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Triangular trade
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Depiction of the classical model of the Triangular trade
Depiction of the Triangular Trade of slaves, sugar, and rum with New England instead of Europe as the third corner
Triangular trade or triangle trade is a historical term indicating trade among three ports or regions. Triangular trade usually evolves when a region has export commodities that are not required in the region from which its major imports come. Triangular trade thus provides a method for rectifying trade imbalances between the above regions.
Historically the particular routes were also shaped by the powerful influence of winds and currents during the age of sail. For example, from the main trading nations of Western Europe, it was much easier to sail westwards after first going south of 30 N latitude and reaching the so-called "trade winds"; thus arriving in the Caribbean rather than going straight west to the North American mainland. Returning from North America, it is easiest to follow the Gulf Stream in a northeasterly direction using the westerlies. A similar triangle to this, called the volta do mar was already being used by the Portuguese, before Christopher Columbus' voyage, to sail to the Canary Islands and the Azores. Columbus simply expanded this triangle outwards, and his route became the main way for Europeans to reach, and return from, the Americas.
Contents
[hide]
1 Atlantic triangular slave trade
1.1 New England
2 Other triangular trades
3 Notes
4 External links
Atlantic triangular slave trade[edit]
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See also: Atlantic slave trade
The best-known triangular trading system is the transatlantic slave trade, that operated from the late 16th to early 19th centuries, carrying slaves, cash crops, and manufactured goods between West Africa, Caribbean or American colonies and the European colonial powers, with the northern colonies of British North America, especially New England, sometimes taking over the role of Europe.[1] The use of African slaves was fundamental to growing colonial cash crops, which were exported to Europe. European goods, in turn, were used to purchase African slaves, who were then brought on the sea lane west from Africa to the Americas, the so-called Middle Passage.[2]
Diagram illustrating the stowage of African slaves on a British slave ship.
A classic example is the colonial molasses trade. Sugar (often in its liquid form, molasses) from the Caribbean was traded to Europe or New England, where it was distilled into rum. The profits from the sale of sugar were used to purchase manufactured goods, which were then shipped to West Africa, where they were bartered for slaves. The slaves were then brought back to the Caribbean to be sold to sugar planters. The profits from the sale of the slaves were then used to buy more sugar, which was shipped to Europe, restarting the cycle. The trip itself took five to twelve weeks.
The loss of the slaver Luxborough Galley in 1727 ("I.C. 1760"), lost in the last leg of the triangular trade, between the Caribbean and Britain.
The first leg of the triangle was from a European port to Africa, in which ships carried supplies for sale and trade, such as copper, cloth, trinkets, slave beads, guns and ammunition.[3] When the ship arrived, its cargo would be sold or bartered for slaves. On the second leg, ships made the journey of the Middle Passage from Africa to the New World. Many slaves died of disease in the crowded holds of the slave ships. Once the ship reached the New World, enslaved survivors were sold in the Caribbean or the American colonies. The ships were then prepared to get them thoroughly cleaned, drained, and loaded with export goods for a return voyage, the third leg, to their home port,[4] from the West Indies the main export cargoes were sugar, rum, and molasses; from Virginia, tobacco and hemp. The ship then returned to Europe to complete the triangle.
However, because of several disadvantages that slave ships faced compared to other trade ships, they often returned to their home port carrying whatever goods were readily available in the Americas and filled up a large part or all of their capacity with ballast. Other disadvantages include the different form of the ships (to carry as many humans as possible, but not ideal to carry a maximum amount of produce) and the variations in the duration of a slave voyage, making it practically impossible to pre-schedule appointments in the Americas, which meant that slave ships often arrived in the Americas out-of-season. When the ships did reach their intended ports, only about 90% of the passengers survived the journey across the middle passage. Due to the slaves being transported in tight, confined spaces, a small percentage of the group that started perished at the hands of disease and lack of nourishment.[5] Cash crops were transported mainly by a separate fleet which only sailed from Europe to the Americas and back mitigating the impact the slaves involvement brought forth. The Triangular trade is a trade model, not an exact description of the ship's route.[6]

A 2017 study provides evidence for the hypothesis that the export of gunpowder technology to Africa increased the transatlantic slave trade by making it easier for Africans to enslave each other: "A one percent increase in gunpowder set in motion a 5-year gun-slave cycle that increased slave exports by an average of 50%, and the impact continued to grow over time."[7]
New England[edit]
New England also benefited from the trade, as many merchants from New England, especially the state of Rhode Island, replaced the role of Europe in the triangle. New England also made rum from the Caribbean sugar and molasses, which it shipped to Africa as well as within the New World.[8] Yet, the "triangle trade" as considered in relation to New England was a piecemeal operation. No New England traders are known to have completed a sequential circuit of the full triangle, which took a calendar year on average, according to historian Clifford Shipton.[9] The concept of the New England Triangular trade was first suggested, inconclusively, in an 1866 book by George H. Moore, was picked up in 1872 by historian George C. Mason, and reached full consideration from a lecture in 1887 by American businessman and historian William B. Weeden.[10] The song "Molasses to Rum" from the musical 1776 vividly describes this form of the triangular trade.
Other triangular trades[edit]
The term "triangular trade" also refers to a variety of other trades.
A trade pattern which evolved before the American Revolutionary War between Great Britain, the Colonies of British North America, and British colonies in the Caribbean. This typically involved exporting raw resources, such as fish (especially salt cod), agricultural produce or lumber, from British North American colonies to slaves and planters in the West Indies; sugar and molasses from the Caribbean; and various manufactured commodities from Great Britain.[11]
The shipment of Newfoundland salt cod and corn from Boston in British vessels to southern Europe.[12] This also included the shipment of wine and olive oil to Britain.
A new "sugar triangle" developed in the 1820s and 1830s whereby American ships took local produce to Cuba, then brought sugar or coffee from Cuba to the Baltic coast (Russian Empire and Sweden), then bar iron and hemp back to New England.[13]
Notes[edit]
Jump up ^ About.com: The Trans-Atlantic Slave Trade. Accessed 6 November 2007.
Jump up ^ "Triangular Trade". National Maritime Museum. Archived from the original on 25 November 2011.
Jump up ^ Scotland and the Abolition of the Slave Trade Archived 2012-01-03 at the Wayback Machine.. Accessed 28 March 2007.
Jump up ^ A. P. Middleton, Tobacco Coast.
Jump up ^ "Death Toll From The Slave Trade". World Future Fund. Retrieved 9 February 2018.
Jump up ^ Emmer, P.C.: The Dutch in the Atlantic Economy, 1580–1880. Trade, Slavery and Emancipation. Variorum Collected Studies Series CS614, 1998.
Jump up ^ Whatley, Warren C. (2017). "The Gun-Slave Hypothesis and the 18th Century British Slave Trade". Explorations in Economic History. doi:10.1016/j.eeh.2017.07.001.
Jump up ^ Slavery in Rhode Island Slavery in the North Accessed 11 September 2011.
Jump up ^ Curtis, Wayne. And a Bottle of Rum. New York: Three Rivers Press, 2006–2007. ISBN 978-0-307-33862-4. page 117.
Jump up ^ Curtis, Wayne. And a Bottle of Rum. New York: Three Rivers Press, 2006–2007. ISBN 978-0-307-33862-4. p. 119.
Jump up ^ Kurlansky, Mark. Cod: A Biography of the Fish That Changed the World. New York: Walker, 1997. ISBN 0-8027-1326-2.
Jump up ^ Morgan, Kenneth. Bristol and the Atlantic Trade in the Eighteenth Century. Cambridge: Cambridge University Press, 1993. ISBN 0-521-33017-3. pp. 64–77.
Jump up ^ Chris Evans and Göran Rydén, Baltic Iron in the Atlantic World in the Eighteenth Century : Brill, 2007 ISBN 978-90-04-16153-5, 273.
External links[edit]
Wikimedia Commons has media related to Triangular trade.
The Transatlantic Slave Trade Database, a portal to data concerning the history of the triangular trade of transatlantic slave trade voyages.
Report of the Brown University Steering Committee on Slavery and Justice
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Game of Thrones title sequence
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Game of Thrones title sequence
Game of Thrones title screen as of 2011
Directed by
Angus Wall
Music by
Ramin Djawadi
Production
company
Rock Paper Scissors/Elastic
Distributed by
HBO
Running time
90 seconds
Box office
Music video
Video on Vimeo
The title sequence of the HBO fantasy television series Game of Thrones introduces every episode and changes depending on the locations visited in that particular episode. The title sequence was created by Elastic for HBO, and is accompanied by a theme tune composed by Ramin Djawadi.
The sequence depicts a three-dimensional map of the series' fictional world, projected onto a concave earth,[1] and lit by a small sun contained within an armilla that metaphorically depicts major events in the history of the fictional world at the sphere's center. As the camera swoops across the map and focuses on the locations in which the episode's events take place, complicated clockwork mechanisms cause buildings and other structures to emerge from the map and unfold. Meanwhile, the names of the principal cast (with the symbols of the characters' families next to the names) and creative staff are displayed. The sequence concludes after about one-and-a-half minutes with the title card and brief opening credits indicating the episode's writers and directors.
Creative director Angus Wall, art director Robert Feng, animator Kirk Shintani and designer Hameed Shaukat received the 2011 Primetime Emmy Award for Outstanding Main Title Design for their work on the sequence.[2] In 2017, James Charisma of Paste ranked the show's opening sequence No. 10 on a list of The 75 Best TV Title Sequences of All Time.[3]
Contents
1 Description
2 Conception and production
3 Game of Thrones theme
4 Homage
5 Awards
5.1 Awards and nominations
6 References
7 External links
Description[edit]
The title sequence consists of a three-dimensional map of the world, with the continents of Westeros and Essos located on the inner surface of a sphere. The maps used are those of Westeros and Essos that precede the novels in the book series.[4] At the center of the sphere is a Copernican (heliocentric) armillary sphere (spherical astrolabe). The details of the title sequence change each week depending on the locations visited, and new locations may be added in each season.
The sequence of every episode opens with a close-up of the sun and the astrolabe surrounding it. Relief depictions of the fictional's world's history are visible on the astrolabe, such as the Doom of Valyria and Aegon's Conquest, which appear at varying points in the sequence. The camera then pans to different parts of the map, on which different locations in the fictional world are shown. Many of the cities and buildings on these locations appear out of the ground using clockwork mechanisms. Other elements such as the weirwood tree at Winterfell and the Horse Gate at Vaes Dothrak are also added at the various locations. The locations shown varies depending on the locations visited in that particular episode, and three or four variations of the title sequence are shown in each season.[5] However, due to the limitation on time for the title sequence, no more than 6 locations may be shown in any episode. Also because of their importance in the show, every episode features King's Landing, Winterfell, The Wall and wherever Daenerys may be regardless of whether any of these locations are featured in that episode.[6]
The sigils of the reigning families are added to each location; for example, the Baratheon's stag sigil on King's Landing, the Stark's dire wolf at Winterfell.[7] The names of the cast are also shown together with the corresponding sigil of the character they portray.[8] The sigil may change depending on the storyline, for example the flayed man sigil was displayed over Winterfell when it was taken by the Boltons, but reverted to the dire wolf sigil when it was recaptured by the Starks.[9] The Game of Thrones logo appears over the astrolabe at the end.
An interactive 360-degree video of the title sequence was released by HBO in season 6.[10]
Conception and production[edit]
The title sequence was created by The Rock Paper Scissors production firm, and three branches of the group. The design of the title sequence, which forms the bulk of the project, was done by Elastic, while the computer graphics handled by a52, and Rock Paper Scissors edited the title sequence.[11] Elastic had previously created the title sequences for Rome, Big Love and Carnivale for HBO,[12] and they were approached by Carolyn Strauss of HBO with whom they had worked on these shows to create the title sequence for Game of Thrones.[4]
When the pilot was first made, it was felt that the geography of the imaginary world of Westeros and Essos may be confusing to the viewers, and that maps may be useful as navigational guides for the viewers. An early suggestion was to use animated maps as a transition between scenes to orientate viewers, but that idea was dropped as it was felt that it would interrupt the narrative flow.[13] The idea of the map was therefore moved into the title sequence as the navigational aid for the viewers.[4] For the original pilot, the showrunners David Benioff and Dan Weiss initially wrote the title sequence as a crow's flight from King's Landing to Winterfell, however the production team at Elastic thought the idea too flat, and came up with the idea of using a 3-D models within a sphere that represents the world of the show.[7] The sphere was used to obviate the question of what might lie beyond the horizon of the map, and the whole sphere lit by the sun in the middle.[4] According to Angus Wall, the head of title design firm Elastic, the title sequence had "a concrete function in the world of the show, in that it serves as a legend the way the map at the beginning of a fantasy book orients you."[14] The title sequence informs the viewers of the locations of the show relevant to each episode, and changes to reflect the storylines of the show and changes within this world.[7]
On the use of an astrolabe and models with moving parts, producer Greg Spence explained that Angus Wall at Elastic came up with "a vision of a mad monk, in a tower somewhere," who was somehow keeping track of all this action, "and creating as he went. He would then fashion little automatons out of the materials that would be available in his world. They would be stone, or tin, or wood, and everything would feel very hand-crafted."[6] The idea is therefore that everything in the title sequence could be created with hammer, saw and chisel, and operated with gears and cogs.[7] The turning gears and cogs were meant to be reminiscent of Leonardo da Vinci's inventions.[15]
The concepts, including details such as the machinery used, were first sketched by hand, and the models were then created with computer graphics.[4][16]
Game of Thrones theme[edit]
Main article: Game of Thrones Theme
The theme music that accompanies the title sequence was composed by Ramin Djawadi.[17] The production team showed the title sequence they were working on to Djawadi, who was then inspired to create the music for the Game of Thrones Theme, and finished the theme music three days later.[18][7] Djawadi said the show runners Benioff and Weiss wanted the theme music to be about a journey that reflects the variety of locations and characters in the show.[19]
Homage[edit]
The Simpsons episode "Exit Through the Kwik-E-Mart" features a homage to the Game of Thrones title sequence, with famous buildings in the town of Springfield rising through the ground as characters watch on, dressed in Game of Thrones-style costumes. The Wall is replaced by the monolithic "Couch" at the end of the sequence.[20]
Awards[edit]
The title sequence won a Creative Arts Emmy Award on September 10, 2011.[21]
Awards and nominations[edit]
Year
Award
Category
Nominee(s)
Result
Ref.
2011 63rd Primetime Creative Arts Emmy Awards Outstanding Main Title Design Angus Wall, Hameed Shaukat, Kirk Shintani and Robert Feng Won [21]
2016 68th Primetime Creative Arts Emmy Awards Outstanding Interactive Program Game of Thrones Main Titles 360 Experience Nominated [22]
References[edit]
Jump up ^ Perkins, Will (11 May 2011). "Game of Thrones (2011)". Art of the Title. Retrieved 1 June 2013.
Jump up ^ Fernandez, Sofia M. (10 September 2011). "Emmys 2011: 'Game of Thrones' Title Sequence Gives Series Its First Emmy". The Hollywood Reporter. Retrieved 1 June 2013.
Jump up ^ Charisma, James (January 4, 2017). "The 75 Best TV Title Sequences of All Time". Paste (magazine). Retrieved January 16, 2017.
^ Jump up to: a b c d e "Game of Thrones (2011)". Art of the Title.
Jump up ^ Justin Rocket Silverman (May 24, 2015). "Few realize map shown during 'Game of Thrones' title sequence changes per season". New York Daily News.
^ Jump up to: a b "Why doesn't the 'Game of Thrones' map always match up with where the story is?". HitFix. Retrieved 24 July 2017.
^ Jump up to: a b c d e C.A. Taylor (November 6, 2014). "Creating the Title Sequence". Inside HBO's Game of Thrones II: Seasons 3 & 4. Gollancz. ISBN 978-1473206182.
Jump up ^ Bonner, Mehehra (September 8, 2017). "Fans Noticed Something Super Weird About Sophie Turner's Name in the 'Game of Thrones' Credits". Marie Claire.
Jump up ^ Bruk, Diana (June 27, 2016). "Bet You Didn't Notice This Clever Detail In the Opening Credits of the Game of Thrones Finale". Esquire.
Jump up ^ Loughrey, Clarisse (April 14, 2016). "Game of Thrones season 6: watch the opening titles in 360-degree video and look up the Titan of Braavos' skirt". The Independent.
Jump up ^ Axelrod, John (March 30, 2013). "How The Innovative Game Of Thrones Opening Credits Were Built". Forbes.
Jump up ^ "Home". Elastic. Retrieved February 5, 2017.
Jump up ^ Houghton, David (August 25, 2017). "The evolution of Game of Thrones' title sequence - from basic map, to a deceptively deep part of the show's journey". Games Radar.
Jump up ^ Thurm, Eric (January 25, 2016). "Transparent to Game of Thrones: how TV perfected the title sequence". The Guardian.
Jump up ^ Appelo, Tim (April 19, 2011). "Secrets Behind 'Game of Thrones' Opening Credits (Video)". Hollywood Reporter.
Jump up ^ Frei, Vincent (October 22, 2011). "Game of Thrones: Kirk Shintani – CG Supervisor – A52 / Elastic". Art of VFX.
Jump up ^ Renfro, Kim (July 7, 2016). "Meet the musical genius behind the Game of Thrones soundtrack who watches each season before anyone else". Tech Insider. Archived from the original on July 8, 2016.
Jump up ^ "Composer Interview: Ramin Djawadi". Filmmusicmedia.com. December 22, 2012. Retrieved January 4, 2013.
Jump up ^ Hirway, Hrishikesh. "Song Exploder 40: RAMIN DJAWADI ("Game of Thrones")". Soundcloud.
Jump up ^ Davis, Lauren. "Watch the Simpsons' amazing Game of Thrones intro".
^ Jump up to: a b Antonsson, Elio M. García and Linda. "Game of Thrones: News - Game of Thrones Take Home Emmy".
Jump up ^ Ling, Thomas (September 19, 2016). "Game of Thrones just won more Emmys than any other show EVER". Radio Times.
External links[edit]
Game of Thrones - A Q&A with Creative Director Angus Wall of Elastic. May 12, 2011, WRITER: Will Perkins, INTERVIEW: Ian Albinson, LAST UPDATE: June 29, 2011 at Art of the Title
Secrets Behind 'Game of Thrones' Opening Credits (Video) - An interview with the creators of the title sequence 1:24 PM 4/19/2011 by Tim Appelo at HollywoodReporter.com
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Half-Sack Epps
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Kip Epps
First appearance
"Pilot" (episode 1.01)
Last appearance
"Na Trioblóidí" (episode 2.13) (Killed by Cameron Hayes protecting Abel and Tara)
Created by
Kurt Sutter
Portrayed by
Johnny Lewis
Information
Nickname(s)
Half-Sack, Prospect, Sack
Gender
Male
Occupation
Sons of Anarchy Motorcycle Club Member, mechanic, gun runner, former U.S. Marine Corps
Spouse(s)
Cherry (Old Lady/Girlfriend)
Nationality
American
Edward Kip "Half Sack" Epps is a fictional character on the FX television series Sons of Anarchy, played by Johnny Lewis.[1][2] He is a prospect (prospective member) of the Sons of Anarchy Motorcycle Club, which often results in hazing and his being given undesirable tasks. The other members generally have a good-natured attitude towards Half Sack when giving him these difficult tasks.
Contents
[hide]
1 Biography
1.1 Season One
1.2 Season Two
1.3 Season Three
2 References
Biography[edit]
Kip Epps served in the United States Marine Corps during the Iraq War. He lost a testicle while serving in Iraq, prompting the nickname "Half Sack". A surprisingly formidable fighter, he was also the Junior Lightweight Champion of the Armed Forces boxing competition. After leaving the military, he began prospecting for the Sons of Anarchy Motorcycle Club and worked as a mechanic at Teller-Morrow Automotive Repair. He was also a vegetarian.
Season One[edit]
To distract the police from their activities, Jax Teller, Chibs Telford, Juice Ortiz and Half-Sack acquire two dead bodies from the local morgue and set them up in a fake shoot-out. The set-up shooting is made to look like a racist murder involving the Nordics, a local skinhead gang. On the way to Lodi, they are cut off on the road by a man driving a red muscle car. On the way back to Charming, they catch up with this man at a gas station and beat him up. The driver pulls out a pistol and attempts to shoot Jax, but is wrestled to the ground and killed by the Pakistani shop keeper who hits him with a fire axe. They steal the CCTV tapes and flee the scene.[3]
While working at the auto shop one day, Half-Sack tells Tig Trager that Clay Morrow's wife, Gemma, gives him a MILF chubby, unaware that Clay is within earshot. Later, at the Devil's Tribe patch-over party, Half-Sac meets a woman named Cherry, and the couple seem to be in love. Clay retaliates by pulling rank and having sex with Cherry.[4]
The club enters Half-Sack into a bare-knuckle boxing competition, to raise funds to buy weapons. During this time, he is trained by Chibs, who enforces Clays requirements that Half-Sack have "no booze, no weed and no pussy". This means Cherry is kept away from him. Assigned by Clay to test Cherry's loyalty to Half-Sack, Bobby tries to have sex with her at his house, but she refuses his persistent advances. At the competition, Half-Sack reaches the final but is then told by Chibs and Tig to take a dive, because they bet on his opponent. Half-Sack agrees, but then sees Clay and Cherry hugging at ring-side. This brings on a sudden surge of rage, and he knocks his opponent out. Half-Sack is then told he owes the club $35,000.[5]
In a bid to pay back the money, help the club, and earn his patch, Half-Sack steals an ambulance, which he plans to sell. The club dismisses this stunt as pointless and unnecessarily risky, however. The ambulance eventually does come to good use when Cameron Hayes of the True IRA is shot and wounded by the Mayans.
Half-Sack's girlfriend, Cherry, is arrested but later broken out of jail. Happy then smuggles her into Canada, and she eventually moves to Belfast, to stay with SOA's Belfast charter.[6]
After Piney Winston's daughter-in-law, Donna, is killed by the One-Niners (or so it seemed), Piney travels to Oakland to get revenge. Jax sends Half-Sack to follow him and to stop him from doing anything unnecessary. However, when they get to Oakland, Half-Sack is unable to stop Piney from starting a fight in a Niners bar. It ends in a hostage situation, with Piney holding a Niner at gunpoint. When Jax and Chibs arrive and try to stop Piney from causing further trouble, Half-Sack helps Jax disarm him. They hold a meeting with Laroy, the Niners leader, who tells them that it is not he or his gang who killed Donna. The season ends with Half-Sack and the rest of SAMCRO attending Donna's funeral.[7]
Season Two[edit]
Half-Sack is still a prospect trying to get into SAMCRO. He seems to have a more prominent role in some of the club's dealings and is often seen going on runs/errands with the other members. However, he remains the most likely member to be given surveillance duties.
After a short absence, Half-Sack returns to the clubhouse, revealing he had surgery to receive a prosthetic testicle. Soon after the surgery, Half-Sack begins feeling discomfort. He eventually cannot take it anymore and enlists Tara's help; she informs him that his testicles are severely swollen due to infection, a possible side effect of the surgery.
In "Culling", Half-Sack reveals that his body rejected the prosthetic. Soon afterward, Clay and some of the others discuss how they feel about patching Half-Sack into the club; all agree he would be a good addition to their ranks. Clay remarks that he has "Half a sack, but a whole lot of balls". Half-Sack later participates in an organized brawl with L.O.A.N. as one of SAMCRO's ten best fighters.
In the season two finale, Half-Sack is tasked with watching over Gemma and Tara, but he cannot prevent Gemma from exacting revenge on Polly Zobelle. He returns to Jax's home, not knowing he was followed by Cameron Hayes. After Hayes threatens to kill Abel Teller with a kitchen knife, Half-Sack rushes at him, only to be stabbed and killed. His death is discovered by Jax, Opie, and Chibs.[8]
Kurt Sutter, series writer and creator, said that Half-Sack was killed off because Lewis wanted to leave the show due to creative differences; "We decided we'd find some noble way for him to go. It wasn't my intent to try to be sensational and kill off a main character." [9]
Season Three[edit]
In the season premiere, SAMCRO buries Half-Sack with over 50 full-patch members from California, Washington, Nevada, and Oregon as well as numerous former military colleagues in attendance. A three-piece kutte is draped over his casket during the service, implying that SAMCRO posthumously patched him in.
References[edit]
Jump up ^ Sons of Anarchy at IMDb
Jump up ^ Hunnam, Glenn and Sagal in FX's Anarchy
Jump up ^ Seeds - Recap
Jump up ^ Patch Over - Recap
Jump up ^ Old Bones - Recap
Jump up ^ Better Half - Recap
Jump up ^ The Revelator - Recap
Jump up ^ Interview with Kurt Sutter
Jump up ^ Interview with Kurt Sutter
[hide]
v
t
e
Sons of Anarchy
Created by: Kurt Sutter
Episodes
Season 1
Season 2
Season 3
Season 4
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Season 6
Season 7
Characters
Clay Morrow
Jax Teller
Gemma Teller Morrow
Tara Knowles
Bobby Munson
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Half-Sack Epps
Happy
Wayne Unser
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Marcus Álvarez
Ethan Zobelle
Universe
Charming, CA
Music
"This Life"
Songs of Anarchy
Songs of Anarchy Volume 2
Songs of Anarchy Volume 3
Songs of Anarchy Volume 4
Category
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Throw-in
From Wikipedia, the free encyclopedia
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For boundary throw-in, see Laws of Australian Football.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2009) (Learn how and when to remove this template message)
A player taking a correct throw-in during a game.
A throw-in is a method of restarting play in a game of football (or soccer) when the ball has exited the side of the field of play.
Contents
1 Procedure
2 Infringements
3 Historical origins of the throw-in
4 Unusual throw-ins
5 References
6 External links
Procedure[edit]
The throw-in is taken from the point where the ball crossed the touch-line, either on the ground or in the air, though typically a referee will tolerate small discrepancies between the position where the ball crossed the touch-line and the position of the throw-in. The throw-in is taken by the opponents of the player who last touched the ball when it crossed the touch-line.[1][2] Opposing players may stand at any distance from the thrower but no closer than 2 m (2.2 yd), so long as they are still on the pitch. A player may take a throw-in at a distance further back from the touch-line.
At the moment of delivering the ball, the thrower must face the field of play. The thrower must have part of each foot on the touchline or on the ground outside the touchline,[3] and use both hands to deliver the ball from behind and over the head.
The ball becomes in play as soon as it enters the field of play and leaves the hands of the thrower.
A goal cannot be scored directly from a throw-in; if a player throws the ball directly into their own goal without any other player touching it, the result is a corner kick to the opposing side.[4] Likewise an offensive goal cannot be scored directly from a throw in; the result in this case is a goal kick for the defending team.
A player may not be penalised for an offside offence when receiving the ball directly from a throw-in.[5] Skillful attackers can sometimes take advantage of this rule by getting behind the last defender(s) to receive the throw-in and having a clear path to goal.
The optimal release angle for attaining maximum distance is about 30 degrees above the horizontal, according to researchers at Brunel University.[6] According to the study, players are able to throw the ball with greater release velocity for lower angles. The optimal angle would be 45 degrees if the release velocity did not depend on the angle of throw, if the ball were thrown from ground level instead of above the head, and if there was not air drag.
Infringements[edit]
If an opposing player fails to respect the required distance (2 m) before the ball is in play or otherwise unfairly distracts or impedes the thrower, he or she may receive a caution (yellow card) for unsporting behaviour.
If the thrower fails to deliver the ball per the required procedure, or delivers it from a point other than where the ball left the field of play, the throw-in is awarded to the opposing team. This is commonly known as a "foul throw",[7] though such throws are not considered fouls.
It is an infringement for the thrower to touch the ball a second time until it has been touched by another player; this is punishable by an indirect free kick to the opposing team from where the offence occurred, unless the second touch was also a more serious handling offence, in which case it is punishable by a direct free kick or penalty kick.
It is legal to throw the ball into the goal with no contact; however, a goal will not be scored directly from a throw in, nor can an own-goal, without being touched by a player. The restarts are a goal kick for the defending team and a corner kick for the attacking team, respectively. If any player (legally) touches the ball before it goes into the goal, then a goal is scored.
A goalkeeper cannot handle a ball thrown directly to him or her by a teammate. This cannot be circumvented by the keeper using the feet first before handling the ball. If this infringement occurs within the goalkeeper's penalty area, an indirect free kick is awarded. If the infringement occurs outside the goalkeeper's penalty area, a direct free kick is awarded.
Danielle Carter takes a throw-in for Arsenal Ladies
Historical origins of the throw-in[edit]
The modern throw-in comes from the nineteenth century English public school football games. In these codes of football a variety of methods of returning the ball into play from touch were used. The modern throw-in draws upon various aspects of a number of early English school games. For example, returning the ball by throwing it out was part of the Rugby and Cheltenham football rules. Like the modern throw-in, the direction was not specified. The Sheffield rules instigated the throw-in of the ball at right angles by the opposite side to the one that played it into touch.[8] The two-handed throw-in—called line-out—is part of rugby union football. That the first side reaching the ball must throw it out (at right angles, in this case) was part of the Football Association rules and the Rossall rules.
Unusual throw-ins[edit]
Rory Delap was highlighted for his throw-in technique: a former schoolboy javelin champion,[9] Delap was renowned for having one of the longest and most powerful throw-ins in football.[10]
A Notre Dame Fighting Irish women's soccer player attempting a flip throw
An uncommon but effective technique for delivering a faster than usual throw is the flip throw (notably employed in recent years by, among others, Estonian player Risto Kallaste): in it the player, during the run-up, plants the ball on the ground, flips over it, and uses the momentum gained from the flip to increase the velocity of the ball.[11]
References[edit]
Jump up ^ IFAB, http://www.theifab.com/laws/the-throw-in-2018/chapters/the-throw-in-procedure-2018
Jump up ^ FIFA, https://www.fifa.com/mm/document/affederation/federation/81/42/36/lotg_en.pdf, Laws of the Game, p.46, July 2008, accessed 13 May 2011
Jump up ^ Association, The Football. "The website for the English football association, the Emirates FA Cup and the England football team". www.thefa.com.
Jump up ^ FIFA.com. "Education & Technical - Referees - Laws of the Game - FIFA.com". FIFA.com.
Jump up ^ https://www.fifa.com/worldfootball/lawsofthegame/law/newsid=1290867.html
Jump up ^ Linthorne, Nicholas P.; Everett, David J. (19 January 2006). "Release angle for attaining maximum distance in the soccer throw-in". arXiv:physics/0601149  .
Jump up ^ "Soccer Rules Q&A Search AskTheref.com". asktheref.com.
Jump up ^ Football: The first hundred years. The untold story. Adrian Harvey. Routledge, Abingdon 2005 page 184
Jump up ^ Arsenal nemesis Rory Delap gives Stoke more than just long throwsThe Mirror. 3 November 2008. Retrieved 4 November 2008.
Jump up ^ Sunday World. p.115. 2 November 2008. Retrieved 2 November 2008.
Jump up ^ "The Art of the Flip Throw". 1 September 2011.
External links[edit]
FIFA Laws of the Game – Law 15)
Q&A on Throw Ins(from AskTheRef.com)
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Laws of the Game (rules of association football)
Terms
Law 1: The Field of Play
Law 2: The Ball
Law 3: The Number of Players
Law 4: The Players' Equipment
Law 5: The Referee
Law 6: The Other Match Officials
Law 7: The Duration of the Match
Law 8: The Start and Restart of Play
Law 9: The Ball In and Out of Play
Law 10: The Method of Scoring
Law 11: Offside
Law 12: Fouls and Misconduct
Law 13: Free kicks (direct and indirect)
Law 14: The Penalty Kick
Law 15: The Throw-In
Law 16: The Goal Kick
Law 17: The Corner Kick
Comparisons
Football and rugby union
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Social class in ancient Rome
From Wikipedia, the free encyclopedia
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Not to be confused with Status in Roman legal system.
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2007) (Learn how and when to remove this template message)
The toga, shown here on a statue restored with the head of Nerva, was the distinctive garb of Roman male citizens.
Social class in ancient Rome was hierarchical, but there were multiple and overlapping social hierarchies, and an individual's relative position in one might be higher or lower than in another.[1] The status of freeborn Romans during the Republic was established by:
ancestry (patrician or plebeian);
census rank (ordo) based on wealth and political privilege, with the senatorial and equestrian ranks elevated above the ordinary citizen;
attainment of honors (the novus homo or self-made man established his family as nobilis (“noble”) and thus there were noble plebeians); and
citizenship, of which there were grades with varying rights and privileges.
For example, men who lived in towns outside Rome (such as municipia or colonies) might hold citizenship, but lack the right to vote (see ius Latinum); free-born Roman women were citizens, but could not vote or hold political office.
There were also classes of non-citizens with different legal rights, such as peregrini. Under Roman law, slaves were considered property and had no rights as such. However, some laws regulated slavery and offered slaves protections not extended to other forms of property such as animals. Slaves who had been manumitted were freedmen (liberti), and for the most part enjoyed the same legal rights and protections as free-born citizens.
Roman society was patriarchal in the purest sense; the male head of household (paterfamilias) held special legal powers and privileges that gave him jurisdiction (patria potestas) over all the members of his familia – a more encompassing term than its modern derivative "family" that included adult sons, his wife (but only in Rome's earlier history, when marriage cum manu was practiced), married daughters (in the Classical period of Roman history), various dependent relatives, and slaves. The patron-client relationship (clientela), with the word patronus deriving from pater (“father”), was another way in which Roman society was organized into hierarchical groups, though clientela also functioned as a system of overlapping social networks. A patron could be the client of a socially superior or more powerful patron; a client could have multiple patrons.[2]
Contents
[hide]
1 Patricians and plebeians
2 Property-based classes
3 Citizenship
3.1 Women
3.2 Latin Right
3.3 Peregrini
3.4 Slaves
3.5 Freed men
4 References
Patricians and plebeians[edit]
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2011) (Learn how and when to remove this template message)
Main articles: Patrician (ancient Rome) and Plebs
The Patrician Torlonia bust believed to be of Cato the Elder. 1st century BCE
Roman portraiture frescos from Pompeii, 1st century CE, depicting two different men wearing laurel wreaths, one holding the rotulus (blondish figure, left), the other a volumen (brunet figure, right), both made of papyrus
Roman portraiture fresco of a young man with a papyrus scroll, from Herculaneum, 1st century CE
In the Roman Kingdom and the early Roman Republic the most important division in Roman society was between the patricians and the plebeians. The patricians were a small elite whose ancestry was traced to the first Senate established by Romulus,[3] who monopolised political power. The plebeians comprised the majority of Roman citizens (see below). Adult males who were not Roman citizens, whether free or slave, fall outside this division. Women and children were also not citizens, but took the social status of their father or husband, which granted them various rights and protections not available to the women and children of men of lower rank.
The common assumptions that the patricians and the Roman elite were one and the same throughout the history of ancient Rome, and that all plebeians were of non-elite status throughout the history of ancient Rome, are entirely incorrect. From the Late Republic era onward many members of the elite, including an increasing proportion of senators, came from plebeian families. The first Roman Emperor, Augustus, was of plebeian origin, as were many of his successors. By the Late Empire, few members of the Senate were from the original patrician families, most of which had died out. Rome continued to have a hierarchical class system, but it was no longer dominated by the distinction between patricians and plebeians.
Originally, all public offices were open only to patricians, and the classes could not intermarry. Plebeians and Patricians were always at odds due to the fact that Plebeians wanted to increase their power.[4] A series of social struggles (see Conflict of the Orders) saw the plebs secede from the city on three occasions, the last in 297 BCE, until their demands were met. They won the right to stand for office, the abolition of the intermarriage law, and the creation of office of tribune of the plebs. This office, founded in 494 BCE as a result of a plebeian secession, was the main legal bulwark against the powers of the patrician class, and only plebeians were eligible. The tribunes originally had the power to protect any plebeian from a patrician magistrate. Later revolts forced the Senate to grant the tribunes additional powers, such as the right to veto legislation. A tribune’s person was sacrosanct, and he was obliged to keep an open house at all times while in office. Some patricians, notably Clodius Pulcher in the late 60s BCE, petitioned to be assigned plebeian status, in order to accumulate the political influence among the people that the office of tribune afforded. The conflict between the classes came to a climax in 287 BCE when patricians and plebeians were declared equal under the law.
Following these changes the distinction between patrician and plebeian status became less important, and by the Late Republic the only patrician prerogatives were certain priesthoods. Over time, some patrician families declined, some plebeian families rose in status, and the composition of the ruling class changed. A plebeian who was the first of his line to become consul was known as a novus homo (“new man”), and he and his descendants became “noble” (nobiles). Notable examples of novi homines are the seven-time consul Marius, and Cicero, whose rise was unusual in that it was driven by his oratorical and intellectual abilities rather than, as with Marius, military success. During the Empire, patricius became a title of nobility bestowed by emperors.[5][6]
A young woman sits while a servant fixes her hair with the help of a cupid, who holds up a mirror to offer a reflection, detail of a fresco from the Villa of the Mysteries, Pompeii, c. 50 BCE
Property-based classes[edit]
Further information: Roman Senate and Equestrian order
The census divided citizens into six complex classes based on property. The richest were the senatorial class, who during the Late Republic had to be worth at least 400,000 sestertii, the same as the equites; when Augustus reformed the senate during the first years of the Principate, he raised the property requirement to 1,000,0000 sestertii.[7] The wealth of the senatorial class was based on ownership of large agricultural estates, and by custom members did not engage in commercial activity.
Below the senatores in rank, but above others were the equites (“equestrians” or “knights”), with 400,000 sestertii, who could engage in commerce and formed an influential business class. Certain political and quasi-political positions were filled by equites, including tax farming and, under the Principate, leadership of the Praetorian Guard. Below the equites were three more classes of property-owning citizens; and lastly the proletarii, whose property was valued below 11,000 asses.[8]
Analysis of Roman Centuriate Organisation 509-241 BCE *[9]
Class
Census property rating
money (property)
Electoral
assembly
votes per
person
Military Equipment
(self-supplied)
Patricians (historical aristocracy)
Senatores 400,000 sestertii (1,000,0000 sestertii)
Equites** 400,000 sestertii Horse, ...
Plebeians (commoners)
First 100,000 As (100 iugera) 2 Helm, round shield, cuirass, greaves, sword, and spear.
Second 75,000 As (75 iugera) 1 Helm, round shield, greaves, sword and spear.
Third 50,000 As (50 iugera) 1 Helm, oblong shield, sword and spear.
Fourth 25,000 As (25 iugera) 1 Oblong shield, Spear or Sword, Javelin
Fifth 11,000 As (11 iugera)
12,500 As (12 iugera) 1 Slings or Javelins (velites)
Proles (landless poor)
Proletarii below 11,000 asses Fleets (oarsmen)
* This was the system of the Centuriate Assembly and was the practice of the Servian constitution. Information arranged by Tim Cornell based on the works of Livy, Polybius, and Dionysius of Hallicarnasus.
For a contrasting version of the same or similar data, see the table in the Equites article.
** The equites class was available for both plebeians and patricians, and favored by ambitious young men in both groups.
At the period this was valid 1 Denarius was worth about 10 As; Luuk de Ligt puts the value of an iugerium at 1,000 As or 100 denarii as a recommended baseline because values fluctuate a lot and because of many factors.[10]
Citizenship[edit]
Main article: Roman citizenship
The Orator, c. 100 BCE, an Etrusco-Roman bronze sculpture depicting Aule Metele (Latin: Aulus Metellus), an Etruscan man wearing a Roman toga while engaged in rhetoric; the statue features an inscription in the Etruscan alphabet
Women[edit]
Free-born women in ancient Rome were citizens (cives), but could not vote or hold political office.[11] The form of Roman marriage called conubium, for instance, requires that both spouses be citizens; like men from towns granted civitas sine suffragio, women eligible for legal marriage were citizens without suffrage. The legal status of a mother as a citizen affected her son's citizenship.[12] The phrase ex duobus civibus Romanis natos (“children born of two Roman citizens”) indicates that a Roman woman was regarded as having citizen status, in specific contrast to a peregrina.
Latin Right[edit]
The Latin Right was a form of citizenship with limited rights. It was conferred originally on the allied towns of Latium in the Republican era, and gradually extended to communities throughout the Empire. Latin citizens had rights, but not the vote, although their leading magistrates could become full citizens.
Peregrini[edit]
Free-born foreign subjects were known as peregrini, and special laws existed to govern their conduct and disputes. These distinctions continued until 212 CE, when Caracalla extended full Roman citizenship to all free-born men in the empire.
Slaves[edit]
Main article: Slavery in ancient Rome
Slaves (servi) were not citizens, and lacked even the legal standing accorded free-born foreigners. For the most part, slaves descended from debtors and from prisoners of war, especially women and children captured during sieges and other military campaigns in Greece, Italy, Spain, and Carthage. In the later years of the Republic and into the Empire, more slaves came from newly conquered areas of Gaul, Britain, North Africa, and Asia Minor. Many slaves were created as the result of Rome's conquest of Greece, but Greek culture was considered in some respects superior to that of Rome: hence Horace's famous remark Graecia capta ferum victorem cepit ("Captured Greece took her savage conqueror captive"). The Roman playwright Terence is thought to have been brought to Rome as a slave. Thus slavery was regarded as a circumstance of birth, misfortune, or war; it was defined in terms of legal status, or rather the lack thereof, and was neither limited to or defined by ethnicity or race, nor regarded as an inescapably permanent condition.
Slaves who lacked skills or education performed agricultural or other forms of manual labor. Those who were violent or disobedient, or who for whatever reason were considered a danger to society, might be sentenced to labor in the mines, where they suffered under inhumane conditions. Slaves subjected to harsh labor conditions also had few if any opportunities to obtain their freedom.
Since slaves were legally property, they could be disposed of by their owners at any time. All children born to female slaves were slaves. Some slave owners, as for instance Tacitus,[citation needed] freed slaves whom they believed to be their natural children. Slaves who had the education or skills to earn a living were often manumitted upon the death of their owner as a condition of his will. Slaves who conducted business for their masters were also permitted to earn and save money for themselves, and some might be able to buy their own freedom.
Over time, legislation was passed to protect the lives and health of slaves. Although many prostitutes were slaves, for instance, the bill of sale for some slaves stipulated that they could not be used for commercial prostitution.[13]
Freed men[edit]
Freed men (libertieu) were freed slaves, whose free-born children were full citizens. The status of liberti developed throughout the Republic as their number increased. Livy states[citation needed] that freedmen in the Early Republic mainly joined the lower classes of the plebeians. Juvenal, writing during the Empire when financial Freedmen were often highly educated and made up the bulk of the civil service during the early Empire. The Augustan poet Horace was himself the child of a freedman from Venusia in southern Italy. Many became enormously wealthy as the result of bribes, fraud, or other forms of corruption, or were given large estates by the Emperor they served.[citation needed] Other freedmen engaged in commerce, amassing vast fortunes often only rivalled by those of the wealthiest nobiles. Many of the Satires of Juvenal contain angry denouncements of the pretensions of wealthy freedmen, some 'with the chalk of the slave market still on their heel'. Juvenal saw these successful men as nouveaux riches who were far too ready to show off their (often ill-gotten) wealth. Another famous caricature is seen in the absurdly extravagant character of Trimalchio in Satyricon. The majority of freedmen, however, joined the plebeian classes, and often worked as farmers or tradesmen.
References[edit]
Jump up ^ Koenraad Verboven. (2007). The Associative Empire. Athenaeum 95, p. 861.
Jump up ^ Carlin A. Barton. (1993). The Sorrows of the Ancient Romans: The Gladiator and the Monster, pp. 176–177. Princeton University Press.
Jump up ^ Livy, Ab Urbe Condita 1:8
Jump up ^ McKay, John P. (2013). Study guide for a History of World Societies, Volume A: To 1500, 51. Content Technologies.
Jump up ^ "patricians." World History: Ancient and Medieval Eras. ABC-CLIO, 2011. Web. 16 January 2011.
Jump up ^ "plebeians." World History: Ancient and Medieval Eras. ABC-CLIO, 2011. Web. 16 January 2011.
Jump up ^ Peter Garnsey & Richard Saller. (1987) The Roman Empire: Economy, Society and Culture, pp. 112f. Berkeley: University of California.
Jump up ^ Joseph Wells, A Short History of Rome to the Death of Augustus (Plymouth: William Brendan and Sons, 1896), p. 16.
Jump up ^ Based on Livy 1.43; Dionysius of Halicarnassus IV, 16-18. First referenced by Cornell, T.J. (1995). The Beginnings of Rome: Italy and Rome from Bronze Age to the Punic Wars 1000-264 BCE, 179.
Jump up ^ Ligt, Luuk /de; Northwood, S. J. (2008-01-01). People, Land, and Politics: Demographic Developments and the Transformation of Roman Italy 300 BC-AD 14. BRILL. ISBN 9004171185.
Jump up ^ Bruce W. Frier & Thomas A.J. McGinn. (2004). A Casebook on Roman Family Law, pp. 31–32, 457, et passim. Oxford University Press: American Philological Association.
Jump up ^ See Frier and McGinn, passim, and A.N. Sherwin-White. (1979). Roman Citizenship, pp. 211 & 268. Oxford University Press.online (on male citizenship as it relates to marrying citizen women) et passim.
Jump up ^ McGinn, Thomas A.J. (1998). Prostitution, Sexuality and the Law in Ancient Rome, p. 293. Oxford University Press.
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