. Of the three knights who are untainted by sin – Sir Perceval, Sir Bors, and Sir Galahad – Galahad is the only one predestined to achieve this honor of attaining the Holy Grail. [8] Alec Warner noted the similarity with God declaring that King David had shed much blood and was not worthy of building the Jerusalem Temple, this honour falling only to his son King Solomon.[9]
Edmund Wilson's story "Galahad", published in 1927, presents a humorous story about the attempted seduction of a virginal high school student by a debutante.
In John Erskine's novel Galahad: Enough of His Life to Explain His Reputation, Galahad’s main tutor for his knightly training is not his father Lancelot or King Arthur, but in fact Queen Guinevere. Erskine follows Malory’s text through Galahad’s childhood. Just as in Le Morte d'Arthur, Galahad grows up in the court of his mother Elaine and travels to King Arthur’s court to be reunited with his father and to become a knight. When Galahad arrives at the court, Guinevere is upset with Lancelot because he does not want to be her lover anymore and she takes an interest in the young knight, persuading him to go above and beyond regular knightly duties. At first Galahad seems content with just being an ordinary Knight of the Round Table, going out on quests and saving maidens in distress. Guinivere is the main contributor to Galahad’s destiny in this work. She says “you’ll waste your life if you don’t accomplish something new, something entirely your own".[10] This is Galahad’s motivation to seek the Grail.
Matt Cohen satirises Galahad’s virtuous character in his short story Too Bad Galahad. Cohen describes Galahad as the “perfect knight” who does no harm. In part, “Galahad’s virtue is a compensation for Lancelot’s indiscretion". However, Cohen, instead of glorifying Galahad's virtuous character, makes it into a weakness. He writes that Galahad tried to “swear and kill and wench with the rest of the knights but he could never really get into it". Cohen's Galahad is not well liked by the other knights because he is so perfect and seems unapproachable. Cohen pokes fun at Galahad's “calling” by saying that his life would be wasted if he failed to remain pure and holy in order to be the bearer of the Holy Grail.
Thomas Berger's Arthur Rex portrays Galahad differently. In most works, Galahad is depicted as an emblem of perfection. Berger shows Galahad’s arrival to court in a more satirical light. Gawain comments that he cannot tell whether he is male or female. Berger shows that even though Galahad is in fact the greatest knight in the world, he does not appear to be. Appearance versus reality is a common theme throughout this novel. In most versions of the story of Sir Galahad, Galahad's death comes about after his greatest achievement, that of the Holy Grail. In Arthur Rex, however, Galahad is killed in a battle where he mistakes his own father Lancelot for a Saxon. Galahad is too weak and sleeps through most of the battle and, when he does wake up, he kills his father as well as being killed himself. Just like the Grail, perfection is unattainable; only glimpses of the Grail and of perfection can be seen.
In the Everworld fantasy novel series written by K. A. Applegate, the character David Levin fights with the Sword of Galahad, after witnessing Sir Galahad's death. David is the self-appointed leader of the protagonists and takes on all the burdens of the group, being troubled by his past in which he was cowardly and feeling he must prove himself to be a man - in which could be seen some parallels with Galahad's life.
In Ayn Rand's novel We the Living the character Andrei Taganov, an honest and idealistic revolutionary Communist, sacrifices his career and resorts to blackmail in order to save the life of Leo, the lover of Kira—the woman that Andrei loves; though hating Leo and intensely jealous of him, Andrei puts Kira's happiness before his own. The villain Pavel Syerov calls Andrei in derision "Sir Galahad of the blackmail sword";[11] thereupon, Andrei accepts the comparison as appropriate.
Knight Galaad of Caer Benic, working for King Arthur, appears in The Lady of the Lake, the final last book of The Witcher saga by Andrzej Sapkowski. At the very beginning of the story, as a denizen of a parallel world, encounters Cirilla of Cintra and calls her the Lady of the Lake.
Music[edit]
Joan Baez uses the legend metaphorically in her song "Sweet Sir Galahad", which is about the courtship of her sister.
The band America mentions Galahad ("... or the tropic of Sir Galahad") in the chorus for the song "Tin Man".
On his EP To the Yet Unknowing World, Josh Ritter has a song called "Galahad", which jokes about Galahad's chastity and the 'virtue' of his supposed purity.
Film and television[edit]
Galahad is portrayed by Michael Palin in Monty Python and The Holy Grail. His chastity and purity is put to the test when he finds a castle full of sexually charged nuns.
Galahad is portrayed by Hugh Dancy in the 2004 action adventure King Arthur.
John Larroquette played an elderly, yet immortal Galahad (now known as Jenkins) in the TV series The Librarians.
A Knightmare frame that is piloted by the Knight of One, Bismarck Waldstein, is named Galahad from the anime Code Geass.
In the film Kingsman: The Secret Service Galahad is the code name of Colin Firth's character Harry Hart.
Games[edit]
In the video game Fate/Grand Order, Galahad is a Heroic Spirit that was fused with a girl, making the Demi-Servant Mash Kyrielight, under the class of Shielder.
In the 2015 video game The Order: 1886, the main character is an heir to the title of Sir Galahad, and is therefore referred to as such.
The living card game Android: Netrunner[12] features a card named Galahad. It belongs to a sub-category of Intrusion Countermeasures Electronics called "Grail," to which Lancelot, Merlin, and Excalibur also belong.
The board game Shadows Over Camelot features Sir Galahad as one of the characters players can select.
He is also represented by Silver the Hedgehog in Sonic and the Black Knight.
See also[edit]
"Sir Galahad" (poem)
HMS Sir Galahad—three Royal Navy vessels named after him, including one lost in the Falklands War
References[edit]
Jump up ^ Pauline Matarasso, The Redemption of Chivalry. Geneva, 1979.
Jump up ^ Vinaver, Eugene, 1971. Malory: Works. Oxford University Press. The Tale of the Sankgreal, Briefly Drawn out of French, which is a Tale Chronicled for One of the Truest and one of the Holiest that is in this World. 1. "The Departure". pp. 515–524.
Jump up ^ Waite, Arthur. The Holy Grail: The Galahad Quest in the Arthurian Literature. New York: University Books, 1961.
^ Jump up to: a b c Tennyson, Alfred Lord: Wordsworth Poetry Library, 1994. The Works of Alfred Lord Tennyson. Wordsworth Editions Limited. Sir Galahad, published 1834. pp. 181–182. Beginning of the first stanza. Camelot Project
Jump up ^ Sir Galahad, a Christmas Mystery Camelot Project
^ Jump up to: a b c Stevenson, Catherine Barnes; Hale, Virginia (2000). "Medieval Drama and Courtly Romance in William Morris' 'Sir Galahad, A Christmas Mystery'". Victorian Poetry. 38 (3): 383–91. doi:10.1353/vp.2000.0038.
Jump up ^ Morris, William. 1858. Sir Galahad, A Christmas Mystery. Camelot Project Sixth stanza.
Jump up ^ Thomas de Beverly. 1925. The Birth of Galahad. Camelot Project
Jump up ^ 1 Chronicles, Ch. 22, 8, - quoted in Alec G. Warner, Biblical Motives in Twentieth Century Literature" in Barbara Kid (ed.) "New Essays on British and American Literature", New York, 1982.
Jump up ^ Erskine 192
Jump up ^ Ayn Rand, We the Living, Part Two, Ch. KIV.
Jump up ^ Fantasy Flight Games
Bibliography[edit]
Atkinson, Stephen C. B. "Prophecy and Nostalgia: Arthurian Symbolism at the Close of the English Middle Ages". In Mary F. Braswell and John Bugge (eds.), Arthurian Tradition Essays in Convergence. Tuscaloosa: University of Alabama, 1988. 90–95. Print. Atkinson analyses Malory's motives for writing about the Holy Grail quest. He compares the knights and focuses on how Galahad sticks out from the rest of the knights.
Berger, Thomas. Arthur Rex: A Legendary Novel. Boston: Little, Brown, 1990. Print.
Cohen, Matt. Too Bad Galahad. Toronto: The Coach House Press, 1972. Print. A comical approach to the legend of Sir Galahad, his quest for the Holy Grail, and his pure character is made to seem foolish.
De Beverley, Thomas. The Birth of Sir Galahad 1925. <http://www.lib.rochester.edu/camelot/TDGalahad.htm>. This poem gives details regarding how Elaine, daughter of King Pellas, receives a magic ring that will trick Lancelot into sleeping with her and conceiving Galahad.
Erskine, John. Galahad: Enough of His Life to Explain His Reputation. Indianapolis: The Bobbs-Merrill Company, 1926. Print. Follows the story of Galahad’s conception and his whole life. Underlines the influence of Guinevere on Galahad’s knightly training, which ultimately pushed him to exceed all others who surrounded him.
Hyatte, Reginald. "Reading Affective Companionship in the Prose Lancelot". Neophilologus 83 (1999): 19–32. Print. Explores the varying speculation gravitating around a potential homosexual relationship between Galahad and Lancelot.
Kennedy, Edward D. "Visions of History: Robert de Boron and English Arthurian Chroniclers". Fortunes of King Arthur. Cambridge: D.S. Brewer, 2005. 29+. Print. Examines the relationships between the Holy Grail quest and Galahad by giving overviews of other Author’s inquires.
Malory, Thomas. Le Morte Darthur: The Winchester Manuscript. New York: Oxford University Press, 1998. Print. Follows the quest for the Holy Grail and how Galahad became knighted by his father.
Mieszkowski, Gretchen. "The Prose Lancelot's Galehot, Malory’s Lavin, and the Queering of Late Medieval Literature.” Arthuriana 5.1 (1995): 21–51.
Monty Python and the Holy Grail. Dir. Terry Gilliam and Terry Jones. Perf. John Chapman and John Cleese. Python Pictures, 1974. DVD. The movie makes a satire of Galahad’s purity and chastity in the scene with the castle full of beautiful women.
Ruud, Jay. "Thomas Berger's Arthur Rex: Galahad and Earthly Power". Critique 25.2 (1984): 92–99. Print. This text expresses how Galahad epitomised perfection in knightly-hood, the clear emulation of him by other knights and the truth behind his personal actions.
Stevenson, Catherine B., and Virginia Hale. "Medieval Drama and Courtly Romance in William Morris' 'Sir Galahad, A Christmas Mystery'". Victorian Poetry 38.3 (2000): 383–391. Print. Shows how Galahad is depicted in William Morris’ “Sir Galahad, A Christmas Mystery”. Displays Galahad’s struggle between being perfect and being human.
Tennyson, Alfred. "Sir Galahad". Galahad and the Grail. University of British Columbia. Web. 17 Nov. 2009. <http://faculty.arts.ubc.ca/sechard/344GAL.HTM>. This site contained many pictures depicting Galahad accompanied by groups of angels. The story accounts Galahads emotions before embarking on the quest for the Grail.
Waite, Arthur. The Holy Grail: The Galahad Quest in the Arthurian Literature. New York: University Books, 1961. Print. This text gives a detailed discourse covering Galahad’s life story from his birth to his death, with specific emphasis on his contribution to the quest for the Holy Grail.
Wilson, Edmund. "Galahad". The American Caravan. Ed. Van Wyck Brooks, Alfred Kreymborg, Lewis Mumford, and Paul Rosenfeld. New York: Macaulay Company, 1927. Print.
External links[edit]
Wikimedia Commons has media related to Galahad.
Alfred Tennyson's poem "Sir Galahad"
Thomas De Beverley's poem "The Birth of Sir Galahad"
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Horses in the United States
From Wikipedia, the free encyclopedia
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Horses on the Warm Springs Indian Reservation in north central Oregon, with Mount Jefferson in the background
Horses in the United States have significant popularity and status that is acknowledged by a number of observers and researchers. There are about 9.2 million horses in the country[1] and 4.6 million citizens are involved in the horse business.[2][3] In addition, there are about 33,000 feral horses that roam freely in a wild state in certain parts of the country.
The horse evolved in the Americas, but became extinct between 8,000 and 12,000 years ago. When the Spanish arrived on the American mainland in the 16th century, they brought horses with them and re-established the animals on the continent.
Contents
[hide]
1 Evolution
2 Extinction and return
2.1 Alternate theories
3 Historic period
4 Statistics
5 References
6 External links
Evolution[edit]
Main article: Evolution of the horse
Hagerman horse skeleton
Fossils of the earliest direct ancestor to the modern horse, Eohippus have been found in the Eocene layers of North American strata, mainly in the Wind River basin in Wyoming.[4] Fossils found at the Hagerman Fossil Beds in Idaho, called the Hagerman horse or Equus simplicidens are from the Pliocene, dating to about 3.5 million years ago (mya). Paleontologists determined the fossils represented the oldest remains of the genus Equus.[5] The genus Equus, which includes all extant equines, was plentiful in North America and spread into the Old World by about 2.5 mya.[6]
A 2005 genetic study of fossils found evidence for three genetically divergent equid lineages in Pleistocene North and South America.[7][8] Recent studies suggest all North American fossils of caballine-type horses, including both the domesticated horse and Przewalski's horse,[8] belong to the same species: E. ferus. Remains attributed to a variety of species and lumped as New World stilt-legged horses probably all belong to a second closely related species that was endemic to North America.[7] Digs in western Canada have unearthed clear evidence horses existed in North America as recently as 12,000 years ago.[9] Other studies produced evidence that horses in the Americas existed until 8,000–10,000 years ago.[6]
Extinction and return[edit]
All Equidae in North America ultimately became extinct, along with several other megafauna. The causes of this extinction have been debated. Given the suddenness of the event and because these mammals had been flourishing for millions of years previously, something quite unusual must have happened. The first main hypothesis attributes extinction to climate change. For example, in Alaska, beginning approximately 12,500 years ago, the grasses characteristic of a steppe ecosystem gave way to shrub tundra, which was covered with unpalatable plants.[10][11] However, it has been proposed that the steppe-tundra vegetation transition in Beringia may have been a consequence, rather than a cause, of the extinction of megafaunal grazers.[12]
The other hypothesis suggests extinction was linked to overexploitation of native prey by newly arrived humans. The extinctions were roughly simultaneous with the end of the most recent glacial advance and the appearance of the big game-hunting Clovis culture.[13][14] Several studies have indicated humans probably arrived in Alaska at the same time or shortly before the local extinction of horses.[14][15][16]
Horses returned to the Americas thousands of years later, well after domestication of the horse, beginning with Christopher Columbus in 1493. These were Iberian horses first brought to Hispaniola and later to Panama, Mexico, Brazil, Peru, Argentina, and, in 1538, Florida.[17] The first horses to return to the main continent were 16 specifically identified horses brought by Hernán Cortés in 1519. Subsequent explorers, such as Coronado and De Soto brought ever-larger numbers, some from Spain and others from breeding establishments set up by the Spanish in the Caribbean.[18]
These domesticated horses were the ancestral stock of the group of breeds or strains known today as the Colonial Spanish Horse. They predominated through the southeast and western United States from 16th century until about 1850, when crossbreeding with larger horse breeds changed the phenotype and diluted the Spanish bloodlines.[19] Later, some horses became strayed, lost or stolen, and proliferated into large herds of feral horses that became known as mustangs.[18] Modern domesticated horses that retain Colonial Spanish type include the Spanish Mustang, Choctaw horse, Florida Cracker horse, and the Marsh Tacky.[20]
Alternate theories[edit]
Some researchers posit that horses survived the ice age in North America, but were slaughtered by the American government in the late 19th century to restrict the mobility of aboriginal Americans.[21] This theory mostly comes from Dakota/Lakota oral histories, which refer to straight-backed ponies, around 13 hands tall, with very powerful lungs.
Historic period[edit]
"Apsaroka Horse", depicting a horse of the Crow tribe, c. 1909
European settlers brought a variety of horses to the Americas. The first imports were smaller animals suited to the size restrictions imposed by ships. Starting in the mid-19th century, larger draft horses began to be imported, and by the 1880s, thousands had arrived.[22] Formal horse racing in the United States dates back to 1665, when a racecourse was opened on the Hempstead Plains near Salisbury in what is now Nassau County, New York[23]
There are multiple theories for how Native American people obtained horses from the Spanish, but early capture of stray horses during the 16th century was unlikely due to the need to simultaneously acquire the skills to ride and manage them. It is unlikely that Native people obtained horses in significant numbers to become a horse culture any earlier than 1630–1650. From a trade center in the Santa Fe, New Mexico area, the horse spread slowly north.[24] The Comanche people were thought to be among the first tribes to obtain horses and use them successfully.[25] By 1742, there were reports that the Crow and Blackfoot people had horses.[24] The horse became an integral part of the lives and culture of Native Americans, especially the Plains Indians, who viewed them as a source of wealth and used them for hunting, travel, and warfare.[26]
In the 19th century, horses were used for many jobs. In the west, they were ridden by cowboys for handling cattle on the large ranches of the region and on cattle drives.[27] In cities, including transporting people via carriage and horse-drawn public transport. They were used for hauling freight and for farming. In some cases, their labor was deemed more efficient than using steam-powered equipment to power certain types of mechanized equipment. At the same time, the maltreatment of horses in cities such as New York, where over 130,000 horses were used, led to the creation of the first ASPCA in 1866.[28] In the 19th century, the Standardbred breed of harness racing horse developed in the United States,[29] and many Thoroughbred horse races were established.
Horse-drawn sightseeing bus, 1942
At the start of the 20th century, the United States Department of Agriculture began to establish breeding farms for research, to preserve American horse breeds, and to develop horses for military and agricultural purposes.[22] However, after the end of World War I, the increased use of mechanized transportation resulted in a decline in the horse populations, with a 1926 report noting horse prices were the lowest they had been in 60 years.[30] Horse numbers rebounded in the 1960s, as horses came to be used for recreational purposes.[31]
Statistics[edit]
In 1912, the United States and Russia held the most horses in the world, with the U.S. having the second-highest number.[32] There were an estimated of 20 million horses in March 1915 in the United States.[33] A USDA census in 1959 showed the horse population had dropped to 4.5 million. Numbers began to rebound somewhat, and by 1968 there were about 7 million horses, mostly used for riding.[31] In 2005, there were about 9 million horses.[34]
There are about 33,000 free-roaming horses in the western United States under the supervision of the Bureau of Land Management.[35] Additional feral horse populations exist elsewhere in the United States, especially on several islands off the Atlantic coast, where the National Park Service oversees populations of the Banker horse in North Carolina,[36] the Cumberland Island horse in Georgia,[37] and the horses on the Maryland side of Assateague Island, home to the Chincoteague pony.[38] In Canada, a similar Atlantic population is the Sable Island horse of Nova Scotia.[39]
References[edit]
Jump up ^ Vialkely, M.K. (June 2008). "Do You Hear the Call?" (PDF). United States Equestrian Federation. p. 51. Retrieved May 18, 2015.
Jump up ^ "USEF Interscholastic Riding Programs Guide" (PDF). United States Equestrian Federation. p. 1. Retrieved May 18, 2015.
Jump up ^ "The Industry & Media Influence". theequestrianchannel.com. Retrieved May 19, 2015.
Jump up ^ MacFadden, B. J. (1976). "Cladistic analysis of primitive equids with notes on other perissodactyls". Syst. Zool. 25 (1): 1–14. JSTOR 2412774. doi:10.2307/2412774.
Jump up ^ McDonald, G. (March 1993). "Hagerman "Horse" – Equus simplicidens". The Fossil Record. Archived from the original on January 3, 2007.
^ Jump up to: a b Azzaroli, A. (1992). "Ascent and decline of monodactyl equids: a case for prehistoric overkill" (PDF). Ann. Zool. Finnici. 28: 151–163.
^ Jump up to: a b Weinstock, J.; et al. (2005). "Evolution, systematics, and phylogeography of Pleistocene horses in the New World: a molecular perspective". PLoS Biology. 3 (8): e241. PMC 1159165  . PMID 15974804. doi:10.1371/journal.pbio.0030241. Retrieved December 19, 2008.
^ Jump up to: a b Orlando, L.; et al. (2008). "Ancient DNA Clarifies the Evolutionary History of American Late Pleistocene Equids". Journal of Molecular Evolution. 66 (5): 533–538. PMID 18398561. doi:10.1007/s00239-008-9100-x.
Jump up ^ Singer, Ben (May 2005). A brief history of the horse in America. Canadian Geographic Magazine. Archived from the original on August 19, 2014. Retrieved October 16, 2009.
Jump up ^ LeQuire, Elise (January 4, 2004). "No Grass, No Horse". The Horse, online edition. Retrieved June 8, 2009.
Jump up ^ Guthrie, R. D. (November 13, 2003). "Rapid body size decline in Alaskan Pleistocene horses before extinction". Nature. 426 (6963): 169–171. PMID 14614503. doi:10.1038/nature02098. Retrieved December 30, 2010.
Jump up ^ Zimov, S. A.; Chuprynin, V. I.; Oreshko, A. P.; Chapin, F. S.; Reynolds, J. F.; Chapin, M. C. (Nov 1995). "Steppe-tundra transition: a herbivore-driven biome shift at the end of the Pleistocene". The American Naturalist. 146 (5): 765–794. JSTOR 2462990. doi:10.1086/285824.
Jump up ^ "Ice Age Horses May Have Been Killed Off by Humans". National Geographic News. May 1, 2006.
^ Jump up to: a b Buck, Caitlin E.; Bard, Edouard (2007). "A calendar chronology for Pleistocene mammoth and horse extinction in North America based on Bayesian radiocarbon calibration". Quaternary Science Reviews. 26 (17–18): 2031. doi:10.1016/j.quascirev.2007.06.013.
Jump up ^ Solow, Andrew; Roberts, David; Robbirt, Karen (May 9, 2006). Haynes, C. Vance, ed. "On the Pleistocene extinctions of Alaskan mammoths and horses". Proceedings of the National Academy of Sciences of the United States of America (19 ed.). Proceedings of the National Academy of Sciences of the United States of America. 103 (19): 7351–3. PMC 1464344  . PMID 16651534. doi:10.1073/pnas.0509480103.
Jump up ^ Guthrie, R. D. (May 11, 2006). "New carbon dates link climatic change with human colonization and Pleistocene extinctions". Nature. 441 (7090): 207–209. PMID 16688174. doi:10.1038/nature04604. Retrieved December 30, 2010.
Jump up ^ Luís, Cristina; et al. (2006). "Iberian Origins of New World Horse Breeds". Journal of Heredity. 97 (2): 107–113. PMID 16489143. doi:10.1093/jhered/esj020.
^ Jump up to: a b Rittman, Paul. "Spanish Colonial Horse and the Plains Indian Culture" (PDF). Retrieved January 18, 2015.
Jump up ^ "Colonial Spanish Horse". Livestock Conservancy. Retrieved May 19, 2015.
Jump up ^ "Conservation Priority List – Horses". Livestock Conservancy. Retrieved May 19, 2015.
Jump up ^ Henderson, Claire. "The Aboriginal North American Horse (retrieved 07-10-2016)" (PDF). Archived from the original on January 12, 2017. CS1 maint: BOT: original-url status unknown (link)
^ Jump up to: a b Adams, Kristina (December 19, 2014). "Horses in History – Introduction – A Horse is a Horse". USDA National Agricultural Library. Archived from the original on April 30, 2015. Retrieved May 19, 2015.
Jump up ^ "Horse Racing History". Horseracing-hq.com. Retrieved April 8, 2014.
^ Jump up to: a b Haines, Francis (January 1938). "Where Did the Plains Indians Get Their Horses?" (PDF). American Anthropologist. 40 (1): 112–117. doi:10.1525/aa.1938.40.1.02a00110. Retrieved May 19, 2015.
Jump up ^ Quammen, David (March 2014). "People of the Horse". National Geographic. Retrieved May 19, 2015.
Jump up ^ "Power Of The Plains". American Museum of Natural History. Retrieved May 19, 2015.
Jump up ^ "Out On The Range". American Museum of Natural History. Retrieved May 19, 2015.
Jump up ^ "In the City". American Museum of Natural History. Retrieved May 19, 2015.
Jump up ^ "New to racing: A history of the Standardbred". Standardbred Canada. 2014. Retrieved June 27, 2014.
Jump up ^ "Horse Production Falling". Yearbook of Agriculture 1926. USDA. pp. 437–439. Missing or empty |url= (help); |access-date= requires |url= (help)
^ Jump up to: a b "Recreation: Return of the Horse". Time. May 17, 1968. Retrieved May 19, 2015.
Jump up ^ Industry, United States. Bureau of Animal (1912). Report of the Chief of the Bureau of Animal Industry, United States Department of Agriculture. U.S. Government Printing Office. p. 106.
Jump up ^ Derry, Margaret. Horses in Society: A Story of Animal Breeding and Marketing, 1800–1920. University of Toronto Press. p. 131.
Jump up ^ "More horses sent abroad for slaughter after US ban". USATODAY.com. 2008.
Jump up ^ "The West is on the brink of a wild horse apocalypse. (No, really.) – The Washington Post". August 26, 2013.
Jump up ^ "Ocracoke Ponies: The Wild Bankers of Ocracoke Island". National Park Service: Cape Hatteras National Seashore. U.S. Department of the Interior, National Park Service. November 7, 2003. Archived from the original on December 11, 2008. Retrieved November 11, 2008.
Jump up ^ "Feral Animals on Cumberland Island". Wild Cumberland. Retrieved March 31, 2012.
Jump up ^ "Assateague's Wild Horses". nps.gov. Retrieved June 10, 2010.
Jump up ^ Dutson, Judith (2005). Storey's Illustrated Guide to 96 Horse Breeds of North America. Storey Publishing. pp. 217–219. ISBN 1580176135.
External links[edit]
Media related to Horses of the United States at Wikimedia Commons
Media related to Horse riding in the United States at Wikimedia Commons
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United States portal
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PC System Design Guide
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (February 2016) (Learn how and when to remove this template message)
The PC System Design Guide (also known as the PC 97, PC 98, PC 99, or PC 2001 specification) is a series of hardware design requirements and recommendations for IBM PC compatible personal computers, compiled by Microsoft and Intel Corporation during 1997–2001. They were aimed at helping manufacturers provide hardware that made the best use of the capabilities of the Microsoft Windows operating system, and to simplify setup and use of such computers.
Every part of a standard computer and the most common kinds of peripheral devices are defined with specific requirements. Systems and devices that meet the specification should be automatically recognized and configured by the operating system.
Contents
[hide]
1 Versions
1.1 PC 97
1.2 PC 98
1.3 PC 99
1.4 PC 2001
2 Color-coding scheme for connectors and ports
3 See also
4 References
5 External links
Versions[edit]
Four versions of the PC System Design Guide were released. Within each version, a distinction was made between the requirements of a Consumer PC, an Office PC and an Entertainment PC.
Version
Date
PC 97 February 9, 1998
PC 98 December 31, 1998
PC 99 July 14, 1999
PC 2001 November 2, 2000
PC 97[edit]
Initial version.
Introduced color code for PS/2 keyboard (purple) and mouse (green) connectors
PC 98[edit]
Aimed at systems to be used with Windows 98 or Windows 2000. Required:
200 MHz Pentium processor with MMX technology (or equivalent performance)
256 KB L2 cache
32 MB RAM (recommended: 64 MB of 66 MHz DRAM)
ACPI 1.0 (including power button behavior)
Fast BIOS power-up (limited RAM test, no floppy test, minimal startup display, etc.)
BIOS Y2K compliance
PXE preboot environment
It was published as ISBN 1-57231-716-7.
PC 99[edit]
Required:
300 MHz CPU
64 MB RAM
USB
Comprehensive color-coding scheme for ports and connectors (see below)
Strongly discouraged:
Non plug-and-play hardware
ISA slots
It was published as ISBN 0-7356-0518-1.
PC 2001[edit]
Final version. First to require IO-APICs to be enabled on all desktop systems. Places a greatly increased emphasis on legacy-reduced and legacy-free systems. Some "legacy" items such as ISA expansion slots and device dependence on MS-DOS are forbidden entirely, while others are merely strongly discouraged.[1]
Color-coding scheme for connectors and ports[edit]
Perhaps the most end-user visible and lasting impact of PC 99 was that it introduced a color code for the various standard types of plugs and connectors used on PCs.[2] As many of the connectors look very similar, particularly to a novice PC user, this made it far easier for people to connect peripherals to the correct ports on a PC. This color code was gradually adopted by almost all PC and motherboard manufacturers. Some of the color codes have also been widely adopted by peripheral manufacturers.
Color
Function
Connector on PC
Mouse and keyboard
Green
PS/2 mouse / pointing device 6-pin mini-DIN female
Purple
PS/2 keyboard 6-pin mini-DIN female
Gold
Game port / MIDI 15-pin D female
General input/output
White
USB 1 low speed and full speed USB Type A receptacle
Black
USB 2.0 high speed USB Type A receptacle
Sky blue
USB 3.0 SuperSpeed USB Type A SuperSpeed receptacle
Yellow
USB 3.0 SuperSpeed Always On even if the PC is turned off USB Type A SuperSpeed receptacle
Red
High-power USB (more than 500 mA current available) USB Type A receptacle
Grey
IEEE 1394 (FireWire) 6-pin FireWire 400 or 9-pin FireWire 800
Burgundy
Parallel port 25-pin D female
Teal or turquoise
Serial port 9-pin D male
Video
Blue
Analog monitor 15-pin VGA female
White
Digital monitor DVI female
Yellow
S-Video 4-pin mini-DIN
Yellow
Composite video RCA jack
Black
Digital audio/video HDMI or DisplayPort female
Audio
Pink
Analog microphone audio input (mono or stereo) 3.5 mm TRS
Light blue
Analog line level audio input 3.5 mm TRS
Lime green
Analog line level audio output, front stereo (speakers or headphones) 3.5 mm TRS
Black
Analog line level audio output, rear stereo (surround speakers) 3.5 mm TRS
Orange
Analog line level audio output, center and subwoofer (surround speakers) 3.5 mm TRS
Silver
Analog line level audio output, side stereo (surround speakers) 3.5 mm TRS
Orange
Digital audio output (coaxial S/PDIF) RCA connector
Black
Digital audio output (optical S/PDIF) TOSLINK
See also[edit]
Legacy-free PC
Multimedia PC
Sound card
References[edit]
Jump up ^ Robert Bruce Thompson, Barbara Fritchman Thompson. "PC Hardware in a Nutshell" (3rd ed.). O'Reilly & Associates, Inc. p. 1.1 PCs Defined. ISBN 0-596-00513-X. Archived from the original on July 11, 2011. Retrieved January 4, 2011. CS1 maint: Uses authors parameter (link)
Jump up ^ PC 99 System Design Guide, Intel Corporation and Microsoft Corporation, 14 July 1999. Chapter 3: PC 99 basic requirements (PC 99 System Design Guide (Self-extracting .exe archive). Requirement 3.18.3: Systems use a color-coding scheme for connectors and ports. Accessed 2009-02-05
External links[edit]
Legacy PC Design Guides – Microsoft Download Center
PDF versions:
PC 97 System Design Guide
PC 98 System Design Guide
PC 99 System Design Guide
PC 2001 System Design Guide
[hide]
v
t
e
Audio and video interfaces and connectors
Audio only
Analog
Interface: PC System Design Guide
Connectors: TRS 3.5 mm
Interface: Balanced audio
Connectors: TRS 6.53 mm
XLR
Digital
Interface: S/PDIF
Connectors: RCA jack (coaxial)
TOSLINK (optical)
BNC
Interface: AES3 (AES/EBU)
Connectors: RCA jack
XLR
TOSLINK (optical)
BNC
Video only
Analog
Interface: VGA
Connectors: DB-15
DVI-A
Interface: Composite
Connectors: RCA jack yellow
Interface: S-Video
Connectors: Mini-DIN 4 Pin
Interface: Component
Connectors: RCA jacks × 3
Interface: Composite
S-Video, and Component
Connectors: VIVO using Mini-DIN 9 Pin
Digital and
analog
Interface: DVI
Connectors: DVI-I/DVI-D
Video and audio
Digital
Interface: HDMI
Connectors: HDMI connector
Interface: DisplayPort
Connectors: DisplayPort connector
Interface: HDBaseT
Connectors: 8P8C connector
Retrieved from "https://en.wikipedia.org/w/index.php?title=PC_System_Design_Guide&oldid=810613418"
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Standards
IBM PC compatibles
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No Shelter
From Wikipedia, the free encyclopedia
Jump to: navigation, search
"No Shelter"
Single by Rage Against the Machine
from the album Godzilla: The Album
Released
12 February 1998
Format
CD, 7", 12"
Length
4:03
Songwriter(s)
Tim Commerford, Zack de la Rocha, Tom Morello, Brad Wilk
Rage Against the Machine singles chronology
"Vietnow"
(1997) "No Shelter"
(1998) "Guerrilla Radio"
(1999)
"Vietnow"
(1997) "No Shelter"
(1998) "Guerrilla Radio"
(1999)
"No Shelter" is a song by Rage Against the Machine, released in 1998 on the Godzilla soundtrack. It can also be found as a bonus track on the Australian, Japanese and European release of The Battle of Los Angeles in 1999. The song is about how the mass media distracts the public from more important issues in the world and manipulates people's minds.
Contents
[hide]
1 Lyric content
2 Critical response
2.1 Woodstock 1999
2.2 Contextual irony
3 Review
4 Music video
5 References to popular culture
6 Song appearances
7 External links
8 References
Lyric content[edit]
The song discusses consumerism and criticizes the feigned rebelliousness of teenaged consumerism, mentioning Nike and Coca-Cola particularly. Its central theme, however, is media control over public sentiment. In particular it attacks the historical inaccuracy of Steven Spielberg’s film Amistad.
Despite appearing on the Godzilla soundtrack, the song contains the following line:
Godzilla, pure motherfucking filler; get your eyes off the real killer.
The intro guitar riff bears similarity to The Rolling Stones' "Fingerprint File".
"No Shelter" made its live debut on January 28, 1999, at the Continental Arena in East Rutherford, NJ. That show was a benefit show for Mumia Abu-Jamal.
Critical response[edit]
Released "during the lull between Evil Empire and The Battle of Los Angeles" the band's critics held that the song's placement "in one of the biggest summer movies of 1998...reeked of selling out and hopping in bed with the enemy."[1] In response, guitarist Tom Morello told an interviewer for Kerrang! "A lot of times a soundtrack is an opportunity to collaborate with musicians you admire. It's an opportunity to work outside of your band, or exercise -- you know, to flex your musical abilities when Rage has downtime. Out of Godzilla, we happened to get a great song in No Shelter."[1]
Woodstock 1999[edit]
Appearing at Woodstock 1999 the band opened with the song. In a piece recalling his attendance at the performance journalist David Samuels noted "The cultural contradictions involved in [RATM's] playing agitprop to a $150-a-ticket crowd are evident from the band's first song, "No Shelter," a Marcusian anthem and also the bands contribution to the soundtrack for the movie Godzilla. It is at once an angry grad-student rant, denouncing the cultural myth that "buyin' is rebellin'," and also proof of the near-infinite capacity of that culture to absorb any criticism as long as it features kick-ass guitars."[2]
Contextual irony[edit]
In the Journal Studies in Popular Culture, scholar Jeffrey A. Hall examined the song in his essay "No Shelter in Popular Music: Irony and Appropriation in the Lyrical Criticism of Rage against the Machine".[3] Hall noted "Lead vocalist Zack de la Rocha attacks the entertainment industry and Hollywood films like Rambo and Amistad, yet the most potent lyric clearly addresses the motion picture Godzilla, the film the soundtrack was to promote. ..Clearly not a typical motion picture promotion. Textual analysis of the raw and rapid-fire lyrics of No Shelter reveals a leftist political attack consistent with positions RATM advanced in concerts, lyrics, and their well maintained website. A careful reading of the lyrics will reveal potent political attacks on the entertainment industry, the entirety of their rhetorical strategy is realized in the presence of this song on the soundtrack of Godzilla. Rage lyrically appropriates the soundtrack and utilizes the streamlined functioning of the corporate promotion to advance a criticism of Godzilla and Hollywood's consumption of audiences and their cultural identity. ...The presence of Burkean irony and refraction in No Shelter demonstrates that the band acknowledges its role the circular relationship between the text and its commercial context: the song is set forth as a promotion of the film and its soundtrack, and yet it returns as an assault on that very context. Their politically and commercially savvy attack on Godzilla creates the possibility of the very mechanisms that could stifle the impact of their leftist stance to be used to magnify and refract Rage's message throughout the chain of commercial promotion."[3]
Review[edit]
Billboard reviewed the song positively stating "Zack de la Rocha's word-heavy verses share the song's spotlight equally with the driving guitars, which at times pleasantly and distinctly evoke the concept--of Hendrix. The band's calculated ethos is juxtaposed with unbridled instrumental interludes that make you think that perhaps, for a moment, it could let down its guard. But tension is the act's trademark, and on No Shelter, it comes through once again."[4]
Music video[edit]
This video has a retro, 1920s "Golden Age" theme. It resembles the Industrial Revolution with scenes of workers in assembly lines, while company owners oversee the operations. The band plays throughout the video in a room that seems to be part of an abandoned building or factory. In the "board room", executives and developers plot out a sort of "helmet" with a video screen that covers the face. They experiment by putting the helmet on a teenager who is perturbed and upset. The video screen displays a mouth smiling. The executives declare the helmet a success, and shake hands. They take the teenager away in a van, and kill him in a remote area. Because the song was released for the 1998 film Godzilla, satirical "spoofs" of the movie's phrase "Size does matter" appear on billboards in the city scenes. They are:
"Mumia Abu-Jamal's cell is this big" (a tiny cell) -- "Justice does matter!"
"The crater at Hiroshima would stretch from here"... (zooms out to other end of city)... "to here." -- "History does matter!"
"Babies born into poverty in the U.S. each year would fill this building" (large building) -- "Inequality does matter!"
"Land stolen from Mexico equals five states" (darken area of US map, covering from California to Texas) -- "Imperialism matters!"
Interspersed throughout is a montage depicting the Scottsboro Boys and the impending execution and death by electric chair of Sacco and Vanzetti, both historical examples of unfair trials. Tom Morello's Fender Telecaster guitar can be seen sporting communist references such as the Peruvian 'Sendero Luminoso' or Shining Path in Spanish.
References to popular culture[edit]
The song contains multiple references to popular culture, criticizing corporate advertising and capitalism. It mentions numerous products, films, brands, and other topics. Among them are Steven Spielberg, Amistad, the VCR, Fourth Reich, Americana, Coca-Cola, Rambo, Nike, and the aforementioned Godzilla series.
Song appearances[edit]
"No Shelter" is featured daily as the closing theme song on "Red Heat" on Hardcore Sports Radio Sirius Satellite Channel 98 from the late fall of 2009 to mid-June 2010 at which point the show was augmented. The song is still featured as the closing before the augmented segment re-opens.
Nick Turse mentioned the song in his book The Complex: How the Military Invades Our Everyday Lives. Turse wrote "In the late 1990's the otherwise dreadful soundtrack for Godzilla, that blockbuster-flop of a movie, featured one cut that transcended its origins. No Shelter, by rebel rap/rockers Rage Against the Machine...the group decried: 'Tha thin line between entertainment and war.' The line had by then grown thin indeed. Today, it hardly exists. The military is now in the midst of a full-scale occupation of the entertainment industry, conducted with far more skill (and enthusiasm on the part of the occupied) than America's debacle in Iraq."[5]
External links[edit]
Wikimedia Commons has media related to Rage Against the Machine.
Official Rage Against the Machine Website
Axis of Justice Tom Morello and Serj Tankian's Activist Website "Axis Of Justice"
References[edit]
^ Jump up to: a b Colin Devenish (2001). Rage Against The Machine. St Martin's Press.
Jump up ^ David Samuels (November 1999). "Rock is Dead". Harpers Magazine.
^ Jump up to: a b Jeffrey A. Hall (2004). "Studies in Popular Culture". 26. Popular Culture Association in the South: 77–89.
Jump up ^ "Billboard". Howard Lander. June 27, 1998: 25.
Jump up ^ Nick Turse (2008). The Complex: How the Military Invades Our Everyday Lives. Metropolitan Books. p. 116.
[hide]
v
t
e
Rage Against the Machine
Zack de la Rocha
Tom Morello
Tim Commerford
Brad Wilk
Studio albums
Rage Against the Machine
Evil Empire
The Battle of Los Angeles
Renegades
Live albums
Live & Rare
Live at the Grand Olympic Auditorium
Demo albums
Rage Against the Machine
Video albums
Rage Against the Machine
The Battle of Mexico City
Live at the Grand Olympic Auditorium
Live at Finsbury Park
Singles
"Killing in the Name"
"Bullet in the Head"
"Bombtrack"
"Freedom"
"Year of tha Boomerang"
"Bulls on Parade"
"People of the Sun"
"Down Rodeo"
"Vietnow"
"The Ghost of Tom Joad"
"No Shelter"
"Guerrilla Radio"
"Sleep Now in the Fire"
"Testify"
"Calm Like a Bomb"
"Renegades of Funk"
"How I Could Just Kill a Man"
Other songs
"I'm Housin"
"Kick Out the Jams"
"Know Your Enemy"
"Maggie's Farm"
"Microphone Fiend"
"Street Fighting Man"
"Tire Me"
"Wake Up"
Concert tours
Rage Against the Machine Tour
1994–1995 Tour
Evil Empire Tour
The Battle of Los Angeles Tour
Reunion Tour
Related articles
Discography
Songs
Political views and activism
Audioslave
Prophets of Rage
Inside Out
Lock Up
One Day as a Lion
Street Sweeper Social Club
The Nightwatchman
WAKRAT
Retrieved from "https://en.wikipedia.org/w/index.php?title=No_Shelter&oldid=801177399"
Categories:
1998 singles
Rage Against the Machine songs
Songs about the media
Song recordings produced by Brendan O'Brien (record producer)
Anti-war songs
Protest songs
Songs written by Tom Morello
Songs written by Brad Wilk
Songs written by Tim Commerford
Songs written by Zack de la Rocha
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