Anthem

An anthem is a musical composition of celebration, usually used as a symbol for a distinct group, particularly the national anthems of countries. Originally, and in music theory and religious contexts, it also refers more particularly to short sacred choral work and still more particularly to a specific form of Anglican church music.

Etymology

Anthem is derived from the Greek ἀντίφωνα (antíphōna) via Old English antefn. Both words originally referred to antiphons, a call-and-response style of singing. The adjectival form is "anthemic".

History

Anthems were originally a form of liturgical music. In the Church of England, the rubric appoints them to follow the third collect at morning and evening prayer. Several anthems are included in the British coronation service. The words are selected from Holy Scripture or in some cases from the Liturgy and the music is generally more elaborate and varied than that of psalm or hymn tunes. Being written for a trained choir rather than the congregation, the Anglican anthem is analogous to the motet of the Roman Catholic and Lutheran Churches but represents an essentially English musical form. Anthems may be described as "verse", "full", or "full with verse", depending on whether they are intended for soloists, the full choir, or both.

Anthem (Chess song)

"Anthem" is a song from the concept album and subsequent musical Chess by Tim Rice, Benny Andersson and Björn Ulvaeus. The song describes the feelings of Soviet Russian challenger, Anatoly Sergievsky, when he defects. The song was originally sung by Tommy Körberg on the original concept album]] and as Anatoly in the original West End cast. It was later covered by various artists including Josh Groban on his album Stages and Kerry Ellis.

Plot

Distracted by the loss of Florence's love, Freddie flounders in the chess tournament, leaving himself just one more loss away from losing his title. Florence leaves Freddie, who sends The Arbiter a letter of resignation, resulting in Anatoly's becoming the new world champion. Anatoly immediately defects from the Soviet Union and seeks asylum at the British embassy. Florence, accompanies Anatoly, reflecting on their newfound romance. Walter tips off the press about this scandal. When the mob of reporters ambush Anatoly to ask why he is deserting his country, he tells them in this song that he will never truly leave his country because his land's only borders lie around his heart.

Anthem (N-Joi song)

"Anthem," is a song by the British electronic music group N-Joi. The piano-heavy driven single, which also serves as their debut track, has gone on to become one of their most famous signature songs in the act's career, as well as seeing it chart numerous times since its 1990 release.

Background

The track, which was originally released in 1990, has charted on both the UK and US charts. In its first release, it peaked at number 8 on the UK Pop Chart, but in the United States it had better success on Billboard's Hot Dance Club Play Chart, where it made two trips to the top 5, reaching number 4 in 1991 with the original mixes, and again in 1996, where it was rereleased with new remixes as "The New Anthem" (under the expanded credited "N-Joi featuring Mark Franklin and Nigel Champion"). The updated version would be their second number one in the US, following "Mindflux."

Although the single and the video also features Nigerian singer/actress Saffron, who did the live performances for the act (and whose career would take off after this track), "Anthem" actually features samples of three songs: "Peanut Butter" by Gwen Guthrie (using the lyrics "I'm In Love With You, Want You to Love Me, Too"; Saffron performs the same lyrics in the act's live shows), "I Found Love" by Darlene Davis (using the lyrics "True Love Can Be Hard To Find") and "Back to Life (However Do You Want Me)" by Soul II Soul. Because of this, the artists (and their writers) also receive credits on the single.

Bora (TV series)

Bora is a sitcom of ABS-CBN, is a colloquial term for Boracay, an island in the Philippines.

Cast

Bora (Korean name)

Bora is a Korean feminine given name. Unlike most Korean given names, which are composed of two single-syllable Sino-Korean morphemes each written with one hanja, Bora is an indigenous Korean name (고유어 이름): a single two-syllable word meaning "purple". It is one of a number of such native names, along with others such as Ha-neul, ("sky"), Seul-ki ("wisdom"), and Sora ("conch shell"), that have become more popular in South Korea in recent decades. In some cases, however, parents also choose to register hanja to represent the name, picking them solely for their pronunciation (for example, 珤羅, with hanja meaning "jewel" and "net", respectively). There are 18 hanja with the reading "bo" and 14 hanja with the reading "ra" on the South Korean government's official list of hanja which may used in given names.

People with this given name include:

Maserati Bora

The Maserati Bora (Tipo 117) is a mid-engined two-seat coupe manufactured by Maserati. It is powered by a V8 engine. Produced from 1971 to 1978, it has a top speed of 171 miles per hour (275 km/h). It is classified as a supercar and is considered by some to be the pinnacle of Maserati performance.

History

Shortly after Citroën took a controlling interest in Maserati in 1968, the concept of a mid-engined two-seat sports car was proposed. Lamborghini and De Tomaso already had the Miura and Mangusta whilst Ferrari were known to be developing their own mid-engined contender. Initially known as Tipo 117 and later the Bora, the Maserati project got underway in October 1968 and a prototype was on the road by mid-1969. Shown in its final form at the Geneva Salon in March 1971, deliveries began before the end of the year. Maserati struggled after being bought by De Tomaso in 1975, and the Bora was discontinued after the 1978 model year.

Design

Maserati had developed a reputation for producing technologically out of date cars, but that changed with the Bora. A number of innovative features were introduced that distinguished the car from their previous offerings. Compared to other supercars it was civilized and practical, featuring a hydraulically powered pedal cluster that could be moved forward and backwards at the touch of a button and a steering wheel that could be tilted and telescoped, addressing the common problem of entering and exiting the vehicle common to all supercars.