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Ain't Too Proud to Beg
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For the TLC song, see Ain't 2 Proud 2 Beg.
"Ain't Too Proud to Beg"
Single by The Temptations
from the album Gettin' Ready
B-side
"You'll Lose a Precious Love"
Released
May 3, 1966
Format
7" single
Recorded
Hitsville USA (Studio A); January 4 and January 11, 1966
Genre
Soul, R&B
Length
2:36
Label
Gordy
G 7054
Songwriter(s)
Norman Whitfield, Edward Holland, Jr.
Producer(s)
Norman Whitfield
The Temptations singles chronology
"Get Ready"
(1966) "Ain't Too Proud to Beg"
(1966) "Beauty Is Only Skin Deep"
(1966)
"Get Ready"
(1966) "Ain't Too Proud to Beg"
(1966) "Beauty Is Only Skin Deep"
(1966)
"Ain't Too Proud to Beg"
Single by The Rolling Stones
from the album It's Only Rock 'n Roll
B-side
"Dance Little Sister"
Released
October 25, 1974
Format
7" single
Recorded
Musicland Studios, Munich; November 1973
Genre
Rock
Length
3:31
Label
Rolling Stones
Songwriter(s)
Norman Whitfield, Edward Holland, Jr.
Producer(s)
The Glimmer Twins
The Rolling Stones singles chronology
"It's Only Rock'n Roll (But I Like It)"
(1974) "Ain't Too Proud to Beg"
(1974) "Fool to Cry"
(1976)
"It's Only Rock'n Roll (But I Like It)"
(1974) "Ain't Too Proud to Beg"
(1974) "Fool to Cry"
(1976)
It's Only Rock 'n Roll track listing
10 tracks [show]
Side one
"If You Can't Rock Me"
"Ain't Too Proud to Beg"
"It's Only Rock 'n Roll (But I Like It)"
"Till the Next Goodbye"
"Time Waits for No One"
Side two
"Luxury"
"Dance Little Sister"
"If You Really Want to Be My Friend"
"Short and Curlies"
"Fingerprint File"
"Ain't Too Proud to Beg" is a 1966 song and hit single by The Temptations for Motown Records' Gordy label,[1] produced by Norman Whitfield and written by Whitfield and Edward Holland, Jr. The song peaked at number 13 on the Billboard Pop Chart, and was a number-one hit on the Billboard R&B charts for eight non-consecutive weeks.[2] The song's success, in the wake of the relative underperformance of the previous Temptations single, "Get Ready", resulted in Norman Whitfield replacing Smokey Robinson, producer of "Get Ready", as The Temptations' main producer. In 2004 it finished #94 in AFI's 100 Years...100 Songs poll thanks to its inclusion in The Big Chill soundtrack.
The Rolling Stones made the Billboard Pop Chart Top 20 with a 1974 single release, from their album It's Only Rock 'n Roll.
Contents
[hide]
1 Background
2 Production
3 Release
4 Norman Whitfield
5 Composition
6 Personnel
7 Cover Versions
8 Notes
9 External links
10 References
Background[edit]
Motown had a policy that the producer who had the biggest hits on a particular artist was assigned as the main producer for that artist, and was given preference when singles were selected for release by Motown's Quality Control department. By 1966, Motown artist, songwriter, and producer Smokey Robinson had by that default earned creative control over The Temptations, after a string of hits such as "The Way You Do the Things You Do", "My Girl", and "Since I Lost My Baby".
Norman Whitfield, an up-and-coming songwriter and producer at Motown who'd had some success with Marvin Gaye and The Velvelettes, had worked with the Temptations on singles such as "Girl (Why You Wanna Make Me Blue)" (1964), and coveted Robinson's role as their producer. Finally creating an instrumental track he thought would make it, Whitfield enlisted lyricist Edward Holland, Jr. (of Holland-Dozier-Holland fame) to write lyrics to Whitfield's instrumental. Although Holland didn't think Whitfield had a chance of stealing Robinson's act (especially since Robinson was Motown CEO Berry Gordy's best friend), he contributed his services to the song, resulting in "Ain't Too Proud to Beg".
Production[edit]
On Friday mornings at Motown's Hitsville USA offices, the creative team held Quality Control meetings, at which potential single releases were voted for or against release. To Whitfield's disappointment, "Ain't Too Proud to Beg" failed twice to make it through Motown's Friday morning Quality Control meetings, with Berry Gordy commenting that the song was good, but "needed more story". For the third recorded version of "Ain't Too Proud", Whitfield had David Ruffin's lead vocal arranged just above his actual vocal range. As a result, the singer was forced to strain through numerous takes in order to get out all of the song's high notes. By the end of the "Ain't Too Proud" recording session, recalls Temptation Otis Williams, Ruffin was "drowning in sweat and his glasses were all over his face".[1]
By this point, both the Temptations and Whitfield were confident they had a major hit on their hands. However, both "Ain't Too Proud" and "Get Ready", a Temptations track produced by Smokey Robinson with Eddie Kendricks on lead, turned up at the same Quality Control meeting. Since Robinson was the Temptations' main producer, his song was released and Whitfield's was shelved. Cornelius Grant, the Temptations' road guitarist, band director, and songwriter, recalled that after that decision was made, "it was as if the veins jumped out of Norman's neck." Whitfield was less than pleased at the Quality Control department's decision, and stated plainly that "never again am I gonna lose out on a release like that".[2]. As a compromise, Gordy promised Whitfield that "Ain't Too Proud" would be the next single if "Get Ready" failed to reach the Top 20 on the Billboard Pop Chart.
Release[edit]
"Get Ready" reached number-one on the Billboard R&B charts, but only number 29 on the pop charts. As promised, "Ain't Too Proud To Beg" was released as the next single. It also reached number one on the R&B charts, but made it into the top twenty at number thirteen. "Ain't Too Proud" replaced Sam & Dave's "Hold On! I'm a Comin'" as the R&B number-one single during the week of June 18, 1966, and held the position for four weeks until being replaced by Ray Charles' "Let's Go Get Stoned" during the week of July 16. The following week, Ain't Too Proud returned to the number-one position, where it remained for four more weeks until being replaced the week of August 20 by another Motown single, Stevie Wonder's cover of Bob Dylan's "Blowin' in the Wind".
The Temptations had been on tour during all of the office politics involving the release of "Ain't Too Proud to Beg", and only learned about the record being a hit when they were contacted by Motown an hour before an August 20, 1966, performance on American Bandstand and ordered to perform it. Temptation Paul Williams quickly devised a dance routine for the song, and the group lip-synched the song for the American Bandstand viewing audience.
Much of the song's success, according to the Temptations themselves, is due to Whitfield's production, which was leaner and hit harder than Robinson's smoother style, and also to David Ruffin's pained lead vocal. The tactic of having Ruffin record above his register worked well enough that Whitfield went on to use it on later Temptations records such as "Beauty Is Only Skin Deep" and "(I Know) I'm Losing You", and also did the same to Marvin Gaye when he recorded his now-famous version of "I Heard It Through the Grapevine".
Norman Whitfield[edit]
Main article: Norman Whitfield
After Whitfield produced two more R&B number-one hits in a row for the Temptations ("Beauty Is Only Skin Deep" and "(I Know) I'm Losing You"), he was appointed the Temptations' new main producer. As he had told Grant, Whitfield maintained an iron grip on his creative control over The Temptations' material: he refused to let Holland-Dozier-Holland work with the group save for two album tracks and no more of Smokey Robinson's Temptations productions were issued as singles, but it should be noted that Whitfield had previously collaborated on songwriting with Eddie Holland. The only other producer allowed to produce a Temptations single while Whitfield was the group's main producer was his own protégé, Frank Wilson, who provided the group with "All I Need" in 1967 and four duets with Diana Ross & the Supremes in 1968 and 1969. By 1970, however, Whitfield himself became the Temptations' only producer, until the Temptations had him replaced in 1974 due to his habit of emphasizing too much instrumentation at the expense of the group's vocals and his insistence on producing psychedelic soul and socially conscious message songs when they really wanted to sing romantic love songs again.
Composition[edit]
The song's lyrics feature its narrator pleading for a second chance with his departing lover, opening with the determined statement "I know you wanna leave me/but I refuse to let you go." The narrator goes on to state that he "ain't too proud to beg" or "plead" his lover to stay. The Temptations were pleased with the composition, feeling that the song's blues-inspired melody and James Brown-esque horn stabs would help to update their sound. David Ruffin was tapped to sing lead on the song, and Whitfield submitted the mix to Motown's Quality Control department.
Personnel[edit]
Lead vocals by David Ruffin
Background vocals by Eddie Kendricks, Melvin Franklin, Paul Williams, and Otis Williams
Instrumentation by The Funk Brothers.
"Ain't Too Proud to Beg"
Single by Rick Astley
from the album Hold Me in Your Arms
Released
February 27, 1989
Recorded
1988
Songwriter(s)
Norman Whitfield, Edward Holland, Jr.
Producer(s)
Stock Aitken & Waterman
Cover Versions[edit]
Rick Astley covered the song for his 1988 album Hold Me In Your Arms, and released it as a single in the Summer of 1989. The single was only released in the USA and Japan, and peaked at #89 on the Billboard Hot 100 and at #16 on the Adult Contemporary charts. This would be Astley's last single with producers Stock Aitken & Waterman.
Phil Collins covered the song on the ultimate 25-track edition of the album Going Back, which was released in 2010.
The Rolling Stones released it as a single from their It's Only Rock'n'Roll album
Notes[edit]
^ Williams, Otis and Romanowski, Patricia, Temptations.
^ Weinger, Harry, "Sunshine on a Cloudy Day".
External links[edit]
Lyrics of this song at MetroLyrics
References[edit]
Jump up ^ Gilliland, John (1969). "Show 26 – The Soul Reformation: Phase two, the Motown story. [Part 5]" (audio). Pop Chronicles. University of North Texas Libraries.
Jump up ^ Whitburn, Joel (2004). Top R&B/Hip-Hop Singles: 1942-2004. Record Research. p. 571.
Bibliography
Posner, Gerald (2002). Motown : Music, Money, Sex, and Power. New York: Random House. ISBN 0-375-50062-6.
Weinger, Harry (1994). "Sunshine on a Cloudy Day". The Temptations: Emperors of Soul [CD Box Set]. New York: Motown Record Co., L.P.
Williams, Otis and Romanowski, Patricia (1988, updated 2002). Temptations. Lanham, MD: Cooper Square. ISBN 0-8154-1218-5.
Preceded by
"Hold On, I'm Comin'" by Sam & Dave Billboard Hot R&B Singles number-one single
(first run)
June 25, 1966 – July 16, 1966 (four weeks) Succeeded by
"Let's Go Get Stoned" by Ray Charles
Preceded by
"Let's Go Get Stoned" by Ray Charles Billboard Hot R&B Singles number-one single
(second run)
July 30, 1966 – August 20, 1966 (four weeks) Succeeded by
"Blowin' in the Wind" by Stevie Wonder
[show]
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1960s
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"Beauty Is Only Skin Deep" (1966)
"(I Know) I'm Losing You" (1966)
"All I Need" (1967)
"You're My Everything" (1967) / "I've Been Good To You" (1967)
"(Loneliness Made Me Realize) It's You That I Need" (1967)
"I Wish It Would Rain" (1968) / "I Truly, Truly Believe" (1968)
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1970s
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"It's Only Rock 'n Roll (But I Like It)"
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"Beast of Burden" / "When the Whip Comes Down"
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Get Ready (Motown song)

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Hamsa
From Wikipedia, the free encyclopedia
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This article is about the amulet. For other uses, see Hamsa (disambiguation) and Khamsa (disambiguation). For the Arabic-language diacritical marking, see Hamza.
"Eye of Fatima" redirects here. For the Camper Van Beethoven songs, see Our Beloved Revolutionary Sweetheart.
Tunisian hamsa
The hamsa (Arabic: خمسة khamsah; Hebrew: חַמְסָה, also romanized khamsa; Berber languages: ⵜⴰⴼⵓⵙⵜ tafust) is a palm-shaped amulet popular throughout the Middle East and North Africa and commonly used in jewelry and wall hangings.[1][2] Depicting the open right hand, an image recognized and used as a sign of protection in many times throughout history, the hamsa is believed by some, predominantly Muslims, Jews and Catholics, to provide defense against the evil eye. It has been theorized that its origins lie in Ancient Egypt or Carthage (modern-day Tunisia) and may have been associated with the Goddess Tanit.[3]
Khamsah is an Arabic word that means "five", but also "the five fingers of the hand".[4][5][6]
The Hamsa is also variously known as the Hand of Fatima after the daughter of the prophet Muhammad,[7] the Hand of Mary, the Hand of Miriam, and the Hand of the Goddess.
Contents
1 History
2 Symbolism and usage
3 Gallery
4 See also
5 References
5.1 Bibliography
6 External links
History[edit]
Examples of Khamsa
Early use of the hamsa has been traced to ancient Mesopotamia (modern-day Iraq) as well as ancient Carthage[citation needed] (modern day Tunisia). A universal sign of protection, the image of the open right hand is seen in Mesopotamian artifacts in the amulets of the goddess Ishtar or Inanna.[2] Other symbols of divine protection based around the hand include the Hand-of-Venus (or Aphrodite), the Hand-of-Mary, that was used to protect women from the evil eye and/or boost fertility and lactation, promote healthy pregnancies and strengthen the weak.[2] In that time, women were under immense pressure and expectation to become mothers.[8] The woman's upbringing was centered on becoming a mother as an exclusive role, and it indicated child bearing as necessary.[9] It was also thought that marriage was a sense of protection for both the man and the woman.[10] In Jewish culture, the hamsa is associated with the number five because of the five fingers depicted on the hand.[11]
One theory postulates a connection between the khamsa and the Mano Pantea (or Hand-of-the-All-Goddess), an amulet known to ancient Egyptians as the Two Fingers. In this amulet, the Two Fingers represent Isis and Osiris and the thumb represents their child Horus. It was used to invoke the protective spirits of parents over their child.[2] Another theory traces the origins of the hamsa to Carthage (Phoenicia, modern Tunisia) where the hand (or in some cases vulva) of the supreme deity Tanit was used to ward off the evil eye.[12] According to Bruno Barbatti, at that time this motive was the most important sign of apotropaic magic in the Islamic world, though many modern representations continue to show an obvious origin from sex symbolism.
This relates to the belief that God exists in everything. Another meaning of this symbol relates to the sky god, Horus. It refers to the Eye of Horus, which means humans cannot escape from the eye of conscience. It says that the sun and moon are the eyes of Horus. The Hand of Fatima also represents femininity, and is referred as the woman's holy hand. It is believed to have extraordinary characteristics that can protect people from evil and other dangers.[13]
The hamsa's path into Jewish culture, and its popularity particularly in Sephardic and Mizrahi Jewish communities, can be traced through its use in Islam.[2][12][14] This "favourite Muslim talisman" became a part of Jewish tradition in North African and Middle Eastern Muslim countries.[15] The symbol of the hand appears in Kabbalistic manuscripts and amulets, doubling as the Hebrew letter "Shin", the first letter of "Shaddai", one of the names referring to God.[16] The use of the hamsa in Jewish culture has been intermittent, utilized often by Sephardic Jews during the late nineteenth and early twentieth centuries,[11] then less and less over time into the mid-twentieth century. However, the hamsa has been present in Judaism dating all the way back to Biblical times, where it is referenced in Deuteronomy 5:15, stated in the Ten Commandments as the "strong hand" of God who led the Jews out of Egypt.[11] The hamsa is later seen in Jewish art as God's hand reaching down from heaven during the times of late antiquity, the Byzantine period, and even medieval Europe. Evidence has also emerged of the hamsa being used by Jews from medieval Spain, often associated with "sympathetic magic".[11] Historians such as Shalom Sabar believe that after the Jewish expulsion from Spain in 1492, exiled Jews likely used the hamsa as protection in the foreign lands they were forced to relocate to, however this assumption has been difficult to prove.[11] According to Sabar, the hamsa has also been used later in Europe "...as a distinctive sign of the priesthood, especially when they wished to show that a person was of priestly descent...".[11]
The khamsa holds recognition as a bearer of good fortune among Christians in the region as well. Levantine Christians call it the hand of Mary (Arabic: Kef Miryam, or the "Virgin Mary's Hand").[17][18] 34 years after the end of Islamic rule in Spain, its use was significant enough to prompt an episcopal committee convened by Emperor Charles V to decree a ban on the Hand of Fatima and all open right hand amulets in 1526.[2]
Symbolism and usage[edit]
Clay hamsa with an inscription in Hebrew (translates to "good luck")
The Hand (Khamsa), particularly the open right hand, is a sign of protection that also represents blessings, power and strength, and is seen as potent in deflecting the evil eye.[2][19] One of the most common components of gold and silver jewelry in the region,[20] historically and traditionally, it was most commonly carved in jet or formed from silver, a metal believed to represent purity and hold magical properties.[2][21] It is also painted in red (sometimes using the blood of a sacrificed animal) on the walls of houses for protection,[22][23] or painted or hung on the doorways of rooms, such as those of an expectant mother or new baby.[2] The hand can be depicted with the fingers spread apart to ward off evil, or as closed together to bring good luck.[24] Similarly, it can be portrayed with the fingers pointing up in warding, or down to bestow blessings. Highly stylized versions may be difficult to recognize as hands, and can consist of five circles representing the fingers, situated around a central circle representing the palm.[24]
Used to protect against evil eye, a malicious stare believed to be able to cause illness, death or just general unluckiness, hamsas often contain an eye symbol.[21][25] Depictions of the hand, the eye or the number five in Arabic (and Berber) tradition are related to warding off the evil eye, as exemplified in the saying khamsa fi ainek ("five [fingers] in your eye").[25] Raising one's right hand with the palm showing and the fingers slightly apart is part of this curse meant "to blind the aggressor".[22] Another formula uttered against the evil eye in Arabic, but without hand gestures, is khamsa wa-khamis ("five and Thursday").[26][27] As the fifth day of the week, Thursday is considered a good day for magic rites and pilgrimages to the tombs of revered saints to counteract the effects of the evil eye.[28]
Due to its significance in both Arabic and Berber culture, the hamsa is one of the national symbols of Algeria and appears in its emblem. It is also the most popular among the different amulets (such as the Eye and the Hirz — a silver box containing verses of the Quran) for warding off the evil eye in Egypt.[20] Egyptian women who live in baladi ("traditional") urban quarters often make khamaysa, which are amulets made up of five (khamsa) objects to attach to their children's hair or black aprons. The five objects can be made of peppers, hands, circles or stars hanging from hooks.[23]
Although significant in Arabic and Berber culture, the Jewish people have long interpreted and adopted the symbol of the hand with great importance since the Ten Commandments. A portion of these commandments state that "Lord took Israel out of Egypt with a strong hand and an outstretched arm".[29] The "strong hand" is representative of the hamsa which rooted its relevance in the community then. The helping hand exemplified God's willingness to help his people and direct them out of struggle. Around the time of the Byzantine period, artists would depict God's hand reaching from up above.[30] God's hand from heaven would lead the Jewish people out of struggle, and the Jews quickly made a connection with the hamsa and their culture. The hand was identified in Jewish text, and acquired as an influential icon throughout the community.
Amongst the Jewish people, the hamsa is a very respected, holy, and common symbol. It is used in the Ketubah, or marriage contracts, as well as items that dress the Torah such as pointers, and the Passover Haggadah.[31] The use of the hand as images both in and out of the synagogue suggests the importance and relevance that the Jewish people associated with the hamsa. The hand decorated some of the most religious and divine objects and has since emerged from its uncommon phase.
At the time of the establishment of the State of Israel, the widespread use of the talisman by Mizrahi Jews was initially looked down upon by Ashkenazi communities, although use of the hamsa has become more common in recent decades. The hamsa has become a symbol in everyday Israeli life, and to a degree, a symbol of Israel itself.[32] It has come to be a symbol of secularity, and a trendy talisman; a "good luck" charm appearing on necklaces, keychains, postcards, telephone and lottery cards, and in advertisements.[32] It is also incorporated into high-end jewellery, decorative tilework and wall decorations.[32] Its use by Ashkenazi Jews outside of Israel both historically and contemporaneously is intermittent but not unknown.
Similar to the Western use of the phrase "knock on wood" or "touch wood", a common expression in Israel is "Hamsa, Hamsa, Hamsa, tfu, tfu, tfu", the sound for spitting, supposedly to spit out bad luck.[33]
At the Mimouna, a North African Jewish celebration held after Passover, tables are laid with various symbols of luck and fertility, with an emphasis on the number "5", such as five pieces of gold jewelry or five beans arranged on a leaf of pastry. The repetition of the number five is associated with the hamsa amulet.[34]
In the Old Testament Exodus 3:16 God addresses Moses with the words 'eyseh asher eyseh' translated in King James version of The Bible as 'I AM THAT I AM'. In Hebrew this name is spelt Aleph Heh Yod Heh, however God's name spoken of in the third person is Yod Heh Vav Heh. Hence the words Jehovah, Joshua, Jesus and Yahweh all derive from God's self-proclaimed biblical name referred to in the third person. The pictographic associations of the Hebrew language designate the Aleph as a symbol similar to the mathematical percentage sign, in which the infinite is reflected in the finite, with the reflective capacity represented by a diagonal line also signified by Vav - the number five of five fingered hand. Meanwhile the letter Heh denotes the concept of 'Behold' and is symbolically associated with the eye, hence the name Yahweh can be pictographically represented as 'Behold the hand, behold the nail', since Yod is a nail or flower. This linguistic association corresponds with the story of Christ's crucifixion in Christianity and the stigmata of the hands, but also relates to the Hamsa hand and hand of Fatima, since the integration of the pictographic elements of the name amount to a symbol of a hand with a flowering eye at its centre, symbolic of God. This symbol therefore belongs to three of the world's major religions, as well as having counterparts in Buddhism and Hinduism. It is suggestive of touch as a kind of sight that transcends appearance, and hold promise as an emblem for the unification of world religion.
Gallery[edit]
Amulet with two hands of Fatimah, bearing the inscriptions "God is the guardian", "God brings consolation in all trials"
Hamsa in the Tropenmuseum, Amsterdam
A drawing depicting a hamsa
See also[edit]
Abhayamudra
Nazar
References[edit]
Jump up ^ Bernasek et al., 2008, p. 12.
^ Jump up to: a b c d e f g h i Sonbol, 2005, pp. 355–359.
Jump up ^ Cuthbert, Roland (2015). The Esoteric Codex: Amulets and Talismans. Raleigh, NC: Lulu.com. p. 49. ISBN 978-1-329-50204-8.
Jump up ^ Zenner, 1988, p. 284.
Jump up ^ World Institute for Advanced Phenomenological Research and Learning (Belmont, Estados Unidos), 1991, p. 219.
Jump up ^ Drazin, 2009, p. 268.
Jump up ^ González-Wippler, Migene (1991). The Complete Book of Amulets & Talismans. St. Paul, MN: Llewellyn Publications. p. 173. ISBN 978-0-87542-287-9.
Jump up ^ "The World of Child Labor". Loretta E. Bass. Retrieved 15 September 2013.
Jump up ^ Wadud, Amina (1999). Qur'an and Woman. New York: Oxford University Press. p. 64.
Jump up ^ Sechzer, Jeri (2004). ""Islam and Woman: Where Tradition Meets Modernity": History and Interpretations oyt? Yt? the f Islamic Women's Status". Sex Roles. 51 (5/6): 263. doi:10.1023/B:SERS.0000046610.16101.e0.
^ Jump up to: a b c d e f Sabar, Shalom (2010). "From Sacred Symbol to Key Ring: The Hamsa in Jewish and Israeli Societies". Littman Library of Jewish Civilization.
^ Jump up to: a b Silver, 2008, p. 201.
Jump up ^ Lenhart, Sandy. "Hand of Fatima Meaning - Origin and Variations". Ezine Articles. N.p., n.d. Web. 29 September 2013.
Jump up ^ "Hamsa Hand Symbology: What Is the Hamsa Hand?" (Hamesh, Chamsa, Khamsa). N.p., n.d. Web. 29 Sept. 2013.
Jump up ^ Shadur, Joseph and Jehudit (2002). Traditional Jewish Papercuts - An Inner Worlds of Art and Symbol. University Press of New England. p. 92. ISBN 9781584651659.
Jump up ^ EMAIL, Jewish Magazine. "Angels and Demons". Jewishmag.com. Retrieved 2013-06-25.
Jump up ^ Perennial Books, 1970, p. 186.
Jump up ^ Trumball, 1896, p. 77.
Jump up ^ Rajab, 1989, p. 116.
^ Jump up to: a b Badawi, 2004, p. 510.
^ Jump up to: a b Lynch and Roberts, 2010, p. 8.
^ Jump up to: a b Schimmel, p. 92.
^ Jump up to: a b Early, 1993, p. 116
^ Jump up to: a b Gomez, 1996, p. 54.
^ Jump up to: a b Ham and Bing, 2007, p. 385.
Jump up ^ Lent et al., 1996, p. 189.
Jump up ^ Shinar, 2004, p. 117.
Jump up ^ Houtsma, 1993, p. 897.
Jump up ^ Sabar, Shalom From Sacred Symbol to Key Ring: The Hamsa in Jewish and Israeli Societies, 141
Jump up ^ Sabar, Shalom From Sacred Symbol to Key Ring, 142
Jump up ^ Sabar, Shalom From Sacred Symbol to Key Ring, 144
^ Jump up to: a b c Nocke, 2009, pp. 133–134.
Jump up ^ "Jewish magic and superstition in Israel". Abc.net.au. 2010-05-22. Retrieved 2013-06-25.
Jump up ^ Bin-Nun, Yigal (8 April 2007). "Lady Luck". Haaretz. Retrieved 21 June 2011.
Bibliography[edit]
Badawi, Cherine (2004). Footprint Egypt (4th, illustrated ed.). Footprint Travel Guides. ISBN 978-1-903471-77-7.
Bernasek, Lisa; Peabody Museum of Archaeology and Ethnology; Burger, Hillel S. (2008). Artistry of the everyday: beauty and craftsmanship in Berber art (Illustrated ed.). Peabody Museum Press, Harvard University. ISBN 9780873654050.
Drazin, Israel (2009). Maimonides and the Biblical Prophets. Gefen Publishing House Ltd. ISBN 9789652294302.
Evelyn A. Early (1993). Baladi women of Cairo: playing with an egg and a stone (Illustrated ed.). Lynne Rienner Publishers. ISBN 9781555872687.
Gomez, Aurelia (1996). Crafts of Many Cultures: 30 Authentic Craft Projects from Around the World. Scholastic Inc. ISBN 9780590491822.
"Jewish magic and superstition in Israel". Abc.net.au. 2010-05-22. Retrieved 2013-06-25.
M. Th. Houtsma (1993). M. Th. Houtsma, ed. E.J. Brill's first encyclopedia of Islam, 1913–1936 (Reprint ed.). BRILL. ISBN 9789004097902.
Lent, J. M.; Bearman, Peri J.; Qureshi, Hakeem-Uddeen (1997). The encyclopaedia of Islam, new edition (2nd ed.). Brill. ISBN 978-90-04-10795-3.
Lenhart, Sandy (2011). "Hand of Fatima Meaning - Origin and Variations". Ezine Articles. February 17, 2011.
Lynch, Patricia Ann; Roberts, Jeremy (2010). African Mythology A to Z (2nd, revised ed.). Infobase Publishing. ISBN 9781604134155.
McGuinness, Justin (2002). Footprint Tunisia Handbook (3rd, illustrated ed.). Footprint Travel Guides. ISBN 978-1-903471-28-9.
Nocke, Alexandra (2009). The place of the Mediterranean in modern Israeli identity (Illustrated ed.). BRILL. ISBN 9789004173248.
Perennial Books (1970). Studies in comparative religion, Volumes 4–5. University of California.
Rajab, J. (1989). Palestinian Costume. Indiana University. ISBN 0-7141-2517-2.
Schimmel, Annemarie (1994). Deciphering the signs of God: a phenomenological approach to Islam. SUNY Press. ISBN 9780791419823.
Shadur, Joseph; Shadur, Yehudit (2002). Traditional Jewish papercuts: an inner world of art and symbol (Illustrated ed.). UPNE. ISBN 9781584651659.
Shinar, Pessah (2004). Modern Islam in the Maghrib. JSAI. ISBN 9789657258026.
Silver, Alan (2008). Jews, Myth and History: A Critical Exploration of Contemporary Jewish Belief and Its Origins. Troubador Publishing Ltd. ISBN 978-1-84876-064-6.
Sonbol, Amira El Azhary (2005). Beyond the exotic: women's histories in Islamic societies. Syracuse University Press. ISBN 9780815630555.
Trumbull, Henry Clay (1896). The threshold covenant: or, The beginning of religious rites (2nd ed.). C. Scribner's.
World Institute for Advanced Phenomenological Research and Learning (Belmont, Estados Unidos) (1991). Anna-Teresa Tymieniecka, ed. Roman Ingarden's aesthetics in a new key and the independent approaches of others: the performing arts, the fine arts, and literature, Volume 3. Springer. ISBN 9780792310143.
Steinmetz, Sol (2005). Dictionary of Jewish usage: a guide to the use of Jewish terms. Rowman & Littlefield. ISBN 9780742543874.
Zenner, Walter P. (1988). Persistence and flexibility: anthropological perspectives on the American Jewish experience (Illustrated ed.). SUNY Press. ISBN 9780887067488.
External links[edit]
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/wiki/Emperor_Charles_V
mw-redirect
Emperor Charles V

values:
/wiki/Berber_people
mw-redirect
Berber people

attrs: alt src width height srcset data-file-width data-file-height

values: Template talk:Amulets and Talismans (page does not exist)

values:
/wiki/Sachet_(scented_bag)
mw-redirect
Sachet (scented bag)

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external text
https://d-nb.info/gnd/4814268-2

values: Category:Articles containing Arabic-language text

values: Category:Articles containing Hebrew-language text

values: Category:Articles with text from the Berber languages collective

values: Category:All articles with unsourced statements

values: Category:Articles with unsourced statements from May 2016

values: Category:Wikipedia articles with GND identifiers

values: Discussion about edits from this IP address [ctrl-alt-n]

values: A list of edits made from this IP address [ctrl-alt-y]

values: You are encouraged to create an account and log in; however, it is not mandatory

values: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

values:
/wiki/Hamsa
View the content page [ctrl-alt-c]
c

values:
/w/index.php?title=Hamsa&action=edit
Edit this page [ctrl-alt-e]
e

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/wiki/Main_Page
Visit the main page [ctrl-alt-z]
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values: Find background information on current events

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/wiki/Special:Random
Load a random article [ctrl-alt-x]
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values: portal navigation p-navigation p-navigation-label

values: Guidance on how to use and edit Wikipedia

values: About the project, what you can do, where to find things

values: A list of recent changes in the wiki [ctrl-alt-r]

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values: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

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Upload files [ctrl-alt-u]
u

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values: خمسة (تعويذ) – Arabic

values:
https://ast.wikipedia.org/wiki/Jamsa
Jamsa – Asturian
ast
ast
interlanguage-link-target

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display: none;

values:
interlanguage-link interwiki-az
display: none;

values:
https://ca.wikipedia.org/wiki/Hamsa
Hamsa – Catalan
ca
ca
interlanguage-link-target

values:
interlanguage-link interwiki-ca
display: none;

values:
https://cs.wikipedia.org/wiki/Hamsa
Hamsa – Czech
cs
cs
interlanguage-link-target

values:
interlanguage-link interwiki-cs
display: none;

values:
https://da.wikipedia.org/wiki/Hamsa
Hamsa – Danish
da
da
interlanguage-link-target

values:
interlanguage-link interwiki-da
display: none;

values:
https://es.wikipedia.org/wiki/Jamsa
Jamsa – Spanish
es
es
interlanguage-link-target

values:
interlanguage-link interwiki-eo
display: none;

values: خمسه (نماد) – Persian

values:
interlanguage-link interwiki-fa
display: none;

values:
https://gl.wikipedia.org/wiki/Jamsa
Jamsa – Galician
gl
gl
interlanguage-link-target

values:
interlanguage-link interwiki-gl
display: none;

values:
interlanguage-link interwiki-ko
display: none;

values:
interlanguage-link interwiki-it
display: none;

values:
interlanguage-link interwiki-he
display: none;

values:
https://lad.wikipedia.org/wiki/Hamsa
Hamsa – Ladino
lad
lad
interlanguage-link-target

values:
interlanguage-link interwiki-lad
display: none;

values:
interlanguage-link interwiki-lo
display: none;

values:
https://hu.wikipedia.org/wiki/Hamza
Hamza – Hungarian
hu
hu
interlanguage-link-target

values:
interlanguage-link interwiki-hu
display: none;

values:
interlanguage-link interwiki-mk
display: none;

values:
https://ms.wikipedia.org/wiki/Khamsa
Khamsa – Malay
ms
ms
interlanguage-link-target

values:
interlanguage-link interwiki-nl
display: none;

values:
interlanguage-link interwiki-ja
display: none;

values:
interlanguage-link interwiki-pl
display: none;

values:
https://ro.wikipedia.org/wiki/Hamsa
Hamsa – Romanian
ro
ro
interlanguage-link-target

values:
interlanguage-link interwiki-ro
display: none;

values: Хамса (амулет) – Russian

values:
interlanguage-link interwiki-sl
display: none;

values:
interlanguage-link interwiki-sr
display: none;

values:
interlanguage-link interwiki-sv
display: none;

values:
interlanguage-link interwiki-tr
display: none;

values: Хамса (амулет) – Ukrainian

values:
interlanguage-link interwiki-uk
display: none;

values: خمسہ (تعویذ) – Urdu

values: All languages (initial selection from common choices by you and others)

values:
suggestions
display: none; font-size: 13px;

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