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{"datasets_id": 1306, "wiki_id": "Q512345", "sp": 6, "sc": 2517, "ep": 6, "ec": 3189} | 1,306 | Q512345 | 6 | 2,517 | 6 | 3,189 | Criminal defense lawyer | United States | other illegally obtained evidence could result in evidence being inadmissible at trial. Accordingly, a criminal defense lawyer often spends a considerable amount of time reviewing all documentation to determine if the case can be won on constitutional grounds due to illegal conduct by the government.
If there are no constitutional violations, much of the work of a criminal defense attorney then turns to trial preparation. Any proposed settlement agreement must be compared to the best judgment about the outcome after trial. A criminal defense lawyer will usually discuss potential plea bargains with the prosecuting attorney, as an alternative to exercising |
{"datasets_id": 1306, "wiki_id": "Q512345", "sp": 6, "sc": 3189, "ep": 6, "ec": 3849} | 1,306 | Q512345 | 6 | 3,189 | 6 | 3,849 | Criminal defense lawyer | United States | the defendant's trial right and other rights. Plea agreements, when made, can be characterized as either charge agreements (often involving a less serious charge), sentencing agreements (involving a lesser sentence), or both.
Criminal defense lawyers are typically defending people with misdemeanor or felony charges. A misdemeanor generally refers to criminal activity that is punishable by one year or less in the local jail. A felony typically refers to criminal activity that is punishable by more than one year in the prison system. Many states have "wobblers", which refers to criminal activity that is charged as a felony, but has a possibility |
{"datasets_id": 1306, "wiki_id": "Q512345", "sp": 6, "sc": 3849, "ep": 6, "ec": 4455} | 1,306 | Q512345 | 6 | 3,849 | 6 | 4,455 | Criminal defense lawyer | United States | of being reduced to a misdemeanor. In matters involving a wobbler, many times a reputable lawyer can either have the felony reduced to a misdemeanor or in the alternative have the felony appear to be a misdemeanor so that the felony can be reduced to a misdemeanor at a later date, which may be good strategy since the typical felony cannot be expunged.
The initial process of becoming a criminal defense attorney is similar to becoming a lawyer practicing in any other legal practice area. To become a criminal defense lawyer, a person will typically complete their undergraduate degree, and then |
{"datasets_id": 1306, "wiki_id": "Q512345", "sp": 6, "sc": 4455, "ep": 6, "ec": 4930} | 1,306 | Q512345 | 6 | 4,455 | 6 | 4,930 | Criminal defense lawyer | United States | attend and graduate from a law school. After graduating law school and passing the bar examination for that particular state or jurisdiction, the new lawyer will be sworn in as a member of that bar and can then begin practicing in the field of criminal law. However, many reputable criminal defense attorneys spend some time after being admitted to the bar working under the mentor-ship of an experienced attorney, often in a prosecutors office or a public defenders office. |
{"datasets_id": 1307, "wiki_id": "Q119194", "sp": 2, "sc": 0, "ep": 8, "ec": 468} | 1,307 | Q119194 | 2 | 0 | 8 | 468 | Cristina Perincioli | Awards | Cristina Perincioli Cristina Perincioli (born November 11, 1946 in Bern, Switzerland) is a Swiss film director, writer, multimedia producer and webauthor. She has lived in Berlin, Germany since 1968. Awards 1972 Perincioli received the "Award of the Film Journalists" at the International Short Film Festival Oberhausen for her thesis film at the Deutsche Film- und Fernsehakademie Berlin (dffb – German Film and Television Academy) "For Women: Chapter 1". Gwendolyn Audrey Foster writes about her directorial work: "Cristina Perincioli is an important figure in the tradition of Straub, Huillet an Fassbinder ..." (in "Women Film Directors. ... An International Guide" 1995, |
{"datasets_id": 1307, "wiki_id": "Q119194", "sp": 8, "sc": 468, "ep": 8, "ec": 1041} | 1,307 | Q119194 | 8 | 468 | 8 | 1,041 | Cristina Perincioli | Awards | p. 306). Best rating for the CD-ROM "Save Selma" (Serious Game: prevention for children on the subject of sexual abuse) in Feibel's “Software For Children”-Ratings 1999 and 2000. For her web platform "www.4uman.info" to prevent violence in relationships (in English and German), Perincioli received at the 6th Berlin Crime Prevention Day 2005 the Securitas Award for the "innovative character of the site in violence prevention." Her website www.spass-oder-gewalt.de about prevention of sexual violence among young people in 2007 received the Thuringian Women Media Award. |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 2, "sc": 0, "ep": 6, "ec": 627} | 1,308 | Q27244627 | 2 | 0 | 6 | 627 | Cristina Rodrigues | Life and career | Cristina Rodrigues Life and career The eclecticism which characterises her work can be traced back to her studies in Architecture, Medieval and Renaissance History and Contemporary Art. She graduated in Architecture (2014) and completed a Masters degree in Medieval and Renaissance History (2007) at the University of Porto, Portugal. Later she moved to Manchester, United Kingdom, where she lectured at university and was awarded a PhD in Art and Design at Manchester School of Art (2016).
In 2011 Cristina was awarded a research grant by the Arts and Humanities Research Council to develop her ongoing research project ‘Design for Desertification’. She |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 6, "sc": 627, "ep": 6, "ec": 1268} | 1,308 | Q27244627 | 6 | 627 | 6 | 1,268 | Cristina Rodrigues | Life and career | then focused her research work on the study and register of Portuguese territories with low population density. She also began to create some of her most poignant contemporary art work, and textiles became her trade mark from the outset. The recurring use of satin ribbons, industrial fabrics and lace has been a distinguishing feature in her aesthetic narrative.
Manchester, the old textile capital of Europe, became her chosen home for seven years and during this time Cristina focused on the study of Contemporary Art. By combining her many interests, namely culture, oral traditions and textiles, she created The Blanket, one of |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 6, "sc": 1268, "ep": 10, "ec": 515} | 1,308 | Q27244627 | 6 | 1,268 | 10 | 515 | Cristina Rodrigues | Life and career & Themes | her most emblematic works. The original version of this contemporary art installation was made with Idanha-a-Nova’s traditional instrument, the adufe, cotton lace and satin ribbons. Themes Cristina Rodrigues interprets reality by analyzing mentalities and iconographies in contemporary society. The dialectics between tradition and contemporaneity is central to her work.
Her art celebrates the role of women in contemporary society. Items which are characteristic of the female universe are used in her works of art. Cotton lace, satin ribbons, glass and crystal necklaces are combined with iron and musical instruments in order to build narratives. Ready-made necklaces bought in the pound shop |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 10, "sc": 515, "ep": 10, "ec": 1228} | 1,308 | Q27244627 | 10 | 515 | 10 | 1,228 | Cristina Rodrigues | Themes | are combined with luxurious china, in an eclectic blend creating an analogy with contemporary society.
Emigration, a theme which is particularly relevant to her generation, is addressed in some of her work, namely the sculpture Grapes of Wrath, inspired by John Steinbeck’s work. Herself a migrant, for several years Cristina collected furniture that had belonged to migrants from the various communities in Manchester, United Kingdom. The contemporary art installation titled Bourgeois comprises four chairs previously owned by an Iranian family living in Stockport, United Kingdom. Like these, several other conventional furnishing underwent an intervention by the artist, transforming them into luxury |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 10, "sc": 1228, "ep": 14, "ec": 691} | 1,308 | Q27244627 | 10 | 1,228 | 14 | 691 | Cristina Rodrigues | Themes & Works | objects. Works In situ, Cristina’s art installations and sculptures adorne ordinary objects with baroque detail. She combines creative flair with everyday items. Each of her art installations is locally inspired yet universal in meaning, and it intentionally touches the lives of all those involved in its artistic production. Cristina’s practice is marked by simple aesthetics, almost always based on ethnographic research.
The patterns and stereotomies produced by the recurring satin ribbons are one of Cristina’s trademarks. However, with reference to narratives and artefacts that are familiar to her daily life, Cristina essentially uses popular materials, which relate to a woman’s condition |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 14, "sc": 691, "ep": 18, "ec": 614} | 1,308 | Q27244627 | 14 | 691 | 18 | 614 | Cristina Rodrigues | Works & Partnerships | and draws on crafting techniques usually associated to domestic crafts. Partnerships During her artistic career Cristina Rodrigues worked in partnership with different public and private entities and some of the most significant Portuguese brands. Cristina has been working closely with the Porto lace mill - Fábrica de Rendas Portuense, - since 2011. This mill still produces cotton lace using original industrial revolution machinery, acquired from a mill in Leicester, United Kingdom.
Recently, Cristina Rodrigues collaborated with other brands such as: Licor Beirão, the artist produced a large scale iron sculpture titled The Fountain of Happiness with Licor Beirão glass bottles; ICEL, |
{"datasets_id": 1308, "wiki_id": "Q27244627", "sp": 18, "sc": 614, "ep": 18, "ec": 732} | 1,308 | Q27244627 | 18 | 614 | 18 | 732 | Cristina Rodrigues | Partnerships | a cutlery brand and the Portuguese shoes brand FLY London, which inspired her art installation titled Urban Dwellers. |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 2, "sc": 0, "ep": 10, "ec": 140} | 1,309 | Q20987771 | 2 | 0 | 10 | 140 | Criticism of Zoroastrianism | Zoroaster & Literature | Criticism of Zoroastrianism Zoroaster In the early 19th century, a Christian missionary based in British India, John Wilson, claimed that Zoroaster never had a genuine divine commission (or ever claimed such a role), never performed miracles, or uttered prophecies and that the story of his life is "a mere tissue of comparatively modern fables and fiction." Others assert that all the available Zoroastrian sources regarding Zoroaster only provide conflicting images about him, especially between earlier and later sources. Literature The Dasatir-i-Asmani, while being accepted by Zoroastrian communities in Iran and India as genuine, especially by the Kadmi, it is generally |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 10, "sc": 140, "ep": 14, "ec": 205} | 1,309 | Q20987771 | 10 | 140 | 14 | 205 | Criticism of Zoroastrianism | Literature & Polytheism | believed to be a forgery.
Wilson argued that the Avesta could not be divinely inspired because much of its text was irrevocably lost or unintelligible and Martin Haug, who greatly helped the Parsis of India to defend their religion against the attacks of such Christian missionaries as Wilson, considered the Gathas to be the only texts and only authoritative scriptures that could be attributed to Zoroaster. Polytheism John Wilson attacked the Zoroastrian reverence of the Amesha Spenta and Yazatas as a form of polytheism, although the Parsis at the time immediately refuted this allegation and insisted that he had in fact |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 14, "sc": 205, "ep": 14, "ec": 834} | 1,309 | Q20987771 | 14 | 205 | 14 | 834 | Criticism of Zoroastrianism | Polytheism | addressed the Bundahishn, a text whose relevance to their practice was remote. Critics also commonly claim that Zoroastrians are worshipers of other deities and elements of nature, such as of fire—with one prayer, the Litany to the fire (Atesh Niyaesh), stating: "I invite, I perform (the worship) of you, the Fire, O son of Ahura Mazdā together with all fires"—and Mithra. Some critics have charged Zoroastrians with being followers of dualism, who only claimed to be followers of monotheism in modern times to confront the powerful influence of Christian and Western thought which "hailed monotheism as the highest category of |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 14, "sc": 834, "ep": 16, "ec": 27} | 1,309 | Q20987771 | 14 | 834 | 16 | 27 | Criticism of Zoroastrianism | Polytheism & Inter-Zoroastrian divisions | theology." Critics insist that the monotheistic reformist view is seen to contradict the conservative (or traditional) view of a dualistic worldview most evident in the relationship between Ahura Mazda and Angra Mainyu. and arguing that Zoroastrians follow a belief system influenced by henotheism. Other Western scholars such as Martin Haug, however, have dismissed the concept of theological dualism as a corruption of Zoroaster's original teachings, gradually added by later adherents of the faith. Critics add that the fact that such differing views have proliferated are a sign of the enigmatic nature of the Zoroastrian beliefs regarding the divinity. Inter-Zoroastrian divisions |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 18, "sc": 0, "ep": 18, "ec": 684} | 1,309 | Q20987771 | 18 | 0 | 18 | 684 | Criticism of Zoroastrianism | Inter-Zoroastrian divisions | Zoroastrian reformers, such as Maneckji Nusserwanji Dhalla, have argued that literary precedence should be given to the Gathas, as a source of authority and textual authenticity. They have also deplored and criticized many Zoroastrian rituals (e.g. excessive ceremonialism and focus on purity, using "bull's urine for ritual cleansing, the attendance of a dog to gaze at the corpse during funerary rites, the exposure of corpses on towers [for consumption by vultures and ravens]") and theological and cosmological doctrines as not befitting of the faith. This orthodox versus reformist controversy rages even on the internet.
Divisions and tensions also exist between Iranian |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 18, "sc": 684, "ep": 26, "ec": 33} | 1,309 | Q20987771 | 18 | 684 | 26 | 33 | Criticism of Zoroastrianism | Inter-Zoroastrian divisions & Who is a Zoroastrian (Zarathushti)? & Predestination | and Indian Zoroastrians and over such issues as the authority of a hereditary priesthood in the transmission and interpretation of the faith, ethnicity and the nature of Ahura Mazda. Historically, differences also existed between the Zoroastrian branches of Zurvanism, Mazdakism and Mazdaism. Who is a Zoroastrian (Zarathushti)? Much like the question of who is a Jew?, Zoroastrian identity, especially whether it is adopted through birth or belief (or both), "remains a cause for tension" within the community. Reformers have criticised the orthodox refusal to accept religious converts as one reason for the communities' declining population. Predestination Zoroastrians have been criticized |
{"datasets_id": 1309, "wiki_id": "Q20987771", "sp": 26, "sc": 33, "ep": 30, "ec": 222} | 1,309 | Q20987771 | 26 | 33 | 30 | 222 | Criticism of Zoroastrianism | Predestination & Patriarchy | by Muslim authors for their rejection of predestination. This follows a famous hadith of Muhammad in which he negatively associates the Qadariyah Islamic sect with the Magians. Patriarchy Zoroastrianism has been criticized for the perception that it promotes a patriarchal system, expressed through such avenues as an all-male priesthood and its historical allowance of polygamy—practiced by Zoroaster himself. |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 2, "sc": 0, "ep": 6, "ec": 563} | 1,310 | Q21600689 | 2 | 0 | 6 | 563 | Croatia in the Eurovision Song Contest 2016 | Background | Croatia in the Eurovision Song Contest 2016 Background Prior to the 2016 Contest, Croatia had participated in the Eurovision Song Contest twenty-one times since its first entry in 1993. The nation's best result in the contest was fourth, which it achieved on two occasions: in 1996 with the song "Sveta ljubav" performed by Maja Blagdan and in 1999 with the song "Marija Magdalena" performed by Doris Dragović. Following the introduction of semi-finals for the 2004, Croatia had thus far featured in five finals. Between 2010 and 2013, the Croatian entries failed to qualify from the semi-finals; the last time Croatia |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 6, "sc": 563, "ep": 6, "ec": 1225} | 1,310 | Q21600689 | 6 | 563 | 6 | 1,225 | Croatia in the Eurovision Song Contest 2016 | Background | competed in the final was in 2009 with the song "Lijepa Tena" performed by Igor Cukrov featuring Andrea.
The Croatian national broadcaster, Croatian Radiotelevision (HRT), broadcasts the event within Croatia and organises the selection process for the nation's entry. Between 1993 and 2011, HRT organised the national final Dora in order to select the Croatian entry for the Eurovision Song Contest. In 2012 and 2013, the broadcaster opted to internally select the entry. After consistently being present for every contest since their debut in 1993, the Croatian broadcaster announced in September 2013 that the country would not participate in the 2014 |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 6, "sc": 1225, "ep": 10, "ec": 313} | 1,310 | Q21600689 | 6 | 1,225 | 10 | 313 | Croatia in the Eurovision Song Contest 2016 | Background & Internal selection | citing the European financial crisis and a string of poor results at the contest as reasons for their decision. The broadcaster extended their absence from the contest, missing the 2015 as well. Following their two-year absence, HRT confirmed Croatia's participation in the 2016 Eurovision Song Contest on 26 November 2015. Internal selection On 24 February 2016, the Croatian national broadcaster HRT announced that it had internally selected Nina Kraljić to represent Croatia at the Eurovision Song Contest 2016. Previously, Croatian media reported between May and June 2015 that if Croatia returned to the contest, HRT would likely internally select the |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 10, "sc": 313, "ep": 10, "ec": 980} | 1,310 | Q21600689 | 10 | 313 | 10 | 980 | Croatia in the Eurovision Song Contest 2016 | Internal selection | winner of the reality singing competition The Voice – Najljepši glas Hrvatske, Nina Kraljić, to represent the nation.
The song that Kraljić performed at the Eurovision Song Contest, "Lighthouse", was presented on 9 March 2016 during a special radio programme broadcast on HR 2 and hosted by Zlatko Turkalj Turki. Nina Kraljić, the Croatian Eurovision Song Contest Head of Delegation Željko Mesar and Universal Music Croatia marketing manager Nina Meden were guests during the presentation show. The song was written by the Austrian songwriting team Popmaché, consisting of Andreas Grass and Nikola Paryla, and produced by Thorsten Brötzmann in Germany. Grass |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 10, "sc": 980, "ep": 14, "ec": 223} | 1,310 | Q21600689 | 10 | 980 | 14 | 223 | Croatia in the Eurovision Song Contest 2016 | Internal selection & Preparation | and Paryla were also the co-writers of "Shine", the Austrian Eurovision Song Contest entry in 2013. In regards to her song, Kraljić stated: "It has been an exceptional honour for me to work with such a talented and experienced team. The song has a brilliant message of hope, which, without looking at all the mischiefs in life, is always present and shining". Preparation On 21 March, the preview video submitted for the Eurovision Song Contest by HRT for "Lighthouse" premiered, which featured a compilation of video segments from the short film Hvar Into the Storm, filmed by Mario Romulić and |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 14, "sc": 223, "ep": 18, "ec": 402} | 1,310 | Q21600689 | 14 | 223 | 18 | 402 | Croatia in the Eurovision Song Contest 2016 | Preparation & Promotion | Dražen Stojčić. In late March and early April, Kraljić filmed the music video for "Lighthouse", which was directed by Filip Filković Philatz and the company Antitalent Production. The music video was released to the public on 7 April. Promotion Nina Kraljić made several appearances across Europe to specifically promote "Lighthouse" as the Croatian Eurovision entry. At the end of March 2016, Nina Kraljić completed a 48-hour tour of Serbia where she gave several interviews about her Eurovision participation to media outlets from Radio Television of Serbia (RTS), RTV Pink, N1 Studios and MTV Adria; Kraljić also performed "Lighthouse" live for |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 18, "sc": 402, "ep": 18, "ec": 1020} | 1,310 | Q21600689 | 18 | 402 | 18 | 1,020 | Croatia in the Eurovision Song Contest 2016 | Promotion | the first time during the RTS morning programme. On 9 April, Kraljić performed during the Eurovision in Concert event which was held at the Melkweg venue in Amsterdam, Netherlands and hosted by Cornald Maas and Hera Björk. On 17 April, Kraljić performed during the London Eurovision Party, which was held at the Café de Paris venue in London, United Kingdom and hosted by Nicki French and Paddy O'Connell.
In addition to her international appearances, Nina Kraljić performed "Lighthouse" as a musical guest during the 2016 Miss Universe Croatia pageant in Zagreb on 15 April and she also performed the song as |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 18, "sc": 1020, "ep": 22, "ec": 382} | 1,310 | Q21600689 | 18 | 1,020 | 22 | 382 | Croatia in the Eurovision Song Contest 2016 | Promotion & At Eurovision | a guest during the HRT 1 programme The Voice – Najljepši glas Hrvatske on 16 April. On 27 April, Kraljić held a concert together with Jacques Houdek at the Vatroslav Lisinski Concert Hall in Zagreb. At Eurovision According to Eurovision rules, all nations with the exceptions of the host country and the "Big 5" (France, Germany, Italy, Spain and the United Kingdom) are required to qualify from one of two semi-finals in order to compete for the final; the top ten countries from each semi-final progress to the final. The European Broadcasting Union (EBU) split up the competing countries into |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 22, "sc": 382, "ep": 22, "ec": 959} | 1,310 | Q21600689 | 22 | 382 | 22 | 959 | Croatia in the Eurovision Song Contest 2016 | At Eurovision | six different pots based on voting patterns from previous contests, with countries with favourable voting histories put into the same pot. On 25 January 2016, a special allocation draw was held which placed each country into one of the two semi-finals, as well as which half of the show they would perform in. Croatia was placed into the first semi-final, to be held on 10 May 2016, and was scheduled to perform in the first half of the show.
Once all the competing songs for the 2016 contest had been released, the running order for the semi-finals was decided by the |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 22, "sc": 959, "ep": 26, "ec": 46} | 1,310 | Q21600689 | 22 | 959 | 26 | 46 | Croatia in the Eurovision Song Contest 2016 | At Eurovision & Semi-final | shows' producers rather than through another draw, so that similar songs were not placed next to each other. Croatia was set to perform in position 5, following the entry from Hungary and before the entry from the Netherlands.
The two semi-finals and the final were broadcast in Croatia on HRT 1 with commentary by Duško Ćurlić. The three shows were also broadcast via radio on HR 2 with commentary by Zlatko Turkalj Turki. The Croatian spokesperson, who announced the top 12-point score awarded by the Croatian jury during the final, was Nevena Rendeli. Semi-final Nina Kraljić took part in technical rehearsals |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 26, "sc": 46, "ep": 26, "ec": 659} | 1,310 | Q21600689 | 26 | 46 | 26 | 659 | Croatia in the Eurovision Song Contest 2016 | Semi-final | on 2 and 6 May, followed by dress rehearsals on 9 and 10 May. This included the jury show on 9 May where the professional juries of each country watched and voted on the competing entries.
The Croatian performance featured Nina Kraljić dressed in large black-patterned grey coat, which was removed to reveal a white dress with blue and metallic elements. Kraljić's outfit was designed by Juraj Zigman with shoes designed by Ivan Ledenko. The stage lighting transitioned from blue to red as the performance progressed with the LED screens projecting sea waves and starry skies. Kraljić was joined on stage |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 26, "sc": 659, "ep": 26, "ec": 1294} | 1,310 | Q21600689 | 26 | 659 | 26 | 1,294 | Croatia in the Eurovision Song Contest 2016 | Semi-final | by four backing vocalists dressed in black coats: Andrej Babić, Martina Majerle, Danijela Večerinović and Lino Lacmanović Ćućić. Majerle previously represented Slovenia in the Eurovision Song Contest 2009 together with the group Quartissimo where they failed to qualify to the grand final of the contest with the song "Love Symphony".
At the end of the show, Croatia was announced as having finished in the top 10 and subsequently qualifying for the grand final. This was Croatia's first qualification to the final in seven years; their last appearance in the final was in 2009. It was later revealed that Croatia placed tenth |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 26, "sc": 1294, "ep": 30, "ec": 479} | 1,310 | Q21600689 | 26 | 1,294 | 30 | 479 | Croatia in the Eurovision Song Contest 2016 | Semi-final & Final | in the semi-final, receiving a total of 133 points: 53 points from the televoting and 80 points from the juries. Final Shortly after the first semi-final, a winners' press conference was held for the ten qualifying countries. As part of this press conference, the qualifying artists took part in a draw to determine which half of the grand final they would subsequently participate in. This draw was done in the order the countries appeared in the semi-final running order. Croatia was drawn to compete in the second half. Following this draw, the shows' producers decided upon the running order of |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 30, "sc": 479, "ep": 34, "ec": 17} | 1,310 | Q21600689 | 30 | 479 | 34 | 17 | Croatia in the Eurovision Song Contest 2016 | Final & Voting | the final, as they had done for the semi-finals. Croatia was subsequently placed to perform in position 17, following the entry from Lithuania and before the entry from Russia.
Nina Kraljić once again took part in dress rehearsals on 13 and 14 May before the final, including the jury final where the professional juries cast their final votes before the live show. Nina Kraljić performed a repeat of her semi-final performance during the final on 14 May. Croatia placed twenty-third in the final, scoring 73 points: 33 points from the televoting and 40 points from the juries. Voting Voting during the |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 34, "sc": 17, "ep": 34, "ec": 627} | 1,310 | Q21600689 | 34 | 17 | 34 | 627 | Croatia in the Eurovision Song Contest 2016 | Voting | three shows was conducted under a new system that involved each country now awarding two sets of points from 1-8, 10 and 12: one from their professional jury and the other from televoting. Each nation's jury consisted of five music industry professionals who are citizens of the country they represent, with their names published before the contest to ensure transparency. This jury judged each entry based on: vocal capacity; the stage performance; the song's composition and originality; and the overall impression by the act. In addition, no member of a national jury was permitted to be related in any way |
{"datasets_id": 1310, "wiki_id": "Q21600689", "sp": 34, "sc": 627, "ep": 34, "ec": 1076} | 1,310 | Q21600689 | 34 | 627 | 34 | 1,076 | Croatia in the Eurovision Song Contest 2016 | Voting | to any of the competing acts in such a way that they cannot vote impartially and independently. The individual rankings of each jury member as well as the nation's televoting results were released shortly after the grand final.
Below is a breakdown of points awarded to Croatia and awarded by Croatia in the first semi-final and grand final of the contest, and the breakdown of the jury voting and televoting conducted during the two shows: |
{"datasets_id": 1311, "wiki_id": "Q5187685", "sp": 2, "sc": 0, "ep": 4, "ec": 540} | 1,311 | Q5187685 | 2 | 0 | 4 | 540 | Cronaca fiorentina di Marchionne di Coppo Stefani | Cronaca fiorentina di Marchionne di Coppo Stefani The Cronaca fiorentina di Marchionne di Coppo Stefani (English: Florentine Chronicle of Marchionne di Coppo Stefani) written by Baldassarre Bonaiuti is considered today as one of the best works written on the Black Death in Florence in the year 1348. It is the only known literary work by Bonaiuti. It was written in vulgar Latin. There is no information as to when he may have started his work, but he devoted much time on it in his retirement from about 1378 until his death, a period of seven years.
The Cronaca fiorentina is not |
|
{"datasets_id": 1311, "wiki_id": "Q5187685", "sp": 4, "sc": 540, "ep": 8, "ec": 211} | 1,311 | Q5187685 | 4 | 540 | 8 | 211 | Cronaca fiorentina di Marchionne di Coppo Stefani | Editions | only a detailed history of the Black Death in Florence, but also a history of Florentine political groups and the political ambitions of individuals. Bonaiuti stresses the economic disruption in Florence during the fourteenth century which was the result of the bubonic plague. The Chronicle is a didactic work as well as a detailed historical record of Florence up to 1386. Editions The first edition of the chronicle was by Ildefonso di San Luigi (1724–1792), who had available to him four codices of the work. Niccolò Rodolico, in preparing a new edition, was able to refer to a further seven |
{"datasets_id": 1311, "wiki_id": "Q5187685", "sp": 8, "sc": 211, "ep": 8, "ec": 343} | 1,311 | Q5187685 | 8 | 211 | 8 | 343 | Cronaca fiorentina di Marchionne di Coppo Stefani | Editions | codices, the earliest of which dated from about twenty-five years after Bonaiuti's death. Rodolico's edition was published in 1903. |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 2, "sc": 0, "ep": 6, "ec": 594} | 1,312 | Q44204 | 2 | 0 | 6 | 594 | Cronus | Mythology | Cronus Mythology In an ancient myth recorded by Hesiod's Theogony, Cronus envied the power of his father, the ruler of the universe, Uranus. Uranus drew the enmity of Cronus's mother, Gaia, when he hid the gigantic youngest children of Gaia, the hundred-handed Hecatoncheires and one-eyed Cyclopes, in Tartarus, so that they would not see the light. Gaia created a great stone sickle and gathered together Cronus and his brothers to persuade them to castrate Uranus.
Only Cronus was willing to do the deed, so Gaia gave him the sickle and placed him in ambush. When Uranus met with Gaia, Cronus attacked |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 594, "ep": 6, "ec": 1214} | 1,312 | Q44204 | 6 | 594 | 6 | 1,214 | Cronus | Mythology | him with the sickle, castrating him and casting his testicles into the sea. From the blood that spilled out from Uranus and fell upon the earth, the Gigantes, Erinyes, and Meliae were produced. The testicles produced a white foam from which the goddess Aphrodite emerged. For this, Uranus threatened vengeance and called his sons Titenes for overstepping their boundaries and daring to commit such an act.
After dispatching Uranus, Cronus re-imprisoned the Hecatoncheires, and the Cyclopes and set the dragon Campe to guard them. He and his sister Rhea took the throne of the world as king and queen. The period |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 1214, "ep": 6, "ec": 1754} | 1,312 | Q44204 | 6 | 1,214 | 6 | 1,754 | Cronus | Mythology | in which Cronus ruled was called the Golden Age, as the people of the time had no need for laws or rules; everyone did the right thing, and immorality was absent.
Cronus learned from Gaia and Uranus that he was destined to be overcome by his own sons, just as he had overthrown his father. As a result, although he sired the gods Demeter, Hestia, Hera, Hades and Poseidon by Rhea, he devoured them all as soon as they were born to prevent the prophecy. When the sixth child, Zeus, was born Rhea sought Gaia to devise a plan to save |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 1754, "ep": 6, "ec": 2353} | 1,312 | Q44204 | 6 | 1,754 | 6 | 2,353 | Cronus | Mythology | them and to eventually get retribution on Cronus for his acts against his father and children.
Rhea secretly gave birth to Zeus in Crete, and handed Cronus a stone wrapped in swaddling clothes, also known as the Omphalos Stone, which he promptly swallowed, thinking that it was his son.
Rhea kept Zeus hidden in a cave on Mount Ida, Crete. According to some versions of the story, he was then raised by a goat named Amalthea, while a company of Kouretes, armored male dancers, shouted and clapped their hands to make enough noise to mask the baby's cries from Cronus. Other versions |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 2353, "ep": 6, "ec": 2880} | 1,312 | Q44204 | 6 | 2,353 | 6 | 2,880 | Cronus | Mythology | of the myth have Zeus raised by the nymph Adamanthea, who hid Zeus by dangling him by a rope from a tree so that he was suspended between the earth, the sea, and the sky, all of which were ruled by his father, Cronus. Still other versions of the tale say that Zeus was raised by his grandmother, Gaia.
Once he had grown up, Zeus used an emetic given to him by Gaia to force Cronus to disgorge the contents of his stomach in reverse order: first the stone, which was set down at Pytho under the glens of Mount Parnassus |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 2880, "ep": 6, "ec": 3515} | 1,312 | Q44204 | 6 | 2,880 | 6 | 3,515 | Cronus | Mythology | to be a sign to mortal men, and then his two brothers and three sisters. In other versions of the tale, Metis gave Cronus an emetic to force him to disgorge the children.
After freeing his siblings, Zeus released the Hecatoncheires, and the Cyclopes who forged for him his thunderbolts, Poseidon's trident and Hades' helmet of darkness. In a vast war called the Titanomachy, Zeus and his brothers and sisters, with the help of the Hecatoncheires and Cyclopes, overthrew Cronus and the other Titans. Afterwards, many of the Titans were confined in Tartarus. However, Oceanus, Helios, Atlas, Prometheus, Epimetheus and Menoetius |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 3515, "ep": 6, "ec": 4119} | 1,312 | Q44204 | 6 | 3,515 | 6 | 4,119 | Cronus | Mythology | were not imprisoned following the Titanomachy. Gaia bore the monster Typhon to claim revenge for the imprisoned Titans.
Accounts of the fate of Cronus after the Titanomachy differ. In Homeric and other texts he is imprisoned with the other Titans in Tartarus. In Orphic poems, he is imprisoned for eternity in the cave of Nyx. Pindar describes his release from Tartarus, where he is made King of Elysium by Zeus. In another version, the Titans released the Cyclopes from Tartarus, and Cronus was awarded the kingship among them, beginning a Golden Age. In Virgil's Aeneid, it is Latium to which |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 6, "sc": 4119, "ep": 8, "ec": 34} | 1,312 | Q44204 | 6 | 4,119 | 8 | 34 | Cronus | Mythology & Libyan account by Diodorus Siculus | Saturn (Cronus) escapes and ascends as king and lawgiver, following his defeat by his son Jupiter (Zeus).
One other account referred by Robert Graves, who claims to be following the account of the Byzantine mythographer Tzetzes, it is said that Cronus was castrated by his son Zeus just like he had done with his father Uranus before. However the subject of a son castrating his own father, or simply castration in general, was so repudiated by the Greek mythographers of that time that they suppressed it from their accounts until the Christian era (when Tzetzes wrote). Libyan account by Diodorus Siculus |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 10, "sc": 0, "ep": 10, "ec": 593} | 1,312 | Q44204 | 10 | 0 | 10 | 593 | Cronus | Libyan account by Diodorus Siculus | In a Libyan account related by Diodorus Siculus (Book 3), Uranus and Titaea were the parents of Cronus and Rhea and the other Titans. Ammon, a king of Libya, married Rhea (3.18.1). However, Rhea abandoned Ammon and married her brother Cronus. With Rhea's incitement, Cronus and the other Titans made war upon Ammon, who fled to Crete (3.71.1-2). Cronus ruled harshly and Cronus in turn was defeated by Ammon's son Dionysus (3.71.3-3.73) who appointed Cronus' and Rhea's son, Zeus, as king of Egypt (3.73.4). Dionysus and Zeus then joined their forces to defeat the remaining Titans in Crete, |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 10, "sc": 593, "ep": 14, "ec": 458} | 1,312 | Q44204 | 10 | 593 | 14 | 458 | Cronus | Libyan account by Diodorus Siculus & Sibylline Oracles | and on the death of Dionysus, Zeus inherited all the kingdoms, becoming lord of the world (3.73.7-8). Sibylline Oracles Cronus is mentioned in the Sibylline Oracles, particularly in book three, which makes Cronus, 'Titan' and Iapetus, the three sons of Uranus and Gaia, each to receive a third division of the Earth, and Cronus is made king over all. After the death of Uranus, Titan's sons attempt to destroy Cronus's and Rhea's male offspring as soon as they are born, but at Dodona, Rhea secretly bears her sons Zeus, Poseidon and Hades and sends them to Phrygia to be raised |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 14, "sc": 458, "ep": 18, "ec": 253} | 1,312 | Q44204 | 14 | 458 | 18 | 253 | Cronus | Sibylline Oracles & Other accounts | in the care of three Cretans. Upon learning this, sixty of Titan's men then imprison Cronus and Rhea, causing the sons of Cronus to declare and fight the first of all wars against them. This account mentions nothing about Cronus either killing his father or attempting to kill any of his children. Other accounts Cronus was said to be the father of the wise centaur Chiron by the Oceanid Philyra who was later on, transformed into a linden tree. The Titan chased the nymph and consorted with her in the shape of a stallion, hence the half-human, half-equine shape of |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 18, "sc": 253, "ep": 22, "ec": 336} | 1,312 | Q44204 | 18 | 253 | 22 | 336 | Cronus | Other accounts & Antiquity | their offspring; this was said to have taken place on Mount Pelion.
Two other sons of Cronus and Philyra may have been Dolops and Aphrus, the ancestor and eponym of the Aphroi, i.e. the native Africans.
In some accounts, Cronus was also called the father of the Corybantes. Antiquity During antiquity, Cronus was occasionally interpreted as Chronos, the personification of time. The Roman philosopher Cicero (1st century BCE) elaborated on this by saying that the Greek name Cronus is synonymous to chronos (time) since he maintains the course and cycles of seasons and the periods of time, whereas the Latin name Saturn |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 22, "sc": 336, "ep": 22, "ec": 948} | 1,312 | Q44204 | 22 | 336 | 22 | 948 | Cronus | Antiquity | denotes that he is saturated with years since he was devouring his sons, which implies that time devours the ages and gorges.
The Greek historian and biographer Plutarch (1st century CE) asserted that the Greeks believed that Cronus was an allegorical name for χρόνος (time). The philosopher Plato (3rd century BCE) in his Cratylus gives two possible interpretations for the name of Cronus. The first is that his name denotes "κόρος" (koros), the pure (καθαρόν) and unblemished (ἀκήρατον) nature of his mind. The second is that Rhea and Cronus were given names of streams (Rhea – ῥοή (rhoē) and Cronus – |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 22, "sc": 948, "ep": 22, "ec": 1566} | 1,312 | Q44204 | 22 | 948 | 22 | 1,566 | Cronus | Antiquity | Xρόνος (chronos)). Proclus (5th century CE), the Neoplatonist philosopher, makes in his Commentary on Plato's Cratylus an extensive analysis on Cronus; among others he says that the "One cause" of all things is "Chronos" (time) that is also equivocal to Cronus.
In addition to the name, the story of Cronus eating his children was also interpreted as an allegory to a specific aspect of time held within Cronus' sphere of influence. As the theory went, Cronus represented the destructive ravages of time which devoured all things, a concept that was illustrated when the Titan king ate the Olympian gods — the |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 22, "sc": 1566, "ep": 26, "ec": 596} | 1,312 | Q44204 | 22 | 1,566 | 26 | 596 | Cronus | Antiquity & From the Renaissance to the present | past consuming the future, the older generation suppressing the next generation. From the Renaissance to the present During the Renaissance, the identification of Cronus and Chronos gave rise to "Father Time" wielding the harvesting scythe.
H. J. Rose in 1928 observed that attempts to give "Κρόνος" a Greek etymology had failed.
Recently, Janda (2010) offers a genuinely Indo-European etymology of "the cutter", from the root *(s)ker- "to cut" (Greek κείρω (keirō), cf. English shear), motivated by Cronus's characteristic act of "cutting the sky" (or the genitals of anthropomorphic Uranus).
The Indo-Iranian reflex of the root is kar, generally meaning "to make, create" (whence karma), |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 26, "sc": 596, "ep": 26, "ec": 1266} | 1,312 | Q44204 | 26 | 596 | 26 | 1,266 | Cronus | From the Renaissance to the present | but Janda argues that the original meaning "to cut" in a cosmogonic sense is still preserved in some verses of the Rigveda pertaining to Indra's heroic "cutting", like that of Cronus resulting in creation:
RV 10.104.10 ārdayad vṛtram akṛṇod ulokaṃ
he hit Vrtra fatally, cutting [> creating] a free path.
RV 6.47.4 varṣmāṇaṃ divo akṛṇod
he cut [> created] the loftiness of the sky.
This may point to an older Indo-European mytheme reconstructed as *(s)kert wersmn diwos "by means of a cut he created the loftiness of the sky".
The myth of Cronus castrating Uranus parallels the Song of Kumarbi, where Anu (the heavens) is |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 26, "sc": 1266, "ep": 26, "ec": 1892} | 1,312 | Q44204 | 26 | 1,266 | 26 | 1,892 | Cronus | From the Renaissance to the present | castrated by Kumarbi. In the Song of Ullikummi, Teshub uses the "sickle with which heaven and earth had once been separated" to defeat the monster Ullikummi, establishing that the "castration" of the heavens by means of a sickle was part of a creation myth, in origin a cut creating an opening or gap between heaven (imagined as a dome of stone) and earth enabling the beginning of time (chronos) and human history.
A theory debated in the 19th century, and sometimes still offered somewhat apologetically, holds that Κρόνος is related to "horned", assuming a Semitic derivation from qrn.Andrew Lang's objection, that |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 26, "sc": 1892, "ep": 30, "ec": 157} | 1,312 | Q44204 | 26 | 1,892 | 30 | 157 | Cronus | From the Renaissance to the present & El, the Phoenician Cronus | Cronus was never represented horned in Hellenic art, was addressed by Robert Brown, arguing that, in Semitic usage, as in the Hebrew Bible, qeren was a signifier of "power". When Greek writers encountered the Semitic deity El, they rendered his name as Cronus.
Robert Graves remarks that "cronos probably means 'crow', like the Latin cornix and the Greek corōne", noting that Cronus was depicted with a crow, as were the deities Apollo, Asclepius, Saturn and Bran. El, the Phoenician Cronus When Hellenes encountered Phoenicians and, later, Hebrews, they identified the Semitic El, by interpretatio graeca, with Cronus. The association was recorded |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 30, "sc": 157, "ep": 30, "ec": 824} | 1,312 | Q44204 | 30 | 157 | 30 | 824 | Cronus | El, the Phoenician Cronus | c. AD 100 by Philo of Byblos' Phoenician history, as reported in Eusebius' Præparatio Evangelica I.10.16. Philo's account, ascribed by Eusebius to the semi-legendary pre-Trojan War Phoenician historian Sanchuniathon, indicates that Cronus was originally a Canaanite ruler who founded Byblos and was subsequently deified. This version gives his alternate name as Elus or Ilus, and states that in the 32nd year of his reign, he emasculated, slew and deified his father Epigeius or Autochthon "whom they afterwards called Uranus". It further states that after ships were invented, Cronus, visiting the 'inhabitable world', bequeathed Attica to his own daughter Athena, |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 30, "sc": 824, "ep": 34, "ec": 514} | 1,312 | Q44204 | 30 | 824 | 34 | 514 | Cronus | El, the Phoenician Cronus & Roman mythology and later culture | and Egypt to Taautus the son of Misor and inventor of writing. Roman mythology and later culture While the Greeks considered Cronus a cruel and tempestuous force of chaos and disorder, believing the Olympian gods had brought an era of peace and order by seizing power from the crude and malicious Titans, the Romans took a more positive and innocuous view of the deity, by conflating their indigenous deity Saturn with Cronus. Consequently, while the Greeks considered Cronus merely an intermediary stage between Uranus and Zeus, he was a larger aspect of Roman religion. The Saturnalia was a festival dedicated |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 34, "sc": 514, "ep": 34, "ec": 1185} | 1,312 | Q44204 | 34 | 514 | 34 | 1,185 | Cronus | Roman mythology and later culture | in his honour, and at least one temple to Saturn already existed in the archaic Roman Kingdom.
His association with the "Saturnian" Golden Age eventually caused him to become the god of "time", i.e., calendars, seasons, and harvests—not now confused with Chronos, the unrelated embodiment of time in general. Nevertheless, among Hellenistic scholars in Alexandria and during the Renaissance, Cronus was conflated with the name of Chronos, the personification of "Father Time", wielding the harvesting scythe.
As a result of Cronus's importance to the Romans, his Roman variant, Saturn, has had a large influence on Western culture. The seventh day of the |
{"datasets_id": 1312, "wiki_id": "Q44204", "sp": 34, "sc": 1185, "ep": 38, "ec": 98} | 1,312 | Q44204 | 34 | 1,185 | 38 | 98 | Cronus | Roman mythology and later culture & Astronomy | Judaeo-Christian week is called in Latin Dies Saturni ("Day of Saturn"), which in turn was adapted and became the source of the English word Saturday. In astronomy, the planet Saturn is named after the Roman deity. It is the outermost of the Classical planets (the astronomical planets that are visible with the naked eye). Astronomy A star (HD 240430) was named after him in 2017 when it was reported to have swallowed its planets. |
{"datasets_id": 1313, "wiki_id": "Q16246986", "sp": 2, "sc": 0, "ep": 6, "ec": 150} | 1,313 | Q16246986 | 2 | 0 | 6 | 150 | Crop Circles (album) | Critical reception | Crop Circles (album) Critical reception Shenieka Russell-Metcalf of Top Country gave the album five stars out of five, writing that "the album's lyrical content and music is pure brilliant." |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 2, "sc": 0, "ep": 4, "ec": 541} | 1,314 | Q1908753 | 2 | 0 | 4 | 541 | Cross of Mathilde | Cross of Mathilde The Cross of Mathilde (German: Mathildenkreuz; Latin: Crux Matildae) is an Ottonian processional cross in the crux gemmata style which has been in Essen in Germany since it was made in the 11th century. It is named after Abbess Mathilde (died in 1011) who is depicted as the donor on a cloisonné enamel plaque on the cross's stem. It was made between about 1000, when Mathilde was abbess, and 1058, when Abbess Theophanu died; both were princesses of the Ottonian dynasty. It may have been completed in stages, and the corpus, the body of |
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{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 4, "sc": 541, "ep": 8, "ec": 74} | 1,314 | Q1908753 | 4 | 541 | 8 | 74 | Cross of Mathilde | Description | the crucified Christ, may be a still later replacement. The cross, which is also called the "second cross of Mathilde", forms part of a group along with the Cross of Otto and Mathilde or "first cross of Mathilde" from late in the preceding century, a third cross, sometimes called the Senkschmelz Cross, and the Cross of Theophanu from her period as abbess. All were made for Essen Abbey, now Essen Cathedral, and are kept in Essen Cathedral Treasury, where this cross is inventory number 4. Description The Cross of Mathilde is 45 cm (18 in) tall and 30.5 cm (12.0 in) wide and |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 8, "sc": 74, "ep": 8, "ec": 621} | 1,314 | Q1908753 | 8 | 74 | 8 | 621 | Cross of Mathilde | Description | the cross beams are 6.3 cm (2.5 in) wide and 2.2 cm (0.87 in) deep. It consists of an oak core covered in gold sheet. Under the cross is a modern glass ball which serves as a handle. The ends of the Latin cross are flared in a way found in Mathilde's First Cross and the Ottonian Cross of Lothair at Aachen. The narrow sides and reverse of the Cross of Mathilde are covered with gilt copper. On the reverse it is decorated with a punchmarked Agnus Dei which is accompanied by the four Evangelists' symbols. On the obverse there is a crucifix cast |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 8, "sc": 621, "ep": 8, "ec": 1170} | 1,314 | Q1908753 | 8 | 621 | 8 | 1,170 | Cross of Mathilde | Description | in bronze and gilt, with three cavities for holding relics: two in the back and one in the occiput. To the left and right of the crucifix there are enamel roundels with personifications of the Sun and the Moon, surrounded by four pearls each and by filigreework. Above the crucifix is the normal cross inscription in enamel: IHC NAZA/RENVS REX / IVDEORV (Jesus of Nazareth, King of the Jews), above which there is a large red stone surrounded by four pearls. Under the crucifix there is a brown cameo gem of a lion and under that there is an enamel |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 8, "sc": 1170, "ep": 8, "ec": 1751} | 1,314 | Q1908753 | 8 | 1,170 | 8 | 1,751 | Cross of Mathilde | Description | plate with the donor portrait which depicts Mathilde (named) in monastic clothing, kneeling in prayer before the Madonna. The central area with the crucifix, donor portrait, cross inscription, sun, moon and lion cameo is bordered by a strip of alternating enamel plates and stones, each surrounded by four pearls. At the end of each cross beam there are four teardrop-shaped, coloured stones around a central stone. On the right arm, the central stone is a cameo with a female bust looking left. On the left arm it is an intaglio cut in a piece of striped onyx, showing a helmeted |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 8, "sc": 1751, "ep": 12, "ec": 67} | 1,314 | Q1908753 | 8 | 1,751 | 12 | 67 | Cross of Mathilde | Description & Crucifix | soldier in profile, holding a spear.
The Cross of Mathilde is generally considered the weakest of the four Essen processional crosses in artistic terms, Pothmann considers the artistry and craftsmanship to be not as high as the others. In 1904, Humann described it as a "cluttered grandeur and, every respect, a cruder image." The assessment of the cross is significantly complicated by an undocumented restoration which must have occurred between 1904 and 1950. In this restoration the edging enamels were melted, allowing the colours underneath to be seen. Crucifix Jesus stands on a suppedaneum, with his legs together. The feet are |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 12, "sc": 67, "ep": 12, "ec": 603} | 1,314 | Q1908753 | 12 | 67 | 12 | 603 | Cross of Mathilde | Crucifix | not nailed. The loincloth is knotted in the middle and falls evenly in broad folds. The arms are slightly unequal in length. The head is bent to the side and is surrounded by a halo which is attached to the horizontal member of the cross and is not adjusted to take account of the tilt of the head. Humann calls the position of the body clumsy and awkward. Until 2010, the cavities on his back side contained three small relic packets, which were held in place by ties. The relics had been associated with the cross from its creation. |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 12, "sc": 603, "ep": 12, "ec": 1193} | 1,314 | Q1908753 | 12 | 603 | 12 | 1,193 | Cross of Mathilde | Crucifix | The relic in the lowest cavity was wrapped in a purple-coloured piece of taffeta and lacks a cedula. A nocent relic wrapped in white linen is in the middle cavity with an accompanying cedula, from Innocent I (r.401-417). The script, Carolingian minuscule dates this to the 10th or 11th century and localises it to the scriptorium of Essen Abbey. There are three further fragmentary parchment cedulae on cloth fragments in the cavity in the head. The script of these has typical elements of the Essen scriptorium; one of the fragments can be attributed to Lawrence of Rome (†258). The cross |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 12, "sc": 1193, "ep": 16, "ec": 174} | 1,314 | Q1908753 | 12 | 1,193 | 16 | 174 | Cross of Mathilde | Crucifix & Enamels | thus contained relics of Saints Lawrence and Innocent. Both of these saints were very important to the Ottonian dynasty to which Mathilde belonged: Innocent was patron saint of the oldest Ottonian abbey, Gandersheim and Otto I, Abbess Mathilde's grandfather, attributed his success in the Battle of Lechfeld (955) to Lawrence. The relic packets and cedulae are now stored in the Cathedral treasury chamber separately under inventory numbers MK1 to MK4. Enamels The Cross of Mathilde was equipped with forty enamel tablets, of which 37 remain: the enamel with the donor portrait, the enamel with the cross inscription, two round enamels |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 16, "sc": 174, "ep": 20, "ec": 255} | 1,314 | Q1908753 | 16 | 174 | 20 | 255 | Cross of Mathilde | Enamels & Donor portrait | with the personifications of the Sun and the Moon, and 33 ornamental enamels. Three further ornamental enamels were lost before the first description of the cross. Of all the objects in the Essen treasury, the Cross of Mathilde is the most richly decorated with enamel. All the enamel frames are filigreed. Donor portrait The donor enamel is 6 cm × 2.9 cm (2.4 in × 1.1 in) in size. Its iconic "Seat of Wisdom" shows an enthroned Madonna in frontal view on the right, holding her son on her left knee, in front of a figure dressed in the white robes of a monastic. The monastic |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 20, "sc": 255, "ep": 20, "ec": 870} | 1,314 | Q1908753 | 20 | 255 | 20 | 870 | Cross of Mathilde | Donor portrait | holds a cross with both hands, which she offers to the baby Jesus. The child stretches both hands towards the cross in a gesture of acceptance. An inscription MA/HTH/ILD / AB/BH/II makes it possible to identify the monastic as the Abbess Mathilde. The inscription is probably faulty, with the second word to be read as ABBATI(SSA). Above and to the right of the Madonna are two further inscriptions, which are incomprehensible. It is theorised that they are mutilated versions of Greek inscriptions. The epigraphist Sonja Hermann suggests that the enameller confused the third and fourth letters and has inverted a |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 20, "sc": 870, "ep": 20, "ec": 1448} | 1,314 | Q1908753 | 20 | 870 | 20 | 1,448 | Cross of Mathilde | Donor portrait | Τ, which would yield ΜΗΤΗΡ (μήτηρ - "mother"). Hermann would read the symbols on the right, which are arranged vertically, as ΙΥ ΧΥ as an abbreviation of Ι(ησο)ύ Χ(ριστο)ύ ("of Jesus Christ").
The background of the enamel is in translucent green, with the letters set in gold. Mary's head is surrounded by an opaque yellow halo and she wears a white hood as well as a translucent brown-violet robe with red ochre sleeves. Robe and sleeves are harmonised by a single gold wire outline. Mary sits on a yellow throne, with her feet in grey shoes placed on a blue footrest. |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 20, "sc": 1448, "ep": 20, "ec": 1988} | 1,314 | Q1908753 | 20 | 1,448 | 20 | 1,988 | Cross of Mathilde | Donor portrait | Her face is beige, with her circular eyes in the same colour as the face. Eyebrows, nose and mouth are depicted with gold wire. The hieratic pose of Mary is a notable feature of the Sedes Sapentiae.
The child sits on Mary's left knee, his legs hanging down between her knees. Jesus has a red halo with a gold cross. His face is detailed in gold, like Mary's. Christ wears a blue robe, with gold wire indicating folds in it, and grey shoes. Mathilde's clothing is made up of a tight white robe of a monastic, with a white hood which |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 20, "sc": 1988, "ep": 20, "ec": 2575} | 1,314 | Q1908753 | 20 | 1,988 | 20 | 2,575 | Cross of Mathilde | Donor portrait | is detailed with gold wire. Under the robe, as is visible on her arms, she wears a blue undergarment. The cross which she holds upright is delineated with broader gold wire. Since the vertical cross beam merges into the side of the throne and the horizontal cross beam merges into the throne's armrest, the cross itself is difficult to make out. Mathilde's line of sight passes through the transept of her cross and Christ's hand to the face of her saviour.
This donor portrait shows parallels with the donor portrait on the cover of the Theophanu Gospels, in which Theophanu in |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 20, "sc": 2575, "ep": 24, "ec": 287} | 1,314 | Q1908753 | 20 | 2,575 | 24 | 287 | Cross of Mathilde | Donor portrait & Cross inscription | a similar but more horizontal pose, presents her donation to an enthroned Mary. Because of the similarity of the posture of the enthroned Madonna to the Golden Madonna of Essen it has been suggested that the actual act of donation was performed in the presence of the statue. Cross inscription The cross inscription IHC NAZA/RENVS REX / IVDEORV is made of golden wire set in a translucent blue background. It is surrounded by a broad gold border, and the lines of the inscription are separated by golden stripes. The letters are made easily readable, but do not reach the precision |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 24, "sc": 287, "ep": 28, "ec": 334} | 1,314 | Q1908753 | 24 | 287 | 28 | 334 | Cross of Mathilde | Cross inscription & Sun and Moon | of their model on the Cross of Otto and Mathilde. The dotting of the gold border, which is characteristic of the workshop of Egbert of Trier, is absent, in contrast to the inscription plaque of the Cross of Otto and Mathilde. Sun and Moon The two round enamel medallions with personifications of the Sun and Moon, which symbolise the mourning of all creation at Christ's death, are located on the horizontal beam of the cross. Both personifications look towards Jesus, the Sun from the left and the Moon from the right. The background of the enamel plaque depicting the Sun |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 28, "sc": 334, "ep": 28, "ec": 869} | 1,314 | Q1908753 | 28 | 334 | 28 | 869 | Cross of Mathilde | Sun and Moon | is green. The bust of the Sun has a mournful expression and its hands are raised to its face. Its brown-violet eyes are round and its eyebrows as well as its bulbous nose are formed with a wire, while its wide open mouth is formed from two other wires. A forrowed brow is formed from a Y-shaped wire, reinforcing the mournful expression. The Sun wears a crown with four jagged rays in his golden hair and holds a cloth before his face.
The enamel plaque of the Moon is made as a mirror image of the Sun's plaque. The Moon also |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 28, "sc": 869, "ep": 32, "ec": 311} | 1,314 | Q1908753 | 28 | 869 | 32 | 311 | Cross of Mathilde | Sun and Moon & Enamels of the edging | holds a cloth before her face. The enamel is generally darker, the use of wire somewhat better. In contrast to the Sun's enamel, the Moon's clothing and hair are full of wires. For the face, the enameller used a single wire for the nose and the mouth. Enamels of the edging The enamels of the edging alternate with gemstones. In total there are five different motifs in five different colours. Eleven of the enamels have a carpet-like stepped pattern, seven enamels are divided into fields. In five enamels a diagonal cross is the motif, often featuring circular motifs with quatrefoil |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 32, "sc": 311, "ep": 36, "ec": 80} | 1,314 | Q1908753 | 32 | 311 | 36 | 80 | Cross of Mathilde | Enamels of the edging & Cameos | flowers. The remaining enamels feature modified quatrefoil flowers. Diagonal crosses, stepped patterns and quatrefoil flowers also occur as motifs on the Senkschmelz Cross. The colours employed are translucent bottle green and dark blue as well as opque white, red, jade green, turquoise, blue and yellow. Several of the enamels have a reversed counterpart, which is sometimes located opposite. It is probable that all of the enamels of the edging were originally paired, so that the appearance of the cross was less chaotic than it is today. Cameos The Cross of Mathilde contains three classical cameo engraved gems, which have a |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 36, "sc": 80, "ep": 36, "ec": 645} | 1,314 | Q1908753 | 36 | 80 | 36 | 645 | Cross of Mathilde | Cameos | significant iconographic role. On the horizontal beam of the cross is a brownish chalcedony, with a cameo of a lion lying down or sleeping. On the left arm of the cross, a horizontally striated onyx features a warrior with a spear and helmet in profile facing Jesus. Opposite him, on the right arm of the cross is an oval cameo with a lightly carved female bust on a dark background. All the cameos are ancient spolia
The iconographic significance of the cameo gems is not yet completely clear. The lion stands on the vertical beam of the cross in the same |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 36, "sc": 645, "ep": 36, "ec": 1193} | 1,314 | Q1908753 | 36 | 645 | 36 | 1,193 | Cross of Mathilde | Cameos | spot in which the chased snake appears on the Cross of Otto and Mathilde and in which the Gorgon cameo appears on the Senkschmelz Cross - both of these symbolise evil's defeat as a result of the crucifixion of Christ. The lion cameo can also be put in this symbolic system. But the depiction of the lion lying peacefully might also have another meaning: in the Physiologus, a characteristic of the lion is that it brings its newborn young to life on the third day with its breath, which makes lion a symbol for the resurrection of Christ. The lion |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 36, "sc": 1193, "ep": 40, "ec": 31} | 1,314 | Q1908753 | 36 | 1,193 | 40 | 31 | Cross of Mathilde | Cameos & Dating and patroness | cameo could therefore also be interpreted as a reference to the hope for the resurrection of the donor depicted on the enamel plaque below it.
The meaning of the cameos on the horizontal arms is even less clear. The use of these particular items of spolia seems intentional, but a convincing iconographic interpretation of the naked warrior with spear and helmet and the noble women has not yet been made. Since both look towards Jesus, like the Sun and the Moon, it seems possible that they are intended to amplify those images. Dating and patroness The Cross of Mathilde is always |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 31, "ep": 40, "ec": 644} | 1,314 | Q1908753 | 40 | 31 | 40 | 644 | Cross of Mathilde | Dating and patroness | considered in connection with the other three Ottonian processional crosses of the Essen Cathedral Treasury. Long ago, Humann noticed significant parallels with the Cross of Otto and Mathilde and the Senkschmelz Cross, such that he assumed that the goldsmith of the Cross of Mathilde had knowledge of the Cross of Otto and Mathilde (known to him as the Older Cross of Mathilde). The form and general idea of the Cross of Otto and Mathilde are adopted by the Cross of Mathilde: donor portrait, crucifixion inscription, the crucified Jesus on a golden background, surrounded by an elaborate border. The adoption is |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 644, "ep": 40, "ec": 1243} | 1,314 | Q1908753 | 40 | 644 | 40 | 1,243 | Cross of Mathilde | Dating and patroness | particularly significant in the case of the crucifixion inscription, since the inscription on the Cross of Mathilde is directly copied from the older cross. The border is adopted from the Senkschmelz Cross. The Cross of Mathilde must, therefore be younger than these models. In 1904, Humann concluded on the basis of the image of Mathilde on it, that the Cross of Mathilde was made before 1011, the year of her death. On the grounds that the Cross of Mathilde is generally less harmonised, colourful, and technically successful, it was assumed that Mathilde donated it shortly before the end of her |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 1243, "ep": 40, "ec": 1834} | 1,314 | Q1908753 | 40 | 1,243 | 40 | 1,834 | Cross of Mathilde | Dating and patroness | life, when she no longer had the superior artist of the Cross of Otto and Mathilde at her disposal. Since the Cross of Otto and Mathilde was often called the "Cross of Mathilde" at that time, he called the cross the "Younger Cross of Mathilde" or the "Second Cross of Mathilde".
The dating of the Cross of Mathilde to before 1011 raised art historical problems. For one thing, individual ornamental motifs are found on the Senkschmelz Cross, which was meant to be created earlier, which only become common later. For another thing, the crucified Jesus of the Cross of Mathilde shows |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 1834, "ep": 40, "ec": 2406} | 1,314 | Q1908753 | 40 | 1,834 | 40 | 2,406 | Cross of Mathilde | Dating and patroness | numerous parallels to a group of cast bronze crucifixes, of which the most prominent example is the crucifix on the Cross of Hermann and Ida, which was created at least thirty years after the death of Abbess Mathilde. There are further parallels with the depictions of the cross on Cologne ivory carvings, such as the ivory book cover of the Theophanu Gospels. Since the current crucifix is not fitted on the inside, it was assumed that the Cross of Mathilde was made in the middle of the eleventh century and an original, chased crucifix was replaced by the casts. Since |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 2406, "ep": 40, "ec": 3027} | 1,314 | Q1908753 | 40 | 2,406 | 40 | 3,027 | Cross of Mathilde | Dating and patroness | scholars assumed that Abbess Sophia had discontinued several projects of Mathilde, such as the westwerk of Essen Minster or the Marsus shrine, it was also assumed that the Cross of Mathilde was first assembled under Abbess Theophanu, or rather that she had first arranged Mathilde's donation.
An argument in favour of this is the similarity of the donor portrait of the Cross of Mathilde to the donor portrait of Theophanu on the book cover of the Theophanu Gospels.
A newer interpretation of the Cross of Mathilde is suggested by Klaus Gereon Beuckers. Making Theophanu herself the donor of the cross, |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 3027, "ep": 40, "ec": 3663} | 1,314 | Q1908753 | 40 | 3,027 | 40 | 3,663 | Cross of Mathilde | Dating and patroness | he dates it to circa 1050. The crucifix would then be original. Beuckers included the Cross of Mathilde among the efforts of Theophanu to memorialise Mathilde. Theophanu surrounded Mathilde's grave in the new building consecrated in 1051, the crypt of Theophanu which is known today as the Altfrid Crypt, with a memorial structure, increasing the liturgical importance of her predecessor in order to increase the importance of the Abbey. Theophanu, therefore, would have had new enamel made for the Cross of Mathilde, which directly recalled the older enamel already at Essen. Beuckers supposes therefore that the Cross of Mathilde was |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 40, "sc": 3663, "ep": 44, "ec": 277} | 1,314 | Q1908753 | 40 | 3,663 | 44 | 277 | Cross of Mathilde | Dating and patroness & History | made in Essen. Since the only enamels used on the older treasures of Theophanu (the Holy Nail Gospels and the Cross of Theophanu), Theophanu probably put the enamel workshop which had made the Senkschmelz Cross and the Marsus shrine under Mathilde, back into operation for the manufacture of the Cross of Mathilde. History From its creation, the cross has been located in Essen, except for evacuations during wars and other crises. On accound of the depiction of Mathilde and the similarities with two other crosses of the Cathedral Treasury, which were also donations to Essen, it is assumed that it |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 44, "sc": 277, "ep": 44, "ec": 927} | 1,314 | Q1908753 | 44 | 277 | 44 | 927 | Cross of Mathilde | History | belonged to the Abbey continuously from its donation until the secularisation of Essen Abbey in 1802. However, the sources for the Essen Cathedral Treasury do not explicitly mention the cross. The Inventarium reliquiarum Essendiensium of 12 July 1627, the earliest inventory of the Abbey's treasurym does not allow a certain identification, since it only recorded "Two crucifixes decorated with a lot of gemstones and gold, but gilded copper on the reverse." This description applies to all four of the processional crosses in the Essen Cathedral Treasury. The Liber Ordinarius, which controlled the liturgical use of the Abbey's treasure, speaks of |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 44, "sc": 927, "ep": 44, "ec": 1516} | 1,314 | Q1908753 | 44 | 927 | 44 | 1,516 | Cross of Mathilde | History | processional crosses only in general terms. During the Thirty Years War, the Abbess fled with the treasure to Cologne and in 1794, as the French advanced on Essen, the Abbey Treasury was taken to Steele (modern Essen-Steele), where it was kept in an orphanage donated by the Abbess Francisca Christina of Sulzbach.
At secularisation the Catholic church of St Johann Baptist took over the Abbey as well as its property, as the parish church. It made the cross, along with the rest of the Cathedral treasury accessible to the public for the first time. During the Ruhr Uprising of |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 44, "sc": 1516, "ep": 44, "ec": 2100} | 1,314 | Q1908753 | 44 | 1,516 | 44 | 2,100 | Cross of Mathilde | History | 1920 the whole treasury was taken in great secrecy to Hildesheim, whence it was returned in 1925 in equally secretive circumstances.
In the Second World War the Cathedral Treasury was first taken to Warstein, then to Albrechtsburg in Meissen and thence to a bunker in Siegen. After the end of the war it was found there by American troops and the cross along with the rest of the treasury was taken to the State Museum in Marburg and later to a collection for displaced artworks in Schloss Dyck in Rheydt. From April to October 1949 the Essen Cathedral Treasury was displayed |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 44, "sc": 2100, "ep": 48, "ec": 372} | 1,314 | Q1908753 | 44 | 2,100 | 48 | 372 | Cross of Mathilde | History & Liturgical use | in Brussels and Amsterdam, before it was brought back to Essen.
With the creation of the Diocese of Essen in 1958 and the elevation of Essen Minster to the status of Cathedral, the cross became property of the diocese. Liturgical use The details of the liturgical use of the crosses in Essen Abbey are not known. Though the sources, particularly the Essen Liber Ordinarius which dates to around 1400, describe the use of the processional crosses for processions, they speak of these crosses in general terms, without mentioning specific crosses. Although the diocese no longer uses the Cross of Mathilde in |
{"datasets_id": 1314, "wiki_id": "Q1908753", "sp": 48, "sc": 372, "ep": 48, "ec": 680} | 1,314 | Q1908753 | 48 | 372 | 48 | 680 | Cross of Mathilde | Liturgical use | processions on conservation grounds, it is not a museum piece, but a religious object, which can be used in religious services. For instance, it was used as the altar cross on 5 November 2011 in a memorial service on the thousandth anniversary of Mathilde's death, for whose memory it was originally gifted. |
{"datasets_id": 1315, "wiki_id": "Q5188684", "sp": 2, "sc": 0, "ep": 6, "ec": 186} | 1,315 | Q5188684 | 2 | 0 | 6 | 186 | Crossing the Tracks | Reception | Crossing the Tracks Reception "Excellent mix between bluegrass and jazz, original songs and traditional pieces, all done with a bright and joyful élan, this album is a perfect springboard to his coming solo efforts." |
{"datasets_id": 1316, "wiki_id": "Q16208285", "sp": 2, "sc": 0, "ep": 6, "ec": 597} | 1,316 | Q16208285 | 2 | 0 | 6 | 597 | Crowder (musician) | Background | Crowder (musician) Background He was born David Wallace Crowder, on November 29, 1971, in Texarkana, Texas, the son of an insurance agent Daniel Wallace Crowder and Marian Elizabeth Crowder (née, Mack), where he was raised with a younger brother, Stephen Edward Crowder. He went to college at Baylor University in Waco, Texas.
Crowder was the lead vocalist of the David Crowder Band that started in 1996 and disbanded in 2012 when Crowder started his solo career on sixstepsrecords which was an imprint of Sparrow Records. During the band's time together they released 16 singles through 6 studio albums, 2 live albums, |
{"datasets_id": 1316, "wiki_id": "Q16208285", "sp": 6, "sc": 597, "ep": 6, "ec": 1245} | 1,316 | Q16208285 | 6 | 597 | 6 | 1,245 | Crowder (musician) | Background | 4 EPs and a compilation album.
Crowder released his debut solo studio album on May 27, 2014, Neon Steeple. The lead single, "I Am", released on November 25, 2013, charted at No, 3 on the Billboard Christian Songs chart. "Come As You Are" achieved a Grammy nomination in 2015 for Best Contemporary Christian Music Performance/Song. The album was originally slated for release February 18, 2014, but was pushed back due to "unavoidable circumstances". Crowder began his nationwide Neon Steeple tour September 30, 2014.
His second solo album, American Prodigal, was released September 23, 2016. The first single, "Run Devil Run", was |
{"datasets_id": 1316, "wiki_id": "Q16208285", "sp": 6, "sc": 1245, "ep": 6, "ec": 1531} | 1,316 | Q16208285 | 6 | 1,245 | 6 | 1,531 | Crowder (musician) | Background | released on June 18, 2016. "Forgiven" was released as the second single on March 17, 2017.
On September 19, 2018, Crowder announced a third solo album and released the first two singles, "Red Letters" and "Wildfire". The album, I Know a Ghost, was released on November 9, 2018. |
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