title: 1986–87 Seattle SuperSonics season

abstract: The 1986–87 Seattle SuperSonics season was the 20th season of the Seattle SuperSonics in the National Basketball Association. Bernie Bickerstaff returned for his second season as head coach of the franchise and, despite a modest improvement over their previous season's 31–51 record, managed to clinch a spot in the playoffs, where they defeated the Dallas Mavericks in four games in the First Round, and then the Houston Rockets in six games in the Semi-finals, reaching the Western Conference Finals, only to be swept in four games to the eventual NBA champion Los Angeles Lakers. The 39-43 Sonics remain the last team to date in the NBA to win a playoff series with a losing regular season record. It is also their first year without team captain Jack Sikma as he was traded in the offseason.

text:
# 1986–87 Seattle SuperSonics season

The **1986–87 Seattle SuperSonics season** was the 20th season of the Seattle SuperSonics in the National Basketball Association. Bernie Bickerstaff returned for his second season as head coach of the franchise and, despite a modest improvement over their previous season's 31–51 record, managed to clinch a spot in the playoffs, where they defeated the Dallas Mavericks in four games in the First Round, and then the Houston Rockets in six games in the Semi-finals, reaching the Western Conference Finals, only to be swept in four games to the eventual NBA champion Los Angeles Lakers. The 39-43 Sonics remain the last team to date in the NBA to win a playoff series with a losing regular season record.

It is also their first year without team captain Jack Sikma as he was traded in the offseason.

## Draft picks

| Round | Pick | Player | Position | Nationality | College |
| --- | --- | --- | --- | --- | --- |
| 2 | 30 | Nate McMillan | SG / SF | United States | North Carolina State |
| 2 | 38 | Lemone Lampley |  | United States | DePaul |
| 3 | 53 | Tod Murphy | PF / | United States | UC Irvine |
| 4 | 76 | Michael Graham |  | United States | Georgetown |
| 5 | 99 | Dominic Pressley |  | United States | Boston College |
| 6 | 122 | Curtis Kitchen | PF | United States | South Florida |

## Roster

**1986–87 Seattle SuperSonics roster**
| Players | Coaches |
| --- | --- |
| Pos. No. Name Height Weight DOB From  PF 24 Chambers, Tom 6 ft 10 in (2.08 m) 220 lb (100 kg) 1959–06–21 Utah  G/F 3 Ellis, Dale 6 ft 7 in (2.01 m) 205 lb (93 kg) 1960–08–06 Tennessee  45 Johnson, Clemon 6 ft 10 in (2.08 m) 240 lb (109 kg) 1956–09–12 Florida A&M  15 Johnson, Eddie 6 ft 2 in (1.88 m) 180 lb (82 kg) 1955–02–24 Auburn  PF 42 Kitchen, Curtis 6 ft 9 in (2.06 m) 235 lb (107 kg) 1964–01–30 South Florida  53 Lister, Alton 7 ft 0 in (2.13 m) 240 lb (109 kg) 1958–10–01 Arizona State  PF/ 20 Lucas, Maurice 6 ft 9 in (2.06 m) 215 lb (98 kg) 1952–02–18 Marquette  34 McDaniel, Xavier 6 ft 7 in (2.01 m) 205 lb (93 kg) 1963–06–04 Wichita State  10 McMillan, Nate 6 ft 5 in (1.96 m) 195 lb (88 kg) 1964–08–03 NC State  25 Phelps, Mike 6 ft 4 in (1.93 m) 180 lb (82 kg) 1961–10–03 Alcorn State  PF/ 40 Schoene, Russ 6 ft 10 in (2.08 m) 210 lb (95 kg) 1960–04–16 Chattanooga  44 Stansbury, Terence 6 ft 5 in (1.96 m) 170 lb (77 kg) 1961–02–27 Temple  30 Williams, Kevin 6 ft 2 in (1.88 m) 175 lb (79 kg) 1961–09–11 St. John's  PG 22 Young, Danny 6 ft 3 in (1.91 m) 175 lb (79 kg) 1962–07–26 Wake Forest | Head coach   ---  Legend * **(DP)** Unsigned draft pick * **(FA)** Free agent * **(S)** Suspended * Injured |

## Regular season

### Season standings

|  | W | L | PCT | GB | Home | Road | Div |
| --- | --- | --- | --- | --- | --- | --- | --- |
| **y**-Los Angeles Lakers | 65 | 17 | .793 |  | 37–4 | 28–13 | 24–6 |
| **x**-Portland Trail Blazers | 49 | 33 | .598 | 16 | 34–7 | 15–26 | 17–13 |
| **x**-Golden State Warriors | 42 | 40 | .512 | 23 | 25–16 | 17–24 | 17–13 |
| **x**-Seattle SuperSonics | 39 | 43 | .476 | 26 | 25–16 | 14–27 | 15–15 |
| Phoenix Suns | 36 | 46 | .439 | 29 | 26–15 | 10–31 | 14–16 |
| Los Angeles Clippers | 12 | 70 | .146 | 53 | 9–32 | 3–38 | 3–27 |

| # |  | | | | |
| --- | --- | --- | --- | --- | --- |
| | Team | W | L | PCT | GB |
| 1 | **z**-Los Angeles Lakers | 65 | 17 | .793 |  |
| 2 | **y**-Dallas Mavericks | 55 | 27 | .671 | 10 |
| 3 | **x**-Portland Trail Blazers | 49 | 33 | .598 | 16 |
| 4 | **x**-Utah Jazz | 44 | 38 | .537 | 21 |
| 5 | **x**-Golden State Warriors | 42 | 40 | .512 | 23 |
| 6 | **x**-Houston Rockets | 42 | 40 | .512 | 23 |
| 7 | **x**-Seattle SuperSonics | 39 | 43 | .476 | 26 |
| 8 | **x**-Denver Nuggets | 37 | 45 | .451 | 28 |
|  | | | | | |
| 9 | Phoenix Suns | 36 | 46 | .439 | 29 |
| 10 | Sacramento Kings | 29 | 53 | .354 | 36 |
| 11 | San Antonio Spurs | 28 | 54 | .341 | 37 |
| 12 | Los Angeles Clippers | 12 | 70 | .146 | 53 |

### Record vs. opponents

| 1986-87 NBA Records | | | | | | | | | | | | | | | | | | | | | | | |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Team | ATL | BOS | CHI | CLE | DAL | DEN | DET | GSW | HOU | IND | LAC | LAL | MIL | NJN | NYK | PHI | PHO | POR | SAC | SAS | SEA | UTA | WAS |
| Atlanta |  | 3–3 | 4–2 | 4–2 | 2–0 | 2–0 | 3–3 | 1–1 | 1–1 | 3–3 | 2–0 | 1–1 | 3–3 | 5–0 | 5–1 | 3–3 | 1–1 | 1–1 | 2–0 | 2–0 | 2–0 | 2–0 | 5–0 |
| Boston | 3–3 |  | 6–0 | 3–2 | 2–0 | 2–0 | 3–2 | 2–0 | 2–0 | 5–1 | 2–0 | 0–2 | 3–3 | 4–2 | 4–2 | 3–3 | 2–0 | 2–0 | 2–0 | 2–0 | 2–0 | 1–1 | 4–2 |
| Chicago | 2–4 | 0–6 |  | 5–1 | 1–1 | 1–1 | 3–3 | 0–2 | 0–2 | 3–2 | 2–0 | 0–2 | 4–2 | 3–2 | 4–2 | 3–3 | 1–1 | 1–1 | 1–1 | 1–1 | 2–0 | 0–2 | 3–3 |
| Cleveland | 2–4 | 2–3 | 1–5 |  | 0–2 | 1–1 | 1–5 | 1–1 | 0–2 | 3–3 | 2–0 | 0–2 | 1–5 | 4–2 | 4–1 | 2–4 | 1–1 | 1–1 | 1–1 | 1–1 | 1–1 | 0–2 | 2–4 |
| Dallas | 0–2 | 0–2 | 1–1 | 2–0 |  | 4–2 | 1–1 | 5–0 | 3–3 | 0–2 | 5–0 | 3–2 | 2–0 | 2–0 | 2–0 | 2–0 | 3–2 | 2–3 | 5–1 | 4–2 | 5–0 | 3–3 | 1–1 |
| Denver | 0–2 | 0–2 | 1–1 | 1–1 | 2–4 |  | 0–2 | 4–1 | 3–3 | 1–1 | 2–3 | 0–5 | 1–1 | 2–0 | 2–0 | 0–2 | 3–2 | 3–2 | 2–4 | 5–1 | 2–3 | 2–4 | 1–1 |
| Detroit | 3–3 | 2–3 | 3–3 | 5–1 | 1–1 | 2–0 |  | 1–1 | 1–1 | 3–3 | 2–0 | 1–1 | 3–3 | 5–1 | 6–0 | 5–0 | 1–1 | 0–2 | 1–1 | 1–1 | 2–0 | 1–1 | 3–3 |
| Golden State | 1–1 | 0–2 | 2–0 | 1–1 | 0–5 | 1–4 | 1–1 |  | 4–1 | 0–2 | 6–0 | 2–4 | 0–2 | 2–0 | 2–0 | 1–1 | 1–5 | 4–2 | 4–1 | 4–1 | 4–2 | 2–3 | 0–2 |
| Houston | 1–1 | 0–2 | 2–0 | 2–0 | 3–3 | 3–3 | 1–1 | 1–4 |  | 2–0 | 4–1 | 1–4 | 0–2 | 1–1 | 1–1 | 0–2 | 3–2 | 2–3 | 5–1 | 5–1 | 1–4 | 3–3 | 1–1 |
| Indiana | 3–3 | 1–5 | 2–3 | 3–3 | 2–0 | 1–1 | 3–3 | 2–0 | 0–2 |  | 2–0 | 0–2 | 2–4 | 5–1 | 3–2 | 2–4 | 1–1 | 0–2 | 1–1 | 2–0 | 1–1 | 1–1 | 4–2 |
| L.A. Clippers | 0–2 | 0–2 | 0–2 | 0–2 | 0–5 | 3–2 | 0–2 | 0–6 | 1–4 | 0–2 |  | 0–6 | 0–2 | 1–1 | 0–2 | 0–2 | 1–5 | 0–6 | 1–4 | 1–4 | 2–4 | 2–3 | 0–2 |
| L.A. Lakers | 1–1 | 2–0 | 2–0 | 2–0 | 2–3 | 5–0 | 1–1 | 4–2 | 4–1 | 2–0 | 6–0 |  | 1–1 | 2–0 | 2–0 | 2–0 | 5–1 | 5–1 | 5–0 | 4–1 | 4–2 | 3–2 | 1–1 |
| Milwaukee | 3–3 | 3–3 | 2–4 | 5–1 | 0–2 | 1–1 | 3–3 | 2–0 | 2–0 | 4–2 | 2–0 | 1–1 |  | 4–2 | 4–2 | 2–3 | 2–0 | 0–2 | 2–0 | 1–1 | 2–0 | 1–1 | 4–1 |
| New Jersey | 0–5 | 2–4 | 2–3 | 2–4 | 0–2 | 0–2 | 1–5 | 0–2 | 1–1 | 1–5 | 1–1 | 0–2 | 2–4 |  | 5–1 | 3–3 | 1–1 | 0–2 | 0–2 | 0–2 | 0–2 | 1–1 | 2–4 |
| New York | 1–5 | 2–4 | 2–4 | 1–4 | 0–2 | 0–2 | 0–6 | 0–2 | 1–1 | 2–3 | 2–0 | 0–2 | 2–4 | 1–5 |  | 3–3 | 1–1 | 0–2 | 2–0 | 1–1 | 0–2 | 1–1 | 2–4 |
| Philadelphia | 3–3 | 3–3 | 3–3 | 4–2 | 0–2 | 2–0 | 0–5 | 1–1 | 2–0 | 4–2 | 2–0 | 0–2 | 3–2 | 3–3 | 3–3 |  | 1–1 | 2–0 | 2–0 | 1–1 | 2–0 | 1–1 | 3–3 |
| Phoenix | 1–1 | 0–2 | 1–1 | 1–1 | 2–3 | 2–3 | 1–1 | 5–1 | 2–3 | 1–1 | 5–1 | 1–5 | 0–2 | 1–1 | 1–1 | 1–1 |  | 2–4 | 2–3 | 2–3 | 1–5 | 4–1 | 0–2 |
| Portland | 1–1 | 0–2 | 1–1 | 1–1 | 3–2 | 2–3 | 2–0 | 2–4 | 3–2 | 2–0 | 6–0 | 1–5 | 2–0 | 2–0 | 2–0 | 0–2 | 4–2 |  | 3–2 | 4–1 | 4–2 | 3–2 | 1–1 |
| Sacramento | 0–2 | 0–2 | 1–1 | 1–1 | 1–5 | 4–2 | 1–1 | 1–4 | 1–5 | 1–1 | 4–1 | 0–5 | 0–2 | 2–0 | 0–2 | 0–2 | 3–2 | 2–3 |  | 3–3 | 2–3 | 1–5 | 1–1 |
| San Antonio | 0–2 | 0–2 | 1–1 | 1–1 | 2–4 | 1–5 | 1–1 | 1–4 | 1–5 | 0–2 | 4–1 | 1–4 | 1–1 | 2–0 | 1–1 | 1–1 | 3–2 | 1–4 | 3–3 |  | 1–4 | 2–4 | 0–2 |
| Seattle | 0–2 | 0–2 | 0–2 | 1–1 | 0–5 | 3–2 | 0–2 | 2–4 | 4–1 | 1–1 | 4–2 | 2–4 | 0–2 | 2–0 | 2–0 | 0–2 | 5–1 | 2–4 | 3–2 | 4–1 |  | 3–2 | 1–1 |
| Utah | 0–2 | 1–1 | 2–0 | 2–0 | 3–3 | 4–2 | 1–1 | 3–2 | 3–3 | 1–1 | 3–2 | 2–3 | 1–1 | 1–1 | 1–1 | 1–1 | 1–4 | 2–3 | 5–1 | 4–2 | 2–3 |  | 1–1 |
| Washington | 0–5 | 2–4 | 3–3 | 4–2 | 1–1 | 1–1 | 3–3 | 2–0 | 1–1 | 2–4 | 2–0 | 1–1 | 1–4 | 4–2 | 4–2 | 3–3 | 2–0 | 1–1 | 1–1 | 2–0 | 1–1 | 1–1 |  |

### Game log

| 1986–87 game log |
| --- |
|
| October    Game Date Team Score High points Location
Attendance Record  1 October 31 vs Portland Trail Blazers 110-127 Tom Chambers (27) Memorial Coliseum
12,666 1–0 |
| November    Game Date Team Score High points Location
Attendance Record  2 November 1 Sacramento Kings 103-114 Xavier McDaniel (27) Seattle Center Coliseum
6,296 2–0  3 November 4 Los Angeles Lakers 110-96 Tom Chambers (21) Seattle Center Coliseum
10,426 2–1  4 November 6 Dallas Mavericks 147-124 Xavier McDaniel (28) Seattle Center Coliseum
8,363 2–2  5 November 8 New York Knicks 102-105 Dale Ellis (29) Seattle Center Coliseum
9,280 3–2  6 November 11 Philadelphia 76ers 121-114 Tom Chambers (33) Seattle Center Coliseum
12,600 3–3  7 November 12 vs Los Angeles Lakers 122-97 Xavier McDaniel (17) The Forum
13,694 3–4  8 November 15 vs Golden State Warriors 121-127 Tom Chambers (38) Oakland-Alameda County Coliseum Arena
7,655 4–4  9 November 18 Sacramento Kings 105-119 Dale Ellis (28) Seattle Center Coliseum
5,411 5–4  10 November 20 Milwaukee Bucks 116-105 Tom Chambers (35) Seattle Center Coliseum
8,790 5–5  11 November 22 Indiana Pacers 111-121 Tom Chambers (35) Seattle Center Coliseum
6,399 6–5  12 November 25 Los Angeles Clippers 103-113 Dale Ellis (35) Seattle Center Coliseum
4,702 7–5  13 November 26 vs Utah Jazz 127-91 Tom Chambers (22) Salt Palace
10,512 7–6  14 November 28 vs Phoenix Suns 104-117 Dale Ellis (34) Arizona Veterans Memorial Coliseum
10,462 8–6 |
| December    Game Date Team Score High points Location
Attendance Record  15 December 2 Chicago Bulls 115-109 (OT) Xavier McDaniel
Tom Chambers
(29) Seattle Center Coliseum
13,438 8–7  16 December 4 vs San Antonio Spurs 102-109 Tom Chambers (36) HemisFair Arena
5,893 9–7  17 December 6 vs Houston Rockets 80-136 Tom Chambers (29) The Summit
16,016 10–7  18 December 10 vs Los Angeles Clippers 101-94 Tom Chambers (28) Los Angeles Memorial Sports Arena
5,573 10–8  19 December 11 San Antonio Spurs 107-113 Xavier McDaniel (33) Seattle Center Coliseum
5,056 11–8  20 December 13 Dallas Mavericks 126-109 Tom Chambers
Dale Ellis
(24) Seattle Center Coliseum
9,789 11–9  21 December 16 vs Portland Trail Blazers 126-118 Dale Ellis (34) Memorial Coliseum
12,666 11–10  22 December 18 Houston Rockets 100-114 Dale Ellis (33) Seattle Center Coliseum
7,696 12–10  23 December 19 vs Phoenix Suns 106-108 Dale Ellis (28) Arizona Veterans Memorial Coliseum
10,433 13–10  24 December 21 Golden State Warriors 121-112 Tom Chambers (25) Seattle Center Coliseum
5,228 13–11  25 December 23 Denver Nuggets 116-127 Tom Chambers (35) Seattle Center Coliseum
7,459 14–11  26 December 26 Los Angeles Clippers 107-113 Tom Chambers (27) Seattle Center Coliseum
6,353 15–11  27 December 28 Portland Trail Blazers 127-118 Xavier McDaniel (30) Seattle Center Coliseum
9,365 15–12  28 December 30 Boston Celtics 104-102 Xavier McDaniel (25) Seattle Center Coliseum
14,600 15–13 |
| January    Game Date Team Score High points Location
Attendance Record  29 January 2 vs Dallas Mavericks 117-107 Dale Ellis (28) Reunion Arena
17,007 15–14  30 January 3 vs Houston Rockets 138-114 Xavier McDaniel
Dale Ellis
(21) The Summit
16,016 15–15  31 January 6 Phoenix Suns 108-138 Tom Chambers (29) Seattle Center Coliseum
5,764 16–15  32 January 8 vs Golden State Warriors 108-115 Dale Ellis (35) Oakland-Alameda County Coliseum Arena
7,790 17–15  33 January 11 Utah Jazz 111-127 Tom Chambers (31) Seattle Center Coliseum
7,594 18–15  34 January 13 vs Denver Nuggets 117-109 Tom Chambers (30) McNichols Sports Arena
8,981 18–16  35 January 14 San Antonio Spurs 104-130 Dale Ellis (32) Seattle Center Coliseum
5,068 19–16  36 January 16 Denver Nuggets 100-134 Xavier McDaniel (30) Seattle Center Coliseum
8,544 20–16  37 January 17 vs Sacramento Kings 125-115 Xavier McDaniel (37) ARCO Arena (I)
10,333 20–17  38 January 21 vs Philadelphia 76ers 129-123 (OT) Dale Ellis (40) The Spectrum
11,891 20–18  39 January 23 vs New Jersey Nets 120-125 Xavier McDaniel (32) Brendan Byrne Arena
9,182 21–18  40 January 24 vs Atlanta Hawks 97-87 Dale Ellis (27) Omni Coliseum
13,842 21–19  41 January 26 vs Utah Jazz 95-108 Dale Ellis (34) Salt Palace
12,212 22–19  42 January 28 Los Angeles Lakers 101-125 Tom Chambers (37) Seattle Center Coliseum
14,634 23–19  43 January 30 vs Golden State Warriors 127-119 Tom Chambers (36) Oakland-Alameda County Coliseum Arena
9,276 23–20  44 January 31 Phoenix Suns 112-118 (OT) Dale Ellis (24) Seattle Center Coliseum
9,344 24–20 |
| February    Game Date Team Score High points Location
Attendance Record  45 February 2 New Jersey Nets 100-108 Xavier McDaniel (35) Seattle Center Coliseum
6,132 25–20  46 February 4 vs Dallas Mavericks 124-94 Tom Chambers (19) Reunion Arena
17,007 25–21  47 February 5 vs San Antonio Spurs 117-111 Xavier McDaniel (26) HemisFair Arena
7,548 25–22  48 February 10 Atlanta Hawks 125-113 Tom Chambers (35) Seattle Center Coliseum
12,004 25–23  49 February 12 vs Milwaukee Bucks 106-104 Tom Chambers (32) MECCA Arena
11,052 25–24  50 February 13 vs Chicago Bulls 106-98 Xavier McDaniel (27) Chicago Stadium
16,251 25–25  51 February 16 vs Cleveland Cavaliers 105-94 Dale Ellis (17) Coliseum at Richfield
12,163 25–26  52 February 18 vs Indiana Pacers 105-88 Dale Ellis (24) Market Square Arena
9,077 25–27  53 February 19 vs Detroit Pistons 117-105 Dale Ellis (31) Pontiac Silverdome
14,482 25–28  54 February 21 Washington Bullets 93-110 Tom Chambers (31) Seattle Center Coliseum
11,637 26–28  55 February 23 Los Angeles Clippers 112-124 Dale Ellis (29) Seattle Center Coliseum
5,528 27–28  56 February 24 vs Utah Jazz 133-103 Dale Ellis (26) Salt Palace
12,212 27–29  57 February 26 Denver Nuggets 100-106 Xavier McDaniel (30) Seattle Center Coliseum
7,691 28–29  58 February 28 vs Phoenix Suns 105-112 Dale Ellis (40) Arizona Veterans Memorial Coliseum
13,338 29–29 |
| March    Game Date Team Score High points Location
Attendance Record  59 March 2 Cleveland Cavaliers 107-123 Tom Chambers (36) Seattle Center Coliseum
6,488 30–29  60 March 4 vs Los Angeles Lakers 138-124 Dale Ellis (32) The Forum
17,505 30–30  61 March 5 Portland Trail Blazers 122-127 Dale Ellis (38) Seattle Center Coliseum
10,205 31–30  62 March 7 Houston Rockets 115-118 Tom Chambers (29) Seattle Center Coliseum
14,474 32–30  63 March 10 vs Houston Rockets 127-136 (2OT) Tom Chambers (42) The Summit
16,279 33–30  64 March 11 vs Dallas Mavericks 130-117 Tom Chambers
Dale Ellis
Xavier McDaniel
(21) Reunion Arena
17,007 33–31  65 March 13 vs Los Angeles Clippers 108-104 Tom Chambers (31) Los Angeles Memorial Sports Arena
6,522 33–32  66 March 15 vs Sacramento Kings 107-106 Dale Ellis (40) ARCO Arena (I)
10,333 33–33  67 March 16 San Antonio Spurs 111-122 Dale Ellis (33) Seattle Center Coliseum
5,934 34–33  68 March 19 vs Washington Bullets 110-106 Xavier McDaniel (20) Capital Centre
5,987 34–34  69 March 20 vs Boston Celtics 112-108 Dale Ellis (31) Boston Garden
14,890 34–35  70 March 23 vs New York Knicks 121-126 (OT) Xavier McDaniel (40) Madison Square Garden (IV)
9,038 35–35  71 March 26 vs Denver Nuggets 123-113 Xavier McDaniel (33) McNichols Sports Arena
10,183 35–36  72 March 27 Golden State Warriors 106-105 Xavier McDaniel (31) Seattle Center Coliseum
9,091 35–37  73 March 29 Detroit Pistons 108-107 Xavier McDaniel (27) Seattle Center Coliseum
8,717 35–38  74 March 31 Sacramento Kings 129-132 Tom Chambers (36) Seattle Center Coliseum
6,095 36–38 |
| April    Game Date Team Score High points Location
Attendance Record  75 April 2 Los Angeles Lakers 117-114 Xavier McDaniel (35) Seattle Center Coliseum
14,739 36–39  76 April 4 Portland Trail Blazers 126-123 Tom Chambers (34) Seattle Center Coliseum
12,227 36–40  77 April 7 Phoenix Suns 127-125 (OT) Dale Ellis (35) Seattle Center Coliseum
6,585 36–41  78 April 10 vs Portland Trail Blazers 121-115 Tom Chambers (27) Memorial Coliseum
12,666 36–42  79 April 14 Utah Jazz 102-103 Tom Chambers (30) Seattle Center Coliseum
7,178 37–42  80 April 16 vs Los Angeles Clippers 87-118 Dale Ellis (41) Los Angeles Memorial Sports Arena
6,517 38–42  81 April 18 Golden State Warriors 132-127 Tom Chambers (31) Seattle Center Coliseum
9,428 38–43  82 April 19 vs Los Angeles Lakers 104-110 Xavier McDaniel (39) The Forum
17,505 39–43 |
| 1986–87 season schedule | |

* Green background indicates win.
* Red background indicates loss.

## Playoffs

| 1987 playoff game log |
| --- |
|
| First round: 3–1 (home: 2–0; road: 1–1)    Game Date Team Score High points High rebounds High assists Location
Attendance Series  1 April 23 @ Dallas L 129–151 Tom Chambers (35) Xavier McDaniel (13) Xavier McDaniel (7) Reunion Arena
17,007 0–1  2 April 25 @ Dallas W 112–110 Dale Ellis (32) Xavier McDaniel (9) Nate McMillan (8) Reunion Arena
17,007 1–1  3 April 28 Dallas W 117–107 Dale Ellis (43) Dale Ellis (14) Nate McMillan (9) Hec Edmundson Pavilion
8,150 2–1  4 April 30 Dallas W 124–98 Tom Chambers (31) Chambers, Ellis (9) Nate McMillan (9) Hec Edmundson Pavilion
8,150 3–1 |
| Conference Semi-finals: 4–2 (home: 2–1; road: 2–1)    Game Date Team Score High points High rebounds High assists Location
Attendance Series  1 May 2 @ Houston W 111–106 (OT) Dale Ellis (34) Tom Chambers (9) Nate McMillan (8) The Summit
16,279 1–0  2 May 5 @ Houston W 99–97 Dale Ellis (30) Dale Ellis (9) Eddie Johnson (8) The Summit
16,279 2–0  3 May 7 Houston L 84–102 Tom Chambers (24) Dale Ellis (10) McMillan, Young (4) Seattle Center Coliseum
14,587 2–1  4 May 9 Houston W 117–102 Tom Chambers (38) Alton Lister (17) Nate McMillan (10) Seattle Center Coliseum
14,559 3–1  5 May 12 @ Houston L 107–112 Dale Ellis (27) Tom Chambers (9) Eddie Johnson (6) The Summit
16,279 3–2  6 May 14 Houston W 128–125 (2OT) Tom Chambers (37) Xavier McDaniel (12) Nate McMillan (16) Seattle Center Coliseum
14,751 4–2 |
| Conference finals: 0–4 (home: 0–2; road: 0–2)    Game Date Team Score High points High rebounds High assists Location
Attendance Series  1 May 16 @ L.A. Lakers L 82–87 Tom Chambers (28) McDaniel, Lister (10) Nate McMillan (8) The Forum
17,505 0–1  2 May 19 @ L.A. Lakers L 104–112 Dale Ellis (22) Xavier McDaniel (8) Nate McMillan (7) The Forum
17,505 0–2  3 May 23 L.A. Lakers L 121–122 Xavier McDaniel (42) Xavier McDaniel (10) Nate McMillan (15) Seattle Center Coliseum
14,657 0–3  4 May 25 L.A. Lakers L 102–133 Tom Chambers (20) Alton Lister (20) Kevin Williams (5) Seattle Center Coliseum
14,477 0–4 |
| 1987 schedule | |

## Player statistics

Legend
| GP | Games played | GS | Games started | MPG | Minutes per game |
| --- | --- | --- | --- | --- | --- |
| FG% | Field-goal percentage | 3P% | 3-point field-goal percentage | FT% | Free-throw percentage |
| RPG | Rebounds per game | APG | Assists per game | SPG | Steals per game |
| BPG | Blocks per game | PPG | Points per game |  |  |

### Season

| Player | GP | GS | MPG | FG% | 3FG% | FT% | RPG | APG | SPG | BPG | PPG |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Tom Chambers | **82** | **82** | 36.8 | .456 | .372 | .849 | 6.6 | 3.0 | 1.0 | .6 | 23.3 |
| Dale Ellis | **82** | 76 | **37.5** | **.516** | .358 | .787 | 5.5 | 2.9 | 1.3 | .4 | **24.9** |
| Gerald Henderson | 6 | 6 | 25.8 | .500 | .000 | **.944** | 1.5 | 5.3 | 1.0 | .0 | 11.2 |
| Clemon Johnson | 78 | 7 | 13.5 | .494 | .000 | .636 | 3.6 | .3 | .3 | .5 | 3.2 |
| Eddie Johnson | 24 | 0 | 21.2 | .457 | .333 | .764 | 1.9 | 4.8 | .5 | .0 | 9.0 |
| Curtis Kitchen | 6 | 0 | 5.2 | .500 | .000 | .750 | 1.5 | .2 | .3 | .5 | 1.5 |
| Alton Lister | 75 | 75 | 30.5 | .504 | .000 | .675 | **9.4** | 1.5 | .4 | **2.4** | 11.6 |
| Maurice Lucas | 63 | 0 | 17.8 | .451 | .000 | .802 | 4.9 | 1.0 | .5 | .3 | 7.9 |
| Xavier McDaniel | **82** | **82** | 37.0 | .509 | .214 | .696 | 8.6 | 2.5 | 1.4 | .6 | 23.0 |
| Nate McMillan | 71 | 50 | 27.8 | .475 | .000 | .617 | 4.7 | **8.2** | **1.8** | .6 | 5.3 |
| Mike Phelps | 60 | 6 | 7.8 | .426 | .100 | .705 | .8 | 1.1 | .4 | .0 | 3.0 |
| Russ Schoene | 63 | 0 | 9.2 | .374 | .154 | .630 | 1.9 | .4 | .3 | .2 | 2.7 |
| Terence Stansbury | 44 | 0 | 8.5 | .429 | **.379** | .620 | .5 | 1.3 | .3 | .0 | 4.0 |
| Kevin Williams | 65 | 0 | 10.8 | .446 | .000 | .833 | 1.3 | 1.0 | .7 | .1 | 4.9 |
| Danny Young | 73 | 26 | 20.3 | .458 | .367 | .831 | 1.5 | 4.8 | 1.0 | .0 | 4.8 |

1.  Statistics with the SuperSonics.

### Playoffs

| Player | GP | GS | MPG | FG% | 3FG% | FT% | RPG | APG | SPG | BPG | PPG |
| --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- | --- |
| Tom Chambers | 14 |  | 35.6 | .449 | .353 | .808 | 6.4 | 2.3 | .9 | .9 | 23.0 |
| Dale Ellis | 14 |  | **37.9** | .487 | .361 | .815 | 6.4 | 2.6 | .7 | .4 | **25.2** |
| Clemon Johnson | 14 |  | 18.7 | .453 | .000 | .632 | 3.5 | .3 | 1.1 | .2 | 4.3 |
| Eddie Johnson | 14 |  | 12.9 | **.534** | **.400** | .867 | 1.0 | 3.2 | .6 | .0 | 6.4 |
| Curtis Kitchen | 8 |  | 12.9 | .500 | .000 | .000 | .8 | .0 | .0 | .4 | .3 |
| Alton Lister | 9 |  | 22.9 | .400 | .000 | .700 | 6.2 | .8 | .8 | **1.4** | 6.0 |
| Maurice Lucas | 14 |  | 18.9 | .389 | .000 | .737 | 4.6 | 1.4 | .9 | .4 | 7.0 |
| Xavier McDaniel | 14 |  | 37.7 | .488 | .200 | .607 | **8.4** | 3.0 | **1.5** | .6 | 20.3 |
| Nate McMillan | 14 |  | 25.4 | .435 | .000 | .708 | 3.9 | **8.0** | 1.0 | .7 | 5.1 |
| Russ Schoene | 14 |  | 8.8 | .357 | .333 | .750 | 1.9 | .2 | .1 | .3 | 2.2 |
| Kevin Williams | 14 |  | 18.2 | .479 | .000 | .750 | 2.4 | 2.1 | 1.1 | .1 | 8.6 |
| Danny Young | 14 |  | 14.9 | .404 | .313 | **1.000** | 1.1 | 3.4 | 1.1 | .0 | 4.1 |

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title: Mappila songs

abstract: Mappila songs are a folklore Muslim song genre rendered to lyrics, within a melodic framework (Ishal), in Arabi Malayalam by the Mappilas of the Malabar region in Kerala, India. Mappila songs have a distinct cultural identity, while at the same time remain closely linked to the cultural practices of Kerala. The songs often use words from Persian, Hindustani, and Tamil, apart from Arabic and Malayalam, but the grammatical syntax is always based in Malayalam. They deal with themes such as religion, love, satire, and heroism, and are often sung at occasions of birth, marriage, and death. Mappila Paattu form an integral part of the heritage of Malayalam literature today and is regarded by some as the most popular branch of Malayalam literature, enjoyed by all Malayali communities in Kerala and Beary speaking communities of Karnataka.

text:
# Mappila songs

**Mappila songs** (or ***Mappila Paattu***) are a folklore Muslim song genre rendered to lyrics, within a melodic framework (Ishal), in Arabi Malayalam by the Mappilas of the Malabar region in Kerala, India. Mappila songs have a distinct cultural identity, while at the same time remain closely linked to the cultural practices of Kerala.

The songs often use words from Persian, Hindustani, and Tamil, apart from Arabic and Malayalam, but the grammatical syntax is always based in Malayalam. They deal with themes such as religion, love, satire, and heroism, and are often sung at occasions of birth, marriage, and death. *Mappila Paattu* form an integral part of the heritage of Malayalam literature today and is regarded by some as the most popular branch of Malayalam literature, enjoyed by all Malayali communities in Kerala and Beary speaking communities of Karnataka .

## History

Mappila songs have been in circulation for over seven centuries, with the first dated work *Muhyidheen Mala* attributed to Qadi Muhammad in 1607 AD. Thereafter a large number of literary materials were produced in this medium; one authority has calculated that of these more than 1600 items, complete or fragmentary, were known by 1976. Over the centuries, various types of Mappila Pattu were composed, in accordance with the religious and political surroundings in the lives of the Mappilas of Malabar. The early centuries were primarily based on devotional works, while the colonial era was marked by the battle song genre called *Padappattu*. Various other categories also grew during the centuries with subjects ranging from romantic ballads and marriage songs to philosophical ideas, sea journeys and even flood ordeals.

## Early works

The earliest known dated works in *Mappilappattu* belong to the 17th century and primarily belonged to the *Mala* genre.

### Malappattu

The *mala* genre of Mappila songs, generally written in Arabi-Malayalam script are praises of pious personalities of Islam who were supposed to have gained high spiritual status. Generally, most such works were themed on the lives of Sufi saints (*Auliya*). Most of these songs narrate "superhuman" deeds of these saints. The songs became popular in an era when Sufism gained a strong foothold amongst the Mappilas. Each Mala often corresponded to the leader of a Sufi order called *Thareeqath*, who was abundantly showered praises in the poetry, often well-exceeding the limits of human capabilities. Popular among these are the *Muhyidheen Mala*, the *Rifa'i mala*, the *Shaduli Mala*, the *Ajmeer Mala*, and the *Nafeesath mala*. Each of these corresponded to their respective Sufi orders while the last is about *Nafeesathul Misriyya*, a woman Sufi saint of Egypt more commonly known as Sayyida Nafeesa.

The 17th century also witnessed the composition of other popular works in the *Malappattu* genre, namely the *Rifai Mala* (1623) by Ahammadul Kabeer, *Uswath Mala* (1628) and *Valiya Naseehath Mala* (1674) by Manantakath Kunhikoya Thangal.

### 18th century

Songs of the 18th century were primarily of the *Kissa* genre, narrating stories of the prophets of Islam or Sufi saints. Examples of such songs include the *Ibrahim Nabi Qissa* and the *Ibrahim Ibn Adham Kissa*. Songs like the *Kappappattu* and *Safalamaala* by Shujayi Moidu Musaliyar conveyed ideological messages to the community in the era of post-Portuguese years when the identity and existence of the Mappilas were in a shattered state.

Kunhayan Musaliyar

Kunhayan Musaliyar lived in the early 18th century. He authored the popular works titled *Nool Mad'h* (1737 A.D.), *Nool Mala*(1785 A.D.) and *Kappappattu*. Nool Mad'h was a devotional work on Prophet Muhammed with 666 lines composed in 16 different *Ishalukal* (Ishals). Kappapattu consisted of 600 lines composed in a single Ishal, narrating with wit and humour, the voyage of the human body through the journey of life, portrayed here as a vessel in the ocean voyaging through the seas. The *Kappappattu* remained hugely popular for centuries, next only to the *Muhyiddeen Mala*.

Umar Qadi

Veliyankode Umar Qadi, (1757-1852) was a scholar, poet and freedom fighter from Veliyankode, near Ponnani, well known for his tax non-cooperation movement against the British rule in the Malabar. He composed songs of various subjects, ranging from the Cheraman Perumal to Arabic grammar. Other poems of his criticized the wrongdoings of members of his own community. He also wrote many poems in Arabic.

### 19th century and early 20th century

The dawn of the 19th century saw the advent of British rule in the Malabar. The songs of this era are marked by the rising anti-British feelings in the Mappila society in the backdrop of the agrarian tenancy discontent against the British backed Jenmi landlords. Most of the songs of the era fall under the *Padappattu* ( battle songs) genre.

#### Padappattu

The first dated work in this genre was the *Zaqqoom Padappattu* dated 1836. This song was actually an Arabi-Malayalam translation of the Tamil work *Zakkoon Padayppor* composed by Varishay Mukiyudheen Poolavar of Madurai in 1686. Alim Umar Labba, a Mappila religious scholar from Kayalpattanam translated it into Arabi-Malayalam. Many of the tunes (Ishals)of Zakoon Padayppor have been largely utilized by famous Arabi Malayalam poet, Moin Kutty Vaidyar, especially in his master piece work, Badre Padappattu.

The songs of the *Padapattu* genre can be classified into four different types:

* Islamic folk tales : These songs have no relation to actual historic events but either from a folk tale, a legend or simply an imaginary story related to Islamic traditions. Songs of this category include the *Zaqqum Padappattu* and the *Jinn Padappattu*. The former is a story about an imaginary confrontation of King Zaqqum of Iraq and Prophet Muhammed of Arabia while the latter is story about the Jinns, the other creation parallel to human beings as taught by the Qur'an.
* Islamic history : These songs narrated events from the early years of Islam, and in particular the early battles of Islam. The *Badar padappattu*, the *Hunayn Padappattu* and the *Karbala padappattu* are characteristic of this category.
* Mappila history : Songs of this type typically narrated the heroic deeds of the Muslims of Kerala and eulogize the martyrs among them, especially in their battles against the Portuguese and British colonial powers and local Jenmi landlords. Typical among these are the *Kotturpalli Mala*, Moyinkutty Vaidyar's *Malappuram Padappattu*(1883) etc. and the *Cherur Padappattu*. The first depicts the heroism of Veliyankode Kunhi Marakkar, a warrior who saves a 17-year-old Mappila girl from the hands of Portuguese kidnappers but is martyred at the end of the battle. The eulogy here is enhanced with the simultaneity of the character's death with his hour of marriage. The other two narrate stories of Mappila attacks on the British and the Jenmi landlords during the 19th century. The *Cherur Padappattu*, composed by two poets named Mammad Kutti and Muhyidheen in 1841, refers to a battle between Mappila rebels and the army of the East India Company. The rebels had assassinated Kaprat Krishna Panikkar, the *adhikari* of Tirurangadi and sought refuge in a deserted house. The soldiers later surround them and in the ensuing battle, seven Mappilas and 20 of the Company army lost their lives. The *Cherur Padappattu* narrates this story praising the "martyrs" amongst the Mappillas in this battle.
* Fictional songs: These songs were about purely imaginary subjects. The *elippada* which narrates a 3-day imaginary battle between rats and cats based on a *Panchatantra* story falls under this category.

The common feature of all these songs were their pattern of narration of the bravery of the heroes depicted.

While the battle songs roused the feelings of the community against the authorities, this era also witnessed the popularization of romantic ballads like Moyinkutty Vaidyar's *Badarul Muneer Husnul Jamal* and Chettuvayi Pareekkutty's *Soubhagya Sundari*. One of the notable aspects of both these works were the age of the authors at the time of the composition; Vaidyar was said to have been 17 or (by some reports) 20 at the time and so was Pareekkutty.

#### Moyinkutty Vaidyar

Moyinkutty Vaidyar (1857-1891), often referred to as *Mahakavi* (great poet) is historically considered one of the most renowned and authentic Mappila poets. Born into an Ayurvedic family in 1857 at Kondotti in Malappuram district, he was well versed in Sanskrit and Arabic. At a very young age of seventeen, he composed the romantic epic *Badarul Munir - Husnul Jamal (1872)* .

His later works were on totally different themes that were essentially war songs in nature. The *Badar Padappattu* and *Malappuram Padappatt* are the most popular songs of this genre. *Shabvathul Badarul Kubra*(1875), more popularly known as the *Badar Padappattu* is considered one of the finest compositions of *Mappilappattu* . It narrates the tale of the Battle of Badr by Prophet Muhammed and his companions. The *Malappuram Padappattu* (1883), also known as the *Madhinidhi Mala* describes the undercurrents of peasant life and struggles in Malappuram in the 18th and 19th centuries.

The songs of Moyinkutty Vaidyar are distinguished by their depth of imagination, the beauty of the metaphors used, the creativity comparisons involved and the variety of their *ishals* (tunes/modes).

#### Pulikkottil Hyder

Pulikkottil Hyder, born in 1879 at Wandoor was a popular poet who composed short songs in Arabi-Malayalam on topics of common interest, often attacking social evils. His simple lyrics on ordinary life of the Mappilas defied the traditional patterns of Mappilappattu thus giving him the name " The Kunchan Nambiar of *Mappilappattu*". In *Vellappokka Maala*, he describes a heavy flood that affected all throughout the Malabar, Mysore and Travancore. The sufferings of common men in the flood are depicted beautifully using only ordinary Malayalam vocabulary.
The *Pulikkotil Hyder Smaraka Puraskaram*, instituted by the *Mahakavi Moyinkutty Vaidyar Smaraka Committee* and given to personalities who have contributed to the art of *Mappilappattu* is named after him. The foundation for a memorial for the poet was laid in his hometown Wandoor by former Chief Minister of Kerala C.H. Mohammed Koya in April 1979, but the work has remained incomplete ever since. In 1979, the Mappila Kala Sahithya Vedi published a compilation of his works titled "Pulikkottil Krithikal".

#### Other poets

Chakeeri Moyidin Kutty

Chakeeri Moyidin Kutty of Cherur, near Vengara, authored his poetry on the Battle of Badr titled *Ghazvath Badril Kubra* (The great Battle of Badar)) in 1876, a year after Moyinkutty Vaidyar's *Badar Padappattu*. It began a fresh pattern in *Mappilappattu* where the poetry was in pure Malayalam language, unlike the earlier works that involved use of Arabic, Kannada and Tamil. The poem was also known as the *Chakkeeri Badr*, to distinguish it from the other works on the same subject by other poets. The work is said to have been modified a couple of times by the author himself. He also authored a Malayalam-Arabic-Sanskrit dictionary and is considered one of the major Mappila poets of the 19th century.

Chettuvayi Pareekkutty

(b. 1853) author of *Futhuhussaman*, *Minhathul Bari*, *Soubhagya Sundari* and *Adi Ahaduna* was another well-known poet of the era. He was well versed in Tamil, Sanskrit and classical music.

Futhuhussaman is not an original work of Chettuvayi Pareekukutty. It was a translation of a Tamil work by same name.

### 1920s and later

The early 20th century witnessed the growing influence of Malayalam in the Mappilappattu genre. This period was characterized by the rise of theological reform movements and nationalist mobilization in the Malabar. Songs of the era also involved themes of Pan-Indian nationalism and the Independence movement against the British. The 1921 Malabar Rebellion gave birth to a large variety of songs of this genre.

T Ubaid

Born T Abdurahman (1908-1972) at Thalankara in Kasargode, T Ubaid was one of the greatest figures of Malayalam literature in the 20th century. He was well versed in English, Malayalam, Arabic, Urdu, Kannada, Sanskrit and Tamil. Often referred to as *Mahakavi Ubaid*, he was both a poet and a researcher of *Mappilappattu*, documenting a large collection of Mappila songs popular in the North Malabar through oral tradition. His historic speeches and rendering of hitherto unheard *kissa pattukal* at the Kozhikode Sahitya Parishath conference in 1947 and similar conferences drew attention of the intellectuals of Malayalam literature to the rich literary traditions of *Mappilappattu*.

S.A. Jameel

S.A. Jameel is a poet widely associated to the *kathu pattu* (Letter songs) genre of Mappila songs. His most popular works remain the 1976 letter and reply duet *Ethrayum bahumanappetta ente priya bharthavu vayikkuvan* (Oh my dear respected husband) and *Abu Dhabeelullorezhuthupetti* (A letterbox in Abu Dhabi). The former is a wife's letter to her husband abroad in Abu Dhabi requesting his return, while the latter is the husband's reply to his wife. The poet, who had psychological counselling sessions with many of the womenfolk of Malabar living separated lives from their husbands in the Gulf, described the anguishes of separation as felt by the women in the first song. The lyrics of the song referred in particular to the sexual and emotional needs of the woman and generated both praise and controversy within the community. The second song, composed as the husband's reply was also based on his interactions with the diaspora Mappila community during his visits to the Middle East in the late 1970s. It described the hardships and emotional dilemma faced by the migrant workers separated from their families. The songs created a huge impact on the whole diaspora community across different religions at the time prompting many to leave their jobs and return to their homeland for good. Though the *kathu pattu* (songs in the form of letters) existed before the works of S.A. Jameel, it was his works that popularized the genre amongst the common people of the Malabar.

## Social context

Religious teachings

In the early years of Mappilappaattu, the songs were written with a specific purpose of educating the masses about the religious teachings of Islam. In an era that preceded the printing press, oral traditions played an important role in the religious education of the Mappilas, especially those who could not read or write. Some of the early songs written entirely for this purpose included the *Aqeedath Mala*, *Niskaarapaattu, Naseehath Mala, Kombinte paattu, Liqa Mala, Amaliyyath Mala* etc.

Anti-colonial struggles

In the context of the Mappila uprisings against the British rule in Malabar in the 19th and 20th centuries, the *Pada pattu* played an important role in rousing Mappila sentiments of the Mappila peasantry in their struggle. The contribution of these ballads was a vital factor in the growth of a collective consciousness of a heroic tradition amongst the Mappilas. After almost every uprising of the 19th and 20th centuries, songs eulogizing the heroism of the participants and idealizing their sacrifice were composed and propagated by Mappila bands which went around the countryside singing them. Ballads were also popularized through group singing at social and domestic functions. These war songs often contained vivid descriptions of carnal pleasures of paradise awaiting the "martyrs". Prior to the launch of an attack, the rebels in aspiration of "martyrdom" used to recite the *Mala pattu* alongside other preparations.

The struggle by the Mappilas against Portuguese invaders in the 16th century led by Mappila legends like Kunhali Marakkars were also a major theme of such songs. Another popular theme in these songs were the battles of the early Muslims of Arabia which is evident in songs like *Badar Padappattu*, *Uhad Padappattu*, *Hunain Padappattu*, *Makkan Fathahu* and *Khandaq Padappattu*. The songs provoked the Mappila population against the British authorities to the extent that a large number of them including the publications of the *Cherur Padappattu* were confiscated and destroyed by the authorities.

These songs also provided an insight for historians into the thoughts and viewpoints of the rebels and have been used for authentic historic compilation. The songs on the *Malappuram shahids* provide the earliest description of an armed struggle between the Mappilas and the Jenmi landlord class in the pre-Mysore era. William Logan, refers to the *Cherur Padappattu* in the Malabar Manual while describing the incident. (Pg 560,Vol 1, Asian Educational Services, 2000). Roland Miller also quotes from this ballad in "Mappila Muslims of Kerala: a study in Islamic trends". (pg 119, Orient Longman, 1992.)

The 1921 Malabar Rebellion also spawned a large number of Mappila songs. Many of these songs describe the events at the Khilafat movement in Malabar and offer a view into the conditions in Malabar during the era. A song sung at a Khilafat meeting at Tirurangadi in 1921 described the aims of the Khilafat Movement in a mindset of complete harmony with the National movement led by Mahatma Gandhi:
*Munthiya Banduvay Hinduvum Muslimum* (Hindus and Muslims have deep relations)
*Moulana showathum Doula Khilafathum* (The nation of Khilafath that the Moulana shows us)
*Entri Vannavidham Mahatma Gandhi than sahitham*  (He brought it to us along with the great Gandhi)
Ahmed Kutty composed the *Malabar Lahala enna Khilafat Patt* in 1925 describing the events of the rebellion. Even the prisoners of the rebellion like Tannirkode Ossankoya used to compose songs in their letters to their relatives.

Marriage

The *Mailanchi Pattu*, the *Oppana Pattu* and the *Ammayi Pattu* belong to the category of *Mappila Pattukal* dealing with love and marriage. They are sung in chorus in connection with marriage festivals, often accompanied by rhythmic clapping by women.

Migration

In the "Gulf boom" years of the 1970s and 80s, mass migration of workers from the Malabar to the oil-rich Gulf states of the Middle East resulted in households where the working men were often separated from their womenfolk and the only means of communication was the letter. This brought about a huge interest in the *Kathu pattu* (letter song) genre of Mappilappattu. The lyrics of these songs often connected closely to the lives of the migrant workers and their families and it popularized this genre of Mappilappattu.

Others

Mappila songs occasionally did also narrate stories outside the Muslim community. One such ballad was called the *Mappila Ramayana* deals with the story of the Hindu mythological figure Sri Rama.

## Female presence in Mappilappattu

Mappila womenfolk feature prominently in the culture and literature of Mappilappattu in various ways. The presence of female poets in Mappilappattu literature long predated the first female presence in Malayalam literature. A large number of Mappila songs also had female subjects as their main theme.

Songs of the *Oppana* genre typically described the beauty of a bride in colourful terms. The famous *Badarul Muneer Husnul Jamal* by Moyinkutty Vaidyar devotes a section to describe the beauty of the heroine named *Husnul Jamal*.

Another popular subject of composition was the lives of the prominent women of the early years of Islam in Arabia. The popular *ChandiraSundariMala* by female poet PK Haleema narrated the marriage of the Aisha with Prophet Muhammed. Other songs by female poets like CH Kunhayisha, V Ayishakkutti etc. depicted sorrowfully the final moments of Khadija, wife of Prophet Muhammed and Fatima, his daughter. The famous *Nafeesath Mala* by Nalakath KunhiMoideen Kutty praises a woman named Nafeesa, who belonged to the lineage of the Prophet. It ends with a prayer for her well-being in the Hereafter. Other major female poets include Puthur Amina, Kundil Kunhamina, B Ayishakkutty and K Aminakkutty.

Songs by male poets like the *Mariyakkuttiyude Kath* by Pulikkottil Hyder and the *Dubai kathu pattu* by S.A. Jameel also focussed on the emotional aspects of the life of the womenfolk in the Mappila community.

## Influence

Mala songs and ordinary life

The Mala songs were believed to inculcate a religious belief in those who recited and listened to them and were hence given a spiritual status corresponding to the works of Ezhuthachan and Cherusseri Namboothiri amongst the Hindu population of Malabar. Many were recited daily at Mappila homes. The *Muhyidheen Mala* was considered a protection from all calamities while the *Rifa'i Mala* was chanted as a cure from burns and snake bites. Similarly, the *Nafeesath Mala* was prescribed for pregnant woman for an easy child birth. The importance accorded to the *Mala* songs was so high that their memorization was regarded as a qualification for a would-be bride.

Songs of Moyinkutty Vaidyar used to be sung and explained to public audiences in what was known as *Seera Parayana Sadassu* (history recital sessions). These often lasted for many nights together and were a popular scene throughout the Malabar.

The early 20th century witnessed the rise of reform movements within the Mappila community. They objected to the messages of the *Mala* songs citing their contradictions with many of the basic tenets of Islam, often referring to them as *Khurafath*. Occasionally though, they used same medium to spread their message. Examples of these included the *Parishkara Mala* and the *Durachara Mala*.

Cinema and poetry

The spirit of their themes and beauty of representation in the *Mappila Paattukal* have left a lasting impression on Malayalam poetry. Well-known poets like P. Krishna Kumar, P. Bhaskaran, and Vayalar Ramavarma have composed a great number of popular Mappila songs. Mappila songs have been popular in the Malayalam cinema ever since the success of the 1954 classic *Kayalarikaathu vala erinjappol* by K. Raghavan from the movie *Neelakuyil*. Other popular melodies include *Oru kotta ponnundallo* from the movie *Kuttikuppayam* and *Palanu thenanu* from *Umma* by M.S Baburaj. Some of the movies that prominently include songs of this genre are *Mailanchi*, *Pathinalamravu*, *Ulpathi*, *Sammanam*, *Manya Maha Janangale*, *Sammelanam*, *1921* and *Marc Antony*.

Television

"Mylanchi" is the most popular reality show by Asianet. The show is on the way to the fifth season named "Mylanchi Little Champions". "Pathinalam Ravu" by MediaOne has established as the most popular reality show in a short span of time. A show which upholds the traditional values of Mappila Pattu,"Pathinalam Ravu" is now going through its third edition. *Patturumal* is a popular reality show on Mappilapattu being aired on Kairali TV. Jai Hind TV channel has telecast a reality showy by name "Mappilapattukal".

## Personalities

S. M. Koya noted for his genre of Malabar Mappila Pattukal has won the appreciation of and respected by of film music directors like K. Raghavan, M. S. Baburaj, and A. T. Ummer. In 1925, Gul Mohammed, father of veteran singer K.G. Sathar, recorded his voice in gramophone, which became the first gramophone record in Malayalam. The singer and composer V. M. Kutty made significant contribution to popularise the Mappila songs. He is credited with having performed Mappila songs on stage for the first time in 1957. Eranjoli Moosa is also another singer, who is considered to have revolusionised the Mappila songs and is often considered one of the greatest Mappila singers of all time. He has performed solo in more than 1000 stages. Other respected names who composed Mappila songs are Punnayurkulam V Bapu, O. M. Karuvarakkundu and Mohar Munir. Songs written by P.T. Abdul Rahman and sung by S.V.Peer Muhammad were compiled in a book *Pīrmuhammad pāṭiya putiya Māppiḷappāṭṭukaḷ* (Songs sung by Pir Muhammad). Abdul Hayy, IP Sidique

Balakrishan Vallikkunnu is a researcher in Mappila literature and has researched various aspects of the messages conveyed in Mappila songs, including the anti-colonial sentiments in them. The other prominent personalities associated with this genre of music include:

Singers * M Kunhi Moosa
* K.G Sathar
* V. M. Kutty
* S. M. Koya
* Eranjoli Moosa
* M.S. Baburaj
* Vilayil Faseela
* Peer Muhammed
* V. T. Murali
* Ramla Beegum
* N.P. Fousiya
* Aysha Beegum
* Vadakara Krishnadas
* M. Shailaja
* Mukkam Sajitha
* Farisha Khan
* Laila Razak
* Azeez Thayineri
* H. Mehaboob
* A.V.Mohamed
* E.P.Shihab
* M. P. Ummerkutty
* Kannur Saleem
* Kannur Shareef
* Shameer Chavakkad
* Sindhu Premkumar
* Nasnin (Baby Nasnin)
* Randathani Hamsa
* IP Sidique

Poets * Nalakath Kassim
* Bappu Vellipparamba
* K. T. Moideen
* P.T. Abdul Rahiman
* Pakkar Pannoor
* Badarudheen parannur{saharbari}
* Nasarudheen Mannarkkad
* Faisal Kanmanam
* OM Karuvaramkund
* Shamsu Ayippuzha
* Fasal Koduvally
* Shaheer Chennara
* Hamsa Narokav

Composers * M.S.Baburaj
* K.Raghavan
* Chand Pasha
* K. V. Abootty
* Shihab Areekode
* Mohsin Kurikkal
* M A Azeez Bhai

## Institutions

### Vaidyar Smarakam

In 1999, then Chief Minister of Kerala E. K. Nayanar inaugurated the *Mahakavi Moyinkutty Vaidyar Smarakam* at the poet's birthplace in Kondotty as a cultural centre to attract research into *Mappilappattu*, and its studies and interpretations in Malayalam. The foundation stone was laid by, then Chief Minister, K. Karunakaran on 24 December 1994. The centre runs certificate courses in ‘Mappilappattu’ and ‘Mappila kali’. It also has attached to it a folklore study centre, a historical museum, and a reference library containing rare manuscripts in Arabi-Malayalam and other handwritten manuscripts. Each year it conducts the *Vaidyar Mahotsavam*, a two or three-day festival that includes cultural and literary programmes related to all Mappila art forms. The Vaidyar Memorial Lecture is also delivered during the festival. In 2005, a two-volume compilation of his works was released as a book *Mahakavi Moyinkutty Vaidyar, Sampoorna Krithikal* by the *Mahakavi Moyinkutty Vaidyar Smaraka Samithi* under the aegis of the Culture Department, Government of Kerala. It also published a collection of essays on Moyinkutty Vaidyar titled *Mahakavi Moyinkutty Vaidyar Padanangal*. On 12 June 2008, M. A. Baby, Minister of Education and Culture, Government of Kerala, inaugurated the Mahakavi Moyinkutty Vaidyar Memorial Center for Studies and Research on Folk and Mappila Arts (SCARF) at the Vaidyar Smarakam complex. A regional centre for study of Mappila folk arts was also set up at Mogral in Kasargode district in 2009.

### Other institutions

The Kerala Mappila Kala Akademi, set up in 2001, is dedicated to this genre of music in Kerala. The Akademi awards distinguished personalities from the Mappilappattu field each year, and also provides fellowships for researchers in the field. The awards are named after popular figures in the field of Mappilappattu, like Gul Mohammed, K.K. Muhammed Abdul Kareem and Qadi Mohammed.

The All Kerala Mappila Sangeetha Academy was established in 1992 and instituted the Mahakavi Moyinkutty Vaidyar Award and the M.S. Baburaj Award. It also holds annual arts festivals with emphasis on Mappila arts.

## Conclusion

The literature of Mappila Songs represent the aspirations of the Mappila community, its frustrations, struggles, love and affection over the ages. Littérateur M.T. Vasudevan Nair once described Mappila songs as the "cultural fountains of a bygone age". Today, increasing "cacophony" trends in newer Mappila songs and the lack of poets with a sense of imagination have attracted criticism from many corners. A large number of songs released in the last decade under the label of *Mappila Songs,* have been criticized for deviating from the original nature of the folk idiom and tunes (Ishals), provoking a call for a preservation of the original identity of Mappila songs.

## Books and references

* *Mappilappattu - Padhavum Padhanavum* ( Mappila songs - Study and Lessons) - Balakrishnan Vallikkunnu and Dr. Umar Tharamel, D.C. Books, 2006
* *Maappilappaattinte Lokam* \- (The world of Mappila Songs) - V. M. Kutty, D.C. Books
* *Muslingalum Kerala Samskaravum* \- (Muslims and Kerala Culture) - P.K. Muhammad Kunhi Thrissur, 1982
* *Mahathaya Mappila Sahitya Parambaryam* \- (The Great Mappila literary heritage) - C.N. Ahmad Moulavi & K.K. Mohammed Abdul Kareem - 1978
* *Mappilappattu* \- by Dr. M.N. Karasseri in *Malabar* ed. M.G.S. Narayanan, 1994
* *Mappilappaattinte Maadhuryam* \- T. K. Hamza \- Olive Publications, Kozhikode
* *Mahakavi Moyinkutty Vaidyar Padanangal* \- Mahakavi Moyinkutty Vaidyar Smaraka Committee, Kondotty
* Biggest Collection Of Mappila Songs over Web http://mappilapattukal.com/


title: NLRP8

abstract: NLRP8, short for NOD-like receptor family pyrin domain containing 8, is an intracellular protein that is expressed in the ovaries, testes, and preimplantation embryos of mammals. It is also known as NALP8, NOD16, PAN4, and CLR19.2, and is one of 14 pyrin domain containing members of the NOD-like receptor family of cytoplasmic receptors.

text:
# NLRP8

**NLRP8**, short for NOD-like receptor family pyrin domain containing 8, is an intracellular protein that is expressed in the ovaries, testes, and preimplantation embryos of mammals. It is also known as NALP8, NOD16, PAN4, and CLR19.2, and is one of 14 pyrin domain containing members of the NOD-like receptor family of cytoplasmic receptors.

## Further reading

## InfoBox

| NLRP8 | | | |
| --- | --- | --- | --- |
|  | | | |
| Identifiers | | | |
| Aliases | NLRP8, CLR19.2, NALP8, NOD16, PAN4, NLR family, pyrin domain containing 8, NLR family pyrin domain containing 8 | | |
| External IDs | OMIM: 609659; HomoloGene: 82360; GeneCards: NLRP8; OMA:NLRP8 - orthologs | | |
|  | | | |
|  | | | |
|  | | | |
| Orthologs  Species **Human** **Mouse**  Entrez   Ensembl   UniProt   RefSeq (mRNA)     NM\_176811
NM\_001317000   n/a   RefSeq (protein)     NP\_001303929
NP\_789781   n/a   Location (UCSC) Chr 19: 55.95 – 55.99 Mb n/a  PubMed search  n/a | | | |
| Wikidata | | | |
| View/Edit Human | | | |


title: Mornag

abstract: Mornag is a small town and commune in Tunisia. As of 2014 it had a population of 61,518. It lies along the A1 (Tunisia). Mornag is mainly known for its agricultural plain dedicated to the vineyard and the olive tree. It is one of the richest plains of Tunisia which covers 36,812 hectares including 19,900 hectares of arable land. Dominated by a summit, the Jebel Ressas, the town is crossed by Wadi Miliane and Wadi El Hamma and the Medjerda - Cap-Bon canal.

text:
# Mornag

**Mornag**  is a small town and commune in Tunisia. As of 2014 it had a population of 61,518. It lies along the A1 (Tunisia).

Mornag is mainly known for its agricultural plain dedicated to the vineyard and the olive tree. It is one of the richest plains of Tunisia which covers 36,812 hectares including 19,900 hectares of arable land. Dominated by a summit, the Jebel Ressas (795 meters3), the town is crossed by Wadi Miliane and Wadi El Hamma and the Medjerda - Cap-Bon canal.

## InfoBox

| Mornag | |
| --- | --- |
|  | |
| MornagLocation in Tunisia | |
| Coordinates: 36°41′5″N 10°1′37″E / 36.68472°N 10.02694°E / 36.68472; 10.02694 | |
| Country | Tunisia |
| Governorate | Ben Arous Governorate |
| Population (2022) | |
| Total | 44,737 |


title: Mikko Järvinen

abstract: Mikko Järvinen was a Finnish politician, born in Kangasala. He was a member of the Parliament of Finland from 1945 until his death in 1953, representing the Finnish People's Democratic League (SKDL). He was a presidential elector in the 1950 Finnish presidential election. Järvinen was a member of the Communist Party of Finland (SKP). He joined the party in 1926, when it was still illegal in Finland. He was imprisoned for a while in the 1930s for his political activities. The SKP was eventually legalized as a result of the Moscow Armistice of 19 September 1944, six months before Järvinen was elected as a Member of Parliament.

text:
# Mikko Järvinen

**Mikko Järvinen** (20 September 1895  30 April 1953; original surname *Kuorrejärvi*) was a Finnish politician, born in Kangasala. He was a member of the Parliament of Finland from 1945 until his death in 1953, representing the Finnish People's Democratic League (SKDL). He was a presidential elector in the 1950 Finnish presidential election. Järvinen was a member of the Communist Party of Finland (SKP). He joined the party in 1926, when it was still illegal in Finland. He was imprisoned for a while in the 1930s for his political activities. The SKP was eventually legalized as a result of the Moscow Armistice of 19 September 1944, six months before Järvinen was elected as a Member of Parliament.


title: X-Zone

abstract: X-Zone (エックス・ゾーン) is a video game released in 1992 by Kemco for the Super NES. It is played with the Super Scope light gun. The players assume the role of a soldier in flying power-armor assigned to destroy an army of malfunctioning defense robots commanded by a sentient bio-computer in its sudden war against humanity.

text:
# X-Zone

***X-Zone*** (エックス・ゾーン) is a video game released in 1992 by Kemco for the Super NES. It is played with the Super Scope light gun.

The players assume the role of a soldier in flying power-armor assigned to destroy an army of malfunctioning defense robots commanded by a sentient bio-computer in its sudden war against humanity.

## InfoBox

| X-Zone | |
| --- | --- |
| Box art | |
| Developer(s) | Kemco |
| Publisher(s) | Kemco |
| Composer(s) | S. Yamaguchi <br>Hiroyuki Masuno |
| Platform(s) | Super Nintendo Entertainment System |
| Release | 1992 (US), 1993 (EU/JP) |
| Genre(s) | Rail shooter |
| Mode(s) | Single-player |


title: Neaspilota

abstract: Neaspilota is a genus of fruit flies in the family Tephritidae.

text:
# Neaspilota

***Neaspilota*** is a genus of fruit flies in the family Tephritidae.

## Species

## InfoBox

| *Neaspilota* | |
| --- | --- |
|  | |
|
| Scientific classification | |
| Domain: | Eukaryota |
| Kingdom: | Animalia |
| Phylum: | Arthropoda |
| Class: | Insecta |
| Order: | Diptera |
| Family: | Tephritidae |
| Subfamily: | Tephritinae |
| Tribe: | Terelliini |
| Genus: | *Neaspilota*
Osten-Sacken, 1878 |
|
| Type species | |
| *Trypeta alba*
Loew, 1861 | |
| Synonyms | |
|  | |


title: Mumias

abstract:
Mumias is a town in Kakamega County of Kenya. The town has an urban population of 116,358 and is the second largest town in Kakamega County.
Mumias was the centre of the Mumias District. The town is linked by road to Kakamega, Busia (west), Bungoma (north), Butere, Luanda, Maseno and Kisumu (south). Two major rivers, River Nzoia and River Lusumu pass close to the town. The town has four major hospitals namely, Mumias Level 4 Hospital St.Marys' Mission hospital, Jamia Hospital and The Mumias Modern Dispensary. The town has a modern bus park and a modern market. The town hosts the Office of the Member of Parliament for Mumias West, the office of the Deputy County Commissioner. The town has a stadium, Bomani Grounds, used for official meetings, political events, games and other events. The collapsed Mumias Sugar Company was a major employer in the region. The company owned the Mumias Sugar FC, which was one of the top football teams in Kenya until it was disbanded in 2007. Five minutes outside Mumias town, on the road to Kakamega, there is a hospital, St. Mary's Mission Hospital and a medical college, St. Mary's School of Clinical Medicine. They are run by the Catholic Diocese of Kakamega which also sponsors several public primary and secondary schools namely: St. Mary's Girls High School, St. Anne's Mumias Primary School, St. Peter's Mumias Boys Primary School and St. Peter's Boys' High School.

text:
# Mumias

**Mumias** is a town in Kakamega County of Kenya. The town has an urban population of 116,358 (2009 census) and is the second largest town in Kakamega County. Mumias was the centre of the Mumias District. The town is linked by road to Kakamega (in east), Busia (west), Bungoma (north), Butere, Luanda, Maseno and Kisumu (south). Two major rivers, River Nzoia and River Lusumu pass close to the town.

The town has four major hospitals namely, Mumias Level 4 Hospital (the largest) St.Marys' Mission hospital, Jamia Hospital and The Mumias Modern Dispensary. The town has a modern bus park and a modern market.

The town hosts the Office of the Member of Parliament for Mumias West, the office of the Deputy County Commissioner. The town has a stadium, Bomani Grounds, used for official meetings, political events, games and other events.

The collapsed Mumias Sugar Company was a major employer in the region. The company owned the Mumias Sugar FC, which was one of the top football teams in Kenya until it was disbanded in 2007.

Five minutes outside Mumias town, on the road to Kakamega, there is a hospital, St. Mary's Mission Hospital and a medical college, St. Mary's School of Clinical Medicine. They are run by the Catholic Diocese of Kakamega (Mumias parish) which also sponsors several public primary and secondary schools namely: St. Mary's Girls High School, St. Anne's Mumias Primary School, St. Peter's Mumias Boys Primary School and St. Peter's Boys' High School.

## History

The town is capital of the Luhya kingdom of Wanga. King Nabongo Mumia, who came to power in 1880, was the last sovereign king of Wanga. He was succeeded by his son Shitawa who ruled after his death in 1949 till the late seventies. He then was succeeded by Mumia II who is currently in power. His role remains largely non executive, but the royal family draws taxes from the trade that goes on in the county council of Mumias, which is to date still regarded as the seat of power. This includes taxes from the Mumias Sugar Company. The family still owns the land in the county although bits and pieces have been sold off to private developers. The entire Royal Family is still very closely linked to the choices of political leaders in the region as well as to their royal ties of the Abashitsetse clan. Each family has its own meetings (families keep the family tree with major families arising from the last sovereign Wanga government, with the brothers of King Mumia forming the Patriarchal Heads of the family). Mumias has a noticeable Muslim community, unique in western Kenya. It derives from trade links between Wanga state and coastal Kenya. The town with two sub counties Mumias East and Mumias West in the larger county of Kakamega, is home to various Evangelical, Pentecostal and traditional Christian denominations. The town was known as *Lureko* until it was renamed Mumias.

The Nabongo Cultural Centre in Matungu showcasing the Wanga Kingdom was opened in the outskirts of Mumias in 2008, near the traditional homestead of Wanga kings (Nabongos).

## Religion

The town has two major religions, Christianity and Muslims although most other religions are found here. There are very many churches is the town and surrounding areas.

The area of Lukoye has a mosque called "Sheikh Khalifa Mosque", which was built in 1991 with Kuwaiti assistance. Other mosques have since been set up such as the one in Ekero area.

## Further reading

## InfoBox

| Mumias | |
| --- | --- |
| Municipality | |
| MumiasLocation of Mumias | |
| Coordinates: 0°20′N 34°29′E / 0.333°N 34.483°E / 0.333; 34.483 | |
| Country | Kenya |
| County | Kakamega County |
| Population (2009) | |
| Total | 116,358 |
| Time zone | UTC+3 (EAT) |


title: Municipal Buildings, Stirling

abstract: The Municipal Buildings are based in Corn Exchange Road, Stirling, Scotland. The structure, which was the meeting place of Stirling Burgh Council, is a Category B listed building.

text:
# Municipal Buildings, Stirling

The **Municipal Buildings** are based in Corn Exchange Road, Stirling, Scotland. The structure, which was the meeting place of Stirling Burgh Council, is a Category B listed building.

## History

The first municipal building in the city was the Stirling Tolbooth in Broad Street which was completed in 1705. Burgh leaders then relocated to The Athenaeum in King Street in 1875.

In the late 19th century, civic leaders decided to erect a more substantial municipal complex to address the growing needs of the city: the site they selected was occupied by a long narrow building, the old corn exchange. The old corn exchange had been the venue for the weekly grain markets in the 19th century but had also been used for public meetings and theatre performances. A statue of the former Prime Minister and local member of parliament, Sir Henry Campbell-Bannerman, designed by Paul Raphael Montford was unveiled to the southwest of the proposed complex by the then Prime Minister, H. H. Asquith, in November 1913.

The foundation stone for the new complex was laid by King George V on 11 July 1914. It was designed by John Gaff Gillespie in the Scottish baronial style, built in ashlar stone at a cost of £21,000 and was officially opened in March 1918. The proposed design involved a symmetrical main frontage with thirteen bays facing onto Corn Exchange Road; there was intended to be a left section, a central section and a right section but the right section was never built. The central section of seven bays, which was slightly recessed, featured an arched doorway on the ground floor, a prominent oriel window on the first floor and a gable above. Statues of Robert the Bruce and William Wallace were installed on the left and right of the oriel window respectively, and a statue of Mary, Queen of Scots was installed at the apex of the gable. There were round headed windows in the other bays on the ground floor and mullioned windows in the on the first floor. The left section of three bays involved round headed windows on the ground floor and recessed sash windows on the first and second floors flanked by giant Corinthian order columns supporting a cornice. On the south western elevation there was a five-stage tower with a sash window on the ground floor, a two-storey oriel window on the next two floors and a two-storey recess above; the top section of the tower featured Venetian windows on the sides and clock faces in the gables.

Internally, the principal rooms were the council chamber and committee rooms on the first floor; the main staircase, which was made from marble, was illuminated with a stained glass window, designed by the architect and installed by William Meikle & Sons, depicting King Alexander II presenting a charter to burgh officials in 1226.

The Duke and Duchess of York visited the municipal buildings to receive the freedom of the city on 10 August 1928. A modern extension, designed by Walter H. Gillespie, was erected on the vacant site where the original right hand section should have been built, in 1968. The complex continued to serve as the headquarters of the burgh council for much of the 20th century, and remained the meeting place of the enlarged Stirling District Council after it was formed in 1975. However, it ceased to be the local seat of government when the new unitary authority, Stirling Council, was formed at Old Viewforth in 1996. The council carried out a programme of refurbishment works to convert it into a digital technology hub in 2017.

Works of art in the municipal buildings include a portrait by Francis Henry Newbery of the guardian of the fens known as the "Fen Reeve", a portrait by Thomas Stuart Smith of a man smoking a Cuban cigarette and a landscape by Duncan Cameron depicting Stirling Castle.

## InfoBox

| Municipal Buildings, Stirling | |
| --- | --- |
| Municipal Buildings, Stirling | |
| Location | Corn Exchange Road, Stirling |
| Coordinates | 56°07′06″N 3°56′22″W / 56.1183°N 3.9395°W / 56.1183; -3.9395 |
| Built | 1918 |
| Architect | John Gaff Gillespie |
| Architectural style(s) | Scottish baronial style |
|  | |
| Listed Building – Category B | |
| Official name | Municipal Buildings, 8-10 Corn Exchange Road, Stirling |
| Designated | 4 November 1965 |
| Reference no. | LB41105 |
|  | |
|  | |
| Shown in Stirling | |


title: Murethi

abstract: Murethi is a village in Deenshah Gaura block of Rae Bareli district, Uttar Pradesh, India. As of 2011, it has a population of 1,041 people, in 218 households. It has one primary school and no healthcare facilities. The 1961 census recorded Murethi as comprising 6 hamlets, with a total population of 494 people, in 93 households and 91 physical houses. The area of the village was given as 335 acres. The 1981 census recorded Murethi as having a population of 582 people, in 110 households, and having an area of 131.12 hectares. The main staple foods were listed as wheat and rice.

text:
# Murethi

**Murethi** is a village in Deenshah Gaura block of Rae Bareli district, Uttar Pradesh, India. As of 2011, it has a population of 1,041 people, in 218 households. It has one primary school and no healthcare facilities.

The 1961 census recorded Murethi (as "Muraithi") as comprising 6 hamlets, with a total population of 494 people (241 male and 253 female), in 93 households and 91 physical houses. The area of the village was given as 335 acres.

The 1981 census recorded Murethi (as "Muraithi") as having a population of 582 people, in 110 households, and having an area of 131.12 hectares. The main staple foods were listed as wheat and rice.

## InfoBox

| Murethi | |
| --- | --- |
| Village | |
| Map showing Murethi (#026) in Deenshah Gaura CD block | |
| MurethiLocation in Uttar Pradesh, India | |
| Coordinates: 26°01′27″N 81°10′53″E / 26.024171°N 81.181278°E / 26.024171; 81.181278 | |
| Country India | India |
| State | Uttar Pradesh |
| District | Raebareli |
| Area | |
| Total | 1.284 km2 (0.496 sq mi) |
| Population (2011) | |
| Total | 1,041 |
| Density | 810/km2 (2,100/sq mi) |
| Languages | |
| Official | Hindi |
| Time zone | UTC+5:30 (IST) |
| Vehicle registration | UP-35 |


title: Mushrooms in art

abstract: Mushrooms have been found in art traditions around the world, including in western and non-western works. Ranging throughout those cultures, works of art that depict mushrooms can be found in ancient and contemporary times. Often, symbolic associations can also be given to the mushrooms depicted in the works of art. For instance, in Mayan culture, mushroom stones have been found that depict faces in a dreamlike or trance-like expression, which could signify the importance of mushrooms giving hallucinations or trances. Another example of mushrooms in Mayan culture deals with their codices, some of which might have depicted hallucinogenic mushrooms. Other examples of mushroom usage in art from various cultures include the Pegtymel petroglyphs of Russia and Japanese Netsuke figurines. Examples of mushrooms being depicted in contemporary art are also prevalent. For example, a contemporary Japanese piece depicts baskets of matsutake mushrooms laid atop bank notes, signifying the association of mushrooms and prosperity. Other examples of contemporary art depicting fungi include Anselm Kiefer's Über Deutschland and Sonja Bäumel's Objects not static and silent but alive and talking. These contemporary works often outline themes greatly undercurrent in modern times, themes such as sustainable living, new materials, and ethical considerations associated with the science of fungi and biotechnologies. In fact, working with fungi allows contemporary artists to create art that is interactive and performative. Mushroom symbolism has also appeared in Christian paintings. The panel painting by Hieronymus Bosch, The Haywain Triptych, is considered the first depiction of mushroom in modern art. Another triptych by Hieronymus Bosch, The Garden of Earthly Delights, depicts scenes very similar to those experienced under the effects of psychoactive mushrooms. In fact, when considering the mushroom of Amanita muscaria, artistic representations throughout the ages show the association it has with psychotropic properties, being represented as being used for social, religious, and therapeutic purposes.

text:
# Mushrooms in art

Mushrooms have been found in art traditions around the world, including in western and non-western works. Ranging throughout those cultures, works of art that depict mushrooms can be found in ancient and contemporary times. Often, symbolic associations can also be given to the mushrooms depicted in the works of art. For instance, in Mayan culture, mushroom stones have been found that depict faces in a dreamlike or trance-like expression, which could signify the importance of mushrooms giving hallucinations or trances. Another example of mushrooms in Mayan culture deals with their codices, some of which might have depicted hallucinogenic mushrooms. Other examples of mushroom usage in art from various cultures include the Pegtymel petroglyphs of Russia and Japanese Netsuke figurines.

Examples of mushrooms being depicted in contemporary art are also prevalent. For example, a contemporary Japanese piece depicts baskets of matsutake mushrooms laid atop bank notes, signifying the association of mushrooms and prosperity. Other examples of contemporary art depicting fungi include Anselm Kiefer's Über Deutschland and Sonja Bäumel's Objects not static and silent but alive and talking. These contemporary works often outline themes greatly undercurrent in modern times, themes such as sustainable living, new materials, and ethical considerations associated with the science of fungi and biotechnologies. In fact, working with fungi allows contemporary artists to create art that is interactive and performative.

Mushroom symbolism has also appeared in Christian paintings. The panel painting by Hieronymus Bosch, The Haywain Triptych, is considered the first depiction of mushroom in modern art. Another triptych by Hieronymus Bosch, *The Garden of Earthly Delights*, depicts scenes very similar to those experienced under the effects of psychoactive mushrooms. In fact, when considering the mushroom of *Amanita muscaria*, artistic representations throughout the ages show the association it has with psychotropic properties, being represented as being used for social, religious, and therapeutic purposes.

## Registry of Mushrooms in Works of Art

The Registry of Mushrooms in Works of Art is maintained by the North American Mycological Association and its stated goal is, "to contribute to the understanding of the relationship between mushrooms and people as reflected in works of art from different historical periods, and to provide enjoyment to anyone interested in the subject." Started by Elio Schaechter, author of *In the Company of Mushrooms*, the project is ongoing.

Art periods and artists are categorized as follows in the registry:

* 1300-1500 - Gothic and Early Renaissance
* 1500-1600 - High Renaissance
* Dutch Baroque 1600-1750
* Flemish Baroque 1600-1750
* Germanic Baroque 1600-1750
* Italian Baroque 1600-1750
* Miscellaneous Baroque 1600-1750
* 1750-1850 - Romanticism and Neoclassicism
* 1850-1950 - Modern
* Victorian Fairy Paintings
* Post 1950 - Contemporary
* Post 1999 - Contemporary
* Karl Hamilton
* Paolo Porpora
* Pseudo Fardella, Painter of Carlo Torre
* Van Schrieck, Otto Marseus
* Alexander Viazmensky

1. Yamin-Pasternak, Sveta (2011-07-07), "Ethnomycology: Fungi and Mushrooms in Cultural Entanglements", *Ethnobiology*, John Wiley & Sons, Inc., pp. 213–230, doi:10.1002/9781118015872.ch13, ISBN 978-1-118-01587-2
2. Lowy, B. (September 1971). "New Records of Mushroom Stones from Guatemala". *Mycologia*. **63** (5): 983–993. doi:10.2307/3757901. ISSN 0027-5514. JSTOR 3757901. PMID 5165831.
3. Lowy, Bernard (July 1972). "Mushroom Symbolism in Maya Codices". *Mycologia*. **64** (4): 816–821. doi:10.2307/3757936. ISSN 0027-5514. JSTOR 3757936.
4. Nai, Corrado; Meyer, Vera (2016-11-29). "The beauty and the morbid: fungi as source of inspiration in contemporary art". *Fungal Biology and Biotechnology*. **3** (1): 10. doi:10.1186/s40694-016-0028-4. ISSN 2054-3085. PMC 5611638. PMID 28955469.
5. Rapp, Regine (December 2019). "On mycohuman performances: fungi in current artistic research". *Fungal Biology and Biotechnology*. **6** (1): 22. doi:10.1186/s40694-019-0085-6. ISSN 2054-3085. PMC 6892145. PMID 31827811.
6. Lawrence, Sandra (2022). *The magic of mushrooms : fungi in folklore, superstition and traditional medicine*. Kew Royal Botanic Gardens. London. ISBN 978-1-78739-906-8. OCLC 1328029699.`{{cite book}}`: CS1 maint: location missing publisher (link)
7. Michelot, Didier; Melendez-Howell, Leda Maria (February 2003). "Amanita muscaria: chemistry, biology, toxicology, and ethnomycology". *Mycological Research*. **107** (2): 131–146. doi:10.1017/s0953756203007305. ISSN 0953-7562. PMID 12747324.
8. "Registry of Mushrooms in Works of Art: Introduction". *North American Mycological Association*. Retrieved 2022-04-08.
9. "Registry of Mushrooms in Works of Art: Contributors". *North American Mycological Association*. Retrieved 2022-04-08.


title: Muju Resort

abstract: Muju Resort (Korean: 무주리조트), officially Muju Deogyusan Resort (무주덕유산리조트) is a ski resort in Muju, South Korea. It is located on the north face of the Seolcheon Peak at an elevation of 1,520 metres (4,990 ft) above sea level on the Deogyu Mountain. Also located in the Deogyu Mountain National Park, it is the only ski resort in South Korea situated in national park. The resort is one of the largest ski resorts in South Korea. It has the second-highest vertical drop in South Korea after the 2018 Winter Olympic downhill slopes and the highest vertical drop of the commercial resorts.

text:
# Muju Resort

**Muju Resort** (Korean: 무주리조트), officially **Muju Deogyusan Resort** (무주덕유산리조트) is a ski resort in Muju, South Korea. It is located on the north face of the Seolcheon Peak at an elevation of 1,520 metres (4,990 ft) above sea level on the Deogyu Mountain. Also located in the Deogyu Mountain National Park, it is the only ski resort in South Korea situated in national park.

The resort is one of the largest ski resorts in South Korea. It has the second-highest vertical drop in South Korea after the 2018 Winter Olympic downhill slopes and the highest vertical drop of the commercial resorts.

## History

The resort was opened on December 22, 1990 by Ssangbangwool Group. When it opened, the ski slopes only included the Manseon Peak, the western-half of the current slopes. For the 1997 Winter Universiade, the resort completed the ski jumping hills on September 16, 1996. It subsequently completed the Seolcheon Peak slopes and Nordic ski area together on December 5, 1996.

## InfoBox

| Muju Resort | |
| --- | --- |
| Seolcheon Peak, the top of the Muju Resort | |
| Muju ResortLocation within South Korea | |
| Location | Seolcheon-myeon, Muju County, North Jeolla Province,  South Korea |
| Coordinates | 35°53′27″N 127°44′13″E / 35.89083°N 127.73694°E / 35.89083; 127.73694 |
| Vertical | 775 m (2,543 ft) (Silk Road) |
| Top elevation | 1,520 m (4,990 ft) |
| Base elevation | 745 m (2,444 ft) |
| Skiable area | 1.2 km2 (0.46 sq mi) (max.) |
| Trails | 34 (max.) |
| Lift system | 14 (including 1 gondola) |
| Website | mujuresort.com |


title: Murder of Penny Bell

abstract: Ruth Penelope "Penny" Bell was an English businesswoman who was murdered on 6 June 1991 in the car park of Gurnell Leisure Centre, Greenford, London. She was stabbed over fifty times as she sat behind the wheel of her car. Her murder remains unsolved.

text:
# Murder of Penny Bell

**Ruth Penelope** "**Penny**" **Bell** (28 February 1948 – 6 June 1991) was an English businesswoman who was murdered on 6 June 1991 in the car park of Gurnell Leisure Centre, Greenford, London. She was stabbed over fifty times as she sat behind the wheel of her car. Her murder remains unsolved.

## Background

Penny Bell lived with her husband, Alistair Bell, in Baker's Wood, near Denham, Buckinghamshire where they moved in October 1987. Penny was a partner in Coverstaff Ltd, a successful employment agency based in Kilburn.

Bell was the mother to two children, Matthew (born c.1978) and Lauren (born 1982).

The family home was undergoing extensive renovations from November 1990, valued at 100,000. Penny had withdrawn £8,500 from her and her husband's joint bank account on 3 June 1991, three days before her death. She had never previously withdrawn such a large sum of cash and it remains unaccounted for. At the police press conference on 8 June 1991, Alistair Bell described Penny as having something on her mind the night before her death, that she fell asleep while watching the television news at 9pm and went to bed early.

## Murder

On the morning of 6 June 1991, Alistair Bell left the house as usual at 8:30 BST. He described his wife's demeanour as "bright and chirpy". He noted that Penny did not wave him off as he left with their son in his car, as was her usual custom, but believed that this was due to the disruption caused by their kitchen renovation.

Bell left her home in her arctic blue Jaguar XJS at around 9:40 BST, which was her usual leaving time. She informed the builders, who were renovating the kitchen, that she was running late for an appointment. No record of this appointment was later found in her diary or other papers, and it has never been conclusively established who she was meeting. It has been suggested that she could have been collecting someone from the railway station, as a train arrived at the station at 9:50. An electrician, who was the last known person to speak to Bell, described her demeanour as "normal and casual".

A witness saw a man waiting by a brown or bronze coloured car get into a blue Jaguar XJS about 9.50am on the Fulmer Common Road opposite the Bridgettine Convent and Guest House adjacent to Black Park. The witness, who was walking her dog, was sure the driver of the Jaguar was Bell. The man getting in was described as white, about 5' 10" tall and aged about 48.

Another witness next recalled a blue Jaguar XJS driving along Greenford Road at about 10:20 BST at 10–15 mph with its hazard lights flashing. A third witness came forward six months after the murder and claimed he saw Bell driving into the car park with a passenger, and mouthing an appeal for help, which he ignored.

It is believed that Bell was murdered around 10:30 BST. She was seen motionless in the driver's seat of her car in the Gurnell Leisure Centre car park at 11:00 BST, but passersby assumed she was sleeping. It wasn't until 12:15 BST that the police were alerted and her death was discovered. She had been stabbed more than fifty times in the chest and arms with a three to four inch blade, in what police were to describe as a "frenzied" attack. A forensic investigation determined that the killer had stabbed her from the passenger seat, before exiting the car and frantically stabbing her from the driver's side.

## Investigation

At the time, the Gurnell leisure centre had been busy, and the 153-space car park almost full. Poor visibility and audibility aided the killer; the car was parked in front of a high hedge perimeter, which blocked the view from the front. Wallpaper samples for the proposed decoration of Penny and Alistair's bedroom were found laid out in the centre console of the car. They had been posted by Laura Ashley to the Bells' home on 24 April and had not been shown by Penny to anyone until the morning of the murder six weeks later.

Police believed the killer would have been heavily bloodstained following the murder, but no witnesses came forward to say they saw anyone covered in blood at or near the scene. A witness, Patricia Parry, did see a car leaving the Gurnell car park at speed and being driven erratically around the time of the murder. It followed her along Ruislip Road East and into Cuckoo Avenue where it overtook her.

The police investigation determined that Bell was a happily married and successful businesswoman, and could find no reason why anyone would want to kill her. Police believed that it was very likely that Bell knew her killer, but have struggled to ascertain a motive. The police did not believe that robbery was the motive, and Bell's handbag remained in the car untouched and there was no evidence of sexual assault. The frenzied nature of the attack, however, suggested a personal motive.

4,000 people had been questioned by the police by May 1992.

Alistair and Bell's business partner Michael Flynn offered a £20,000 reward for evidence leading to a conviction.

## Potential suspects

Lauren Bell believes that her mother knew her killer, as "the ferocity of the attack suggests a crime of passion ... I think it was someone who wanted her but couldn't have her."

A former neighbour of the Bell family from when they lived in Whitmore Road in Harrow before moving to Baker's Wood in 1987, John Richmond, was arrested by the police in April 1992 after he sold a story to *The Sun* newspaper in which he admitted being the man Bell had been with on the morning of her death. Richmond also claimed to have been in a secret relationship with Bell at the time. His fingerprints were then found in Bell's car. He was eventually released from police bail in July 1992 after the Crown Prosecution Service decided not to charge him. The police investigation was then wound up, with Richmond being described as "completely in the clear". Police interviewed Richmond again in December 1994, after he claimed Bell was killed by an "assassin" and that he had been paid £30,000 by the man behind the murder to keep quiet. He claimed he knew the identity of the murderer because he was asked to recommend a hitman to carry out a knife attack, but didn't know Bell was the victim.

Police had also examined Bell's husband Alistair as a suspect, as he inherited the bulk of his wife's estate as well as a £200,000 life insurance payout. However, they found no evidence to link him to his wife's murder and he had a verified alibi of being at work in Shaftesbury Avenue in Harrow on the morning of 6 June 1991.

Bell had worked as a Samaritan until around 1982, and police explored the idea that the killer was someone she had counselled but this line of inquiry did not identify any further suspects.

In 2003, police were performing forensic DNA analysis on blood stains found at the crime scene.

Robert Napper was interviewed in 2008 following his conviction for the 1992 murder of Rachel Nickell, but there was no evidence linking him to Bell's murder and he was cleared of involvement.

## Thirtieth anniversary appeal and reward

Lauren Bell announced in January 2021 that she was again offering a £20,000 reward for information that would solve her mother's murder in its thirtieth anniversary year. An Instagram account was set up to share information and updates about the case. The case was featured on the BBC's *Crimewatch Live* programme on 10 March 2021.

## InfoBox

| Penny Bell | |
| --- | --- |
| The car park at Gurnell Leisure Centre in 2012. | |
| Born | Ruth Penelope Bell
(1948-02-28)28 February 1948
Burnham on Sea, Somerset, England |
| Died | 6 June 1991(1991-06-06) (aged 43)
Gurnell Leisure Centre, Perivale, Greenford, London, England |
| Cause of death | Homicide by stabbing |
| Occupation | Company Director |


title: Murder of Daniel Zamudio

abstract: Daniel Mauricio Zamudio Vera was a Chilean man whose murder in 2012 became a symbol against homophobic violence in Chile. Zamudio, who identified as gay, was beaten and tortured for several hours in San Borja Park in downtown Santiago on March 2, 2012, by four attackers linked to a neo-Nazi gang. His death and the subsequent media attention helped accelerate legislation against discrimination and opened doors to greater acceptance and tolerance of differences in the conservative country. In 2013, all four perpetrators were found guilty of first-degree murder and sentenced to prison terms ranging from 7 years to life.

text:
# Murder of Daniel Zamudio

**Daniel Mauricio Zamudio Vera** (3 August 1987 – 27 March 2012) was a Chilean man whose murder in 2012 became a symbol against homophobic violence in Chile. Zamudio, who identified as gay, was beaten and tortured for several hours in San Borja Park in downtown Santiago on March 2, 2012, by four attackers linked to a neo-Nazi gang. His death and the subsequent media attention helped accelerate legislation against discrimination and opened doors to greater acceptance and tolerance of differences in the conservative country.

In 2013, all four perpetrators were found guilty of first-degree murder and sentenced to prison terms ranging from 7 years to life.

## Murder

Zamudio's parents have stated that he was previously subjected to violence due to his sexual orientation. On March 2, 2012, Zamudio was brutally attacked and beaten for six hours until he lost consciousness. He was taken to the Hospital Emergency Public Assistance in Santiago, where he was diagnosed with traumatic brain injury, a broken leg, and cuts on his stomach that resembled swastikas made with broken bottles. Additionally, cigarette burns were found on various parts of his body. Zamudio died from his injuries 25 days later at the same hospital in Santiago.

## Aftermath

Following Zamudio's death, Chilean President Sebastián Piñera urged parliament to speed up the adoption of a hate crimes law that had been stagnant for over seven years. The law aimed to prohibit discrimination based on "race, ethnicity, religion, sexual orientation, gender, appearance, or disability." However, adoption of the law faced opposition from several churches, who argued that it could lead to the legalization of same-sex marriage. Despite this, the law was passed in July 2012, signed by the President, and entered into force.

## Murder trial

On October 17, 2013, all four men were found guilty of first-degree murder. Judge Juan Carlos Urrutia declared Patricio Ahumada Garay, Alejandro Angulo Tapia, Raúl López Fuentes, and Fabian Mora Mora guilty of a crime of "extreme cruelty" and "total disrespect for human life." On October 28, Ahumada was sentenced to life imprisonment, which was met with cheers from the courtroom. Angulo and López received 15-year sentences, while Mora, the youngest of the group, was sentenced to 7 years due to his cooperation with investigators and lack of prior convictions.

## InfoBox

| Murder of Daniel Zamudio | |
| --- | --- |
| Victim Daniel Zamudio | |
| Location | Santiago, Chile |
| Date | **Attack:**
2 March 2012 (2012-03-02)
**Zamudio's Death:**
27 March 2012 (2012-03-27) |
| Attack type | Torture murder, hate crime, anti-gay attack, beating, slashing, burning |
| Weapons | Various |
| Victim | Daniel Mauricio Zamudio Vera, aged 24 |
| Perpetrators | * Patricio Ahumada Garay * Alejandro Angulo Tapia * Raúl López Fuentes * Fabián Mora Mora |
| Motive | Homophobia/gayphobia |
| Verdict | All four guilty |
| Convictions | First-degree murder
 |
| Sentence | **Ahumada:**
Life imprisonment with the possibility of parole after 20 years
**Angulo and López:**
15 years in prison
**Mora:**
7 years in prison |
|  | |