document_title: Soul music

question_text: who is considered by many to be the father of soul

text: Soul music

text: Origins[edit]

text: Soul music has its roots in traditional African-American gospel music and rhythm and blues, and the hybridization of their respective religious and secular styles, in both lyrical content and instrumentation, that began to occur in the 1950s. The term soul had been used among African-American musicians to emphasize the feeling of being an African-American in the United States.[7] According to musicologist Barry Hansen:[8]

text: Though this hybrid produced a clutch of hits in the R&B market in the early 1950s, only the most adventurous white fans felt its impact at the time; the rest had to wait for the coming of soul music in the 1960s to feel the rush of rock and roll sung gospel-style.

text: According to another source, "Soul music was the result of the urbanization and commercialization of rhythm and blues in the '60s."[9] The phrase "soul music" itself, referring to gospel-style music with secular lyrics, is first attested in 1961.[10] The term 'soul' in African-American parlance has connotations of African-American pride and culture. Gospel groups in the 1940s and 1950s occasionally used the term as part of their name. The jazz style that derived from gospel came to be called soul jazz. As singers and arrangers began using techniques from gospel and soul jazz in African-American popular music during the 1960s, soul music gradually functioned as an umbrella term for the African-American popular music at the time.[11][12]

text: Important innovators whose recordings in the 1950s contributed to the emergence of soul music included Clyde McPhatter, Hank Ballard, and Etta James.[8] Ray Charles is often cited as popularizing the soul genre with his string of hits starting with 1954's "I Got a Woman".[13] Singer Bobby Womack said: "Ray was the genius. He turned the world onto soul music."[5] Charles was open in acknowledging the influence of Pilgrim Travelers vocalist Jesse Whitaker on his singing style.

text: Little Richard (who inspired Otis Redding)[14] and James Brown were equally influential. Brown was known as the "Godfather of Soul"[6] and Richard proclaimed himself the "king of rockin' and rollin', rhythm and blues soulin'", because his music embodied elements of all three, and because he inspired artists in all three genres.[15]

text: Sam Cooke and Jackie Wilson are also often acknowledged as soul forefathers.[5][16] Cooke became popular as the lead singer of gospel group The Soul Stirrers, before controversially moving into secular music. His recording of "You Send Me" in 1957 launched a successful pop career, and his 1962 recording of "Bring It On Home To Me" has been described as "perhaps the first record to define the soul experience".[17] Jackie Wilson, a contemporary of both Cooke and James Brown, also achieved crossover success in 1957 with "Reet Petite", and was particularly influential for his dramatic delivery and performances.[18]

text: Writer Peter Guralnick is among those to identify Solomon Burke as a key figure in the emergence of soul music, and Atlantic Records as the key record label. Burke's early 1960s songs, including "Cry to Me", "Just Out of Reach" and "Down in the Valley" are considered classics of the genre. Guralnick wrote:

text: "Soul started, in a sense, with the 1961 success of Solomon Burke's "Just Out Of Reach". Ray Charles, of course, had already enjoyed enormous success (also on Atlantic), as had James Brown and Sam Cooke — primarily in a pop vein. Each of these singers, though, could be looked upon as an isolated phenomenon; it was only with the coming together of Burke and Atlantic Records that you could begin to see anything even resembling a movement."[19]

text: Ben E. King also achieved success in 1961 with "Stand By Me", a song directly based on a gospel hymn.[5] By the mid-1960s, the initial successes of Burke, King and others had been surpassed by new soul singers, including Stax artists such as Otis Redding and Wilson Pickett, who mainly recorded in Memphis, Tennessee, and Muscle Shoals, Alabama. According to Jon Landau:[20]

text: "Between 1962 and 1964 Redding recorded a series of soul ballads characterized by unabashedly sentimental lyrics usually begging forgiveness or asking a girlfriend to come home.... He soon became known as "Mr. Pitiful" and earned a reputation as the leading performer of soul ballads."

text: The most important female soul singer to emerge was Aretha Franklin, originally a gospel singer who began to make secular recordings in 1960 but whose career was later revitalised by her recordings for Atlantic. Her 1967 recordings, such as "I Never Loved a Man (The Way I Love You)", "Respect" (originally sung by Otis Redding), and "Do Right Woman, Do Right Man" (written by Chips Moman and Dan Penn), were significant and commercially successful productions.[21][22][23][24]

text: Soul music dominated the U.S. African-American music charts in the 1960s, and many recordings crossed over into the pop charts in the U.S. Otis Redding was a huge success at the Monterey Pop Festival in 1967.[5] The genre also became highly popular in the UK, where many leading acts toured in the late 1960s. "Soul" became an umbrella term, used to describe an increasingly wide variety of R&B-based music styles — from the dance and pop-oriented acts at Motown Records in Detroit, such as The Temptations, Marvin Gaye and Stevie Wonder, to "deep soul" performers such as Percy Sledge and James Carr.[25][26][27] Different regions and cities within the U.S., including New York City, Detroit, Chicago, Memphis, New Orleans, Philadelphia, and Muscle Shoals, Alabama (the home of FAME Studios and Muscle Shoals Sound Studios) became noted for different subgenres of the music and recording styles.[9][28]

text: By 1968, while at its peak of popularity, soul began to fragment into disparate subgenres. Artists such as James Brown and Sly & the Family Stone evolved into funk music, while other singers such as Marvin Gaye, Stevie Wonder, Curtis Mayfield and Al Green developed slicker, more sophisticated and in some cases more politically conscious varieties of the genre.[5] However, soul music continued to evolve, informing most subsequent forms of R&B from the 1970s-onward, with pockets of musicians continuing to perform in traditional soul style.[9]

text: 1970s and later[edit]

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text: Later examples of soul music include recordings by The Staple Singers (such as I'll Take You There), and Al Green's 1970s recordings, done at Willie Mitchell's' Royal Recording in Memphis.[29] Mitchell's Hi Records continued in the Stax tradition of the previous decade, releasing a string of hits by Green, Ann Peebles, Otis Clay, O.V. Wright and Syl Johnson.[30] Bobby Womack, who recorded with Chips Moman in the late 1960s, continued to produce soul recordings in the 1970s and 1980s.[31][32]

text: In Detroit, producer Don Davis worked with Stax artists such as Johnnie Taylor and The Dramatics.[33] Early 1970s recordings by The Detroit Emeralds, such as Do Me Right, are a link between soul and the later disco style.[34] Motown Records artists such as Marvin Gaye, Michael Jackson, Stevie Wonder and Smokey Robinson contributed to the evolution of soul music, although their recordings were considered more in a pop music vein than those of Redding, Franklin and Carr.[25] Although stylistically different from classic soul music, recordings by Chicago-based artists are often considered part of the genre.[35]

text: By the early 1970s, soul music had been influenced by psychedelic rock and other genres.[36] The social and political ferment of the times inspired artists like Gaye and Curtis Mayfield to release album-length statements with hard-hitting social commentary.[37] Artists like James Brown led soul towards funk music, which became typified by 1970s bands like Parliament-Funkadelic and The Meters.[38] More versatile groups such as War, the Commodores, and Earth, Wind and Fire became popular around this time.[39] During the 1970s, some slick and commercial blue-eyed soul acts like Philadelphia's Hall & Oates and Oakland's Tower of Power achieved mainstream success, as did a new generation of street-corner harmony or "city-soul" groups such as The Delfonics and the historically black Howard University's Unifics.[40][41]

text: The syndicated music/dance variety television series Soul Train, hosted by Chicago native Don Cornelius, debuted in 1971.[42] The show provided an outlet for soul music for several decades, also spawning a franchise that saw the creation of a record label (Soul Train Records) that distributed music by The Whispers, Carrie Lucas, and an up-and-coming group known as Shalamar.[43] Numerous disputes led to Cornelius spinning off the record label to his talent booker, Dick Griffey, who transformed the label into Solar Records, itself a prominent soul music label throughout the 1980s.[43] The TV series continued to air until 2006, although other predominantly African-American music genres such as hip-hop began overshadowing soul on the show beginning in the 1980s.

text: As disco and funk were dominating the charts in the late 1970s and early 1980s, soul went in the direction of quiet storm. With its relaxed tempos and soft melodies, quiet storm soul took influences from soft rock and adult contemporary. Many funk bands, such as Con Funk Shun, Cameo, and Lakeside would have a few quiet storm tracks on their albums. Among the most successful acts in this era include Smokey Robinson, Teddy Pendergrass, Peabo Bryson, Atlantic Starr, and Larry Graham.

text: After the decline of disco and funk in the early 1980s, soul music became influenced by electro music. It became less raw and more slickly produced, resulting in a style known as contemporary R&B, which sounded very different from the original rhythm and blues style. The United States saw the development of neo-soul around 1994. Mainstream record label marketing support for soul genres cooled in the 2000s due to the industry's re-focus on hip-hop.

text: Notable record labels and producers[edit]

text: Motown Records[edit]

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text: Berry Gordy's successful Tamla/Motown group of labels was notable for being African-American owned, unlike most of the earlier independent R&B labels. Notable artists under this label were The Supremes, The Temptations, The Miracles, the Four Tops, The Marvelettes, Mary Wells, Jr. Walker & The All-Stars, Stevie Wonder, Marvin Gaye, Tammi Terrell, Martha and the Vandellas,[44] and The Jackson Five.

text: Hits were made using a quasi-industrial "production-line" approach. Some considered the sound to be mechanistic, but the producers and songwriters brought artistic sensitivity to the three-minute tunes. Brian Holland, Lamont Dozier and Eddie Holland were rarely out of the charts for their work as songwriters and record producers for The Supremes, the Four Tops and Martha and the Vandellas.[44] They allowed important elements to shine through the dense musical texture. Rhythm was emphasized by handclaps or tambourine. Smokey Robinson was another writer and record producer who added lyrics to "The Tracks Of My Tears" by his group The Miracles, which was one of the most important songs of the decade.

text: Stax Records and Atlantic Records[edit]

text: Stax Records and Atlantic Records were independent labels that produced high-quality dance records featuring many well known singers of the day. They tended to have smaller ensembles marked by expressive gospel-tinged vocals. Brass and saxophones were also used extensively.[45] Stax Records, founded by siblings Estelle and James Stewart, was the second most successful record label behind Motown Records. They were responsible for releasing hits by Otis Redding, Wilson Pickett, The Staple Singers and many more.[46] Ahmet Ertegun, who had anticipated being a diplomat until 1944 when his father died, founded Atlantic Records in 1947 with his friend Herb Abramson. Ertegun wrote many songs for Ray Charles and The Clovers. He even sang backup vocals for his artist Big Joe Turner on the song, "Shake Rattle and Roll."[47]

text: Subgenres[edit]

text: Detroit (Motown) soul[edit]

text: Dominated by Berry Gordy's Motown Records empire, Detroit soul is strongly rhythmic and influenced by gospel music. The Motown sound often includes hand clapping, a powerful bassline, violins and bells. Motown Records' house band was The Funk Brothers. AllMusic cites Motown as the pioneering label of pop-soul, a style of soul music with raw vocals, but polished production and toned-down subject matter intended for pop radio and crossover success.[48] Artists of this style included Diana Ross, the Jackson 5, Stevie Wonder, and Billy Preston.[48] Popular during the 1960s, the style became glossier during the 1970s and led to disco.[48]

text: Deep soul and southern soul[edit]

text: The terms deep soul and southern soul generally refer to a driving, energetic soul style combining R&B's energy with pulsating southern United States gospel music sounds. Memphis, Tennessee label Stax Records nurtured a distinctive sound, which included putting vocals further back in the mix than most contemporary R&B records, using vibrant horn parts in place of background vocals, and a focus on the low end of the frequency spectrum. The vast majority of Stax releases were backed by house bands Booker T and the MGs (with Booker T. Jones, Steve Cropper, Duck Dunn, and Al Jackson) and the Memphis Horns (the splinter horn section of the Mar-Keys, trumpeter Wayne Jackson and saxophonist Andrew Love).

text: Memphis soul[edit]

text: Memphis soul is a shimmering, sultry style of soul music produced in the 1960s and 1970s at Stax Records and Hi Records in Memphis, Tennessee. It featured melancholic and melodic horns, Hammond organ, bass, and drums, as heard in recordings by Hi's Al Green and Stax's Booker T. & the M.G.'s. The latter group also sometimes played in the harder-edged Southern soul style. The Hi Records house band (Hi Rhythm Section) and producer Willie Mitchell developed a surging soul style heard in the label's 1970s hit recordings. Some Stax recordings fit into this style, but had their own unique sound.

text: New Orleans soul[edit]

text: The New Orleans soul scene directly came out of the rhythm and blues era, when such artists as Little Richard, Fats Domino, and Huey Piano Smith made a huge impact on the pop and R&B charts and a huge direct influence on the birth of Funk music. The principal architect of Crescent City’s soul was songwriter, arranger, and producer Allen Toussaint. He worked with such artists as Irma Thomas (“the Soul Queen of New Orleans”), Jessie Hill, Chris Kenner, Benny Spellman, and Ernie K. Doe on the Minit/Instant label complex to produce a distinctive New Orleans soul sound that generated a passel of national hits. Other notable New Orleans hits came from Robert Parker, Betty Harris, and Aaron Neville. While record labels in New Orleans largely disappeared by the mid-1960s, producers in the city continued to record New Orleans soul artists for other mainly New York City- and Los Angeles-based record labels—notably Lee Dorsey for New York–based Amy Records and the Meters for New York–based Josie and then LA-based Reprise.

text: Chicago soul[edit]

text: Chicago soul generally had a light gospel-influenced sound, but the large number of record labels based in the city tended to produce a more diverse sound than other cities. Vee Jay Records, which lasted until 1966, produced recordings by Jerry Butler, Betty Everett, Dee Clark, and Gene Chandler. Chess Records, mainly a blues and rock and roll label, produced a number of major soul artists, including The Dells and Billy Stewart. Curtis Mayfield not only scored many hits with his group, The Impressions, but wrote many hit songs for Chicago artists and produced hits on his own labels for The Fascinations, Major Lance, and the Five Stairsteps.

text: Philadelphia soul[edit]

text: Based primarily in the Philadelphia International record label, Philadelphia soul (or Philly Soul) had a lush orchestral sound and doo-wop-inspired vocals. Thom Bell, and Kenneth Gamble & Leon Huff are considered the founders of Philadelphia soul, which produced hits for The O'Jays, The Intruders, The Delfonics, The Stylistics, Harold Melvin & The Blue Notes, and The Spinners.

text: Psychedelic soul[edit]

text: Psychedelic soul, sometimes known as "black rock", was a blend of psychedelic rock and soul music in the late 1960s, which paved the way for the mainstream emergence of funk music a few years later.[49] Early pioneers of this subgenre of soul music include Jimi Hendrix, James Brown, and Stevie Wonder.[50][not in citation given] While psychedelic rock began its decline, the influence of psychedelic soul continued on and remained prevalent through the 1970s.[50][not in citation given]

text: Blue-eyed soul[edit]

text: Blue-eyed soul is R&B or soul music performed by white artists. The meaning of blue-eyed soul has evolved over decades. Originally the term was associated with mid-1960s white artists who performed soul and R&B that was similar to the music released by Motown Records and Stax Records.[51] The term continued to be used in the 1970s and 1980s, particularly by the British media to refer to a new generation of singers who adopted elements of the Stax and Motown sounds. To a lesser extent, the term has been applied to singers in other music genres that are influenced by soul music. Artists like Hall and Oates, David Bowie, George Michael, Christina Aguilera, Amy Winehouse and Adele are known as Blue-eyed soul singers.

text: British soul[edit]

text: Soul has been a major influence on British popular music since the 1960s including bands of the British Invasion, most significantly The Beatles.[52] There were a handful of significant British Blue-eyed soul acts, including Dusty Springfield and Tom Jones.[53] American soul was extremely popular among some youth sub-cultures like the Northern soul and Modern soul movements, but a clear genre of British soul did not emerge until the 1980s when a number of artists including George Michael, Sade, Simply Red, Lisa Stansfield and Soul II Soul enjoyed commercial success.[54] The popularity of British soul artists in the U.S., most notably Amy Winehouse, Adele, Estelle, Duffy, Joss Stone and Leona Lewis, led to talk of a "third British Invasion" or soul invasion in the 2000s and 2010s.[55][56]

text: Neo soul[edit]

text: The term neo soul is a marketing phrase coined in the early 1990s by producer and record label executive Kedar Massenburg to describe a blend of 1970s soul-style vocals and instrumentation with contemporary R&B sounds, hip-hop beats and poetic interludes. The style was developed in the early to mid-1990s. A key element in neo soul is a heavy dose of Fender Rhodes or Wurlitzer electric piano "pads" over a mellow, grooving interplay between the drums (usually with a rim shot snare sound) and a muted, deep funky bass. The Fender Rhodes piano sound gives the music a warm, organic character.

text: Northern soul and modern soul[edit]

text: The phrase northern soul was coined by journalist Dave Godin and popularised in 1970 through his column in Blues and Soul magazine.[57] The term refers to rare soul music that was played by DJs at nightclubs in northern England. The playlists originally consisted of obscure 1960s and early 1970s American soul recordings with an uptempo beat, such as those on Motown Records and more obscure labels such as Okeh Records. Modern soul developed when northern soul DJs began looking in record shops in the United States and United Kingdom for music that was more complex and contemporary. What emerged was a richer sound that was more advanced in terms of Hi-Fi and FM radio technology.

text: Nu-jazz and soul-influenced electronica[edit]

text: Many artists in various genres of electronic music (such as house, drum n bass, UK garage, and downtempo) are heavily influenced by soul, and have produced many soul-inspired compositions.


document_title: Lucifer

question_text: what is the meaning of morning star in the bible

root

text: Lucifer

text: In Isaiah 14:12[edit]

text: The Hebrew word, transliterated as Hêlêl [10] or Heylel (pron. as Hay-LALE),[11] occurs once in the Hebrew Bible [10] and according to the KJV-based Strong's Concordance means "shining one, light-bearer".[11] The Septuagint renders הֵילֵל in Greek as Ἑωσφόρος [12][13][14][15][16] (heōsphoros),[17][18][19] a name, literally "bringer of dawn", for the morning star.[20]

tag: p

text: According to both Christian [21] and Jewish exegesis, in the Book of Isaiah, chapter 14, the King of Babylon, Nebuchadnezzar II, conqueror of Jerusalem, is condemned in a prophetic vision by the prophet Isaiah and is called the "Morning Star" (planet Venus).[22][23] In this chapter the Hebrew text says הֵילֵל בֶּן-שָׁחַר (Helel ben Shachar, "shining one, son of the morning").[24] "Helel ben Shahar" may refer to the Morning Star, but the text in Isaiah 14 gives no indication that Helel was a star or planet.[25][26]

text: Later Christian tradition came to use the Latin word for "morning star", lucifer, as the proper name ("Lucifer") of the Devil as he was before his fall.[27] As a result, "Lucifer has become a byword for Satan or the Devil in the church and in popular literature",[4] as in Dante Alighieri's Inferno, Joost van den Vondel's Lucifer, and John Milton's Paradise Lost.[19] However, unlike the English word, the Latin word was not used exclusively in this way and was applied to others also, including Jesus.[28] The image of a morning star fallen from the sky is generally believed among scholars to have a parallel in Canaanite mythology.[29]

text: Literal meaning[edit]

text: The translation of הֵילֵל as "Lucifer", as in the King James Version, has been abandoned in modern English translations of Isaiah 14:12. Present-day translations render הֵילֵל as "morning star" (New International Version, New Century Version, New American Standard Bible, Good News Translation, Holman Christian Standard Bible, Contemporary English Version, Common English Bible, Complete Jewish Bible), "daystar" (New Jerusalem Bible, The Message), "Day Star" (New Revised Standard Version, English Standard Version), "shining one" (New Life Version, New World Translation, JPS Tanakh), or "shining star" (New Living Translation).

text: The term appears in the context of an oracle against a dead king of Babylon,[30] who is addressed as הילל בן שחר (Hêlêl ben Šāḥar),[31][32] rendered in the King James Version as "O Lucifer, son of the morning!" and in others as "morning star, son of the dawn".

text: In a modern translation from the original Hebrew, the passage in which the phrase "Lucifer" or "morning star" occurs begins with the statement: "On the day the Lord gives you relief from your suffering and turmoil and from the harsh labour forced on you, you will take up this taunt against the king of Babylon: How the oppressor has come to an end! How his fury has ended!"[33] After describing the death of the king, the taunt continues:

text: J. Carl Laney has pointed out that in the final verses here quoted, the king of Babylon is described not as a god or an angel but as a man; and that man may have been not Nebuchadnezzar II, but rather his son, Belshazzar. Nebuchadnezzar was gripped by a spiritual fervor to build a temple to the moon god Sin (possibly analogous with Hubal, the primary god of pre-Islamic Mecca), and his son ruled as regent. The Abrahamic scriptural texts could be interpreted as a weak usurping of true kingly power, and a taunt at the failed regency of Belshazzar.[35][36]

text: For the unnamed[37] "king of Babylon" a wide range of identifications have been proposed.[38] They include a Babylonian ruler of the prophet Isaiah's own time[38] the later Nebuchadnezzar II, under whom the Babylonian captivity of the Jews began, or Nabonidus,[38][39] and the Assyrian kings Tiglath-Pileser, Sargon II and Sennacherib.[35][38][40] Herbert Wolf held that the "king of Babylon" was not a specific ruler but a generic representation of the whole line of rulers.[41]

text: Mythology[edit]

text: Canaanite mythology[edit]

text: In ancient Canaanite mythology, the morning star is pictured as a god, Attar, who attempted to occupy the throne of Ba'al and, finding he was unable to do so, descended and ruled the underworld.[42][43] The original myth may have been about a lesser god Helel trying to dethrone the Canaanite high god El who lived on a mountain to the north.[44][45] Hermann Gunkel's reconstruction of the myth told of a mighty warrior called Hêlal, whose ambition was to ascend higher than all the other stellar divinities, but who had to descend to the depths; it thus portrayed as a battle the process by which the bright morning star fails to reach the highest point in the sky before being faded out by the rising sun.[46]

text: Similarities have been noted with the East Semitic story of Ishtar's or Inanna's descent into the underworld,[45] Ishtar and Inanna being associated with the planet Venus.[47] A connection has been seen also with the Babylonian myth of Etana. The Jewish Encyclopedia comments:

text: The Greek myth of Phaethon, whose name, like that of הֵילֵל, means "Shining One", has also been seen as similar.[46]

text: The Eerdmans Commentary on the Bible points out that no evidence has been found of any Canaanite myth of a god being thrown from heaven, as in Isaiah 14:12. It concludes that the closest parallels with Isaiah's description of the king of Babylon as a fallen morning star cast down from heaven are to be found not in any lost Canaanite and other myths but in traditional ideas of the Jewish people themselves, echoed in the Biblical account of the fall of Adam and Eve, cast out of God's presence for wishing to be as God, and the picture in Psalm 82 of the "gods" and "sons of the Most High" destined to die and fall.[30] This Jewish tradition has echoes also in Jewish pseudepigrapha such as 2 Enoch and the Life of Adam and Eve.[30][48][49]

text: Classical mythology[edit]

text: In classical mythology, Lucifer ("light-bringer" in Latin), Phosphorus (same meaning in Greek), Eosphoros ("dawn-bringer" in Greek) was a personification of the morning star as a male figure bearing a torch,[50] "the fabled son of Aurora[51] and Cephalus, and father of Ceyx". There is almost no legend about the Lucifer of classical mythology, but he was often presented in poetry as heralding the dawn.[50]

text: Latin[edit]

text: As an adjective, the Latin word lucifer meant "light-bringing" and was applied to the moon.[7] As a noun, it meant "morning star", or, in Roman mythology, its divine personification, as indicated above under Classical mythology, or. in poetry, one day in a succession of days.[7]

text: Isaiah 14:12 is not the only place where the Vulgate uses the word lucifer. It uses the same word four more times, in contexts where it clearly has no reference to a fallen angel: 2 Peter 1:19 (meaning "morning star"), Job 11:17 ("the light of the morning"), Job 38:32 ("the signs of the zodiac") and Psalms 110:3 ("the dawn").[52] Lucifer is not the only expression that the Vulgate uses to speak of the morning star: three times it uses stella matutina: Sirach 50:6 (referring to the actual morning star), and Revelation 2:28 (of uncertain reference) and 22:16 (referring to Jesus).

text: Indications that in Christian tradition the Latin word lucifer, unlike the English word, did not necessarily call a fallen angel to mind exist also outside the text of the Vulgate. Two bishops bore that name: Saint Lucifer of Cagliari, and Lucifer of Siena.

text: In Latin, the word is applied to John the Baptist and is used as a title of Jesus himself in several early Christian hymns. The morning hymn Lucis largitor splendide of Hilary contains the line: "Tu verus mundi lucifer" (you are the true light bringer of the world).[53] Some interpreted the mention of the morning star (lucifer) in Ambrose's hymn Aeterne rerum conditor as referring allegorically to Jesus and the mention of the cock, the herald of the day (praeco) in the same hymn as referring to John the Baptist.[54] Likewise, in the medieval hymn Christe qui lux es et dies, some manuscripts have the line "Lucifer lucem proferens".[55]

text: The Latin word lucifer is also used of Jesus in the Easter Proclamation prayer to God regarding the paschal candle: Flammas eius lucifer matutinus inveniat: ille, inquam, lucifer, qui nescit occasum. Christus Filius tuus, qui, regressus ab inferis, humano generi serenus illuxit, et vivit et regnat in saecula saeculorum ("May this flame be found still burning by the Morning Star: the one Morning Star who never sets, Christ your Son, who, coming back from death's domain, has shed his peaceful light on humanity, and lives and reigns for ever and ever"). In the works of Latin grammarians, Lucifer, like Daniel, was discussed as an example of a personal name.[56]

text: Jewish exegesis[edit]

text: The Hebrew words הֵילֵל בֶּן-שָׁחַר (Helel ben Shaḥar, "day-star, son of the morning")[11][26] in Isaiah 14:12 are part of a prophetic vision against an oppressive king of Babylon.[57] Jewish exegesis of Isaiah 14:12–15 identified the king of Babylon as Nebuchadnezzar II.[58] Verse 20 says that this king of Babylon will not be "joined with them [all the kings of the nations] in burial, because thou hast destroyed thy land, thou hast slain thy people; the seed of evil-doers shall not be named for ever", but rather be cast out of the grave, while "All the kings of the nations, all of them, sleep in glory, every one in his own house".[26][59]

text: Apocrypha and pseudepigrapha[edit]

text: In the Second Temple period literature the main possible reference is found in 2 Enoch, also known as Slavonic Enoch:

text: 2 Enoch 29:3 Here Satanail was hurled from the height together with his angels

text: However the editor of the standard modern edition (Charlesworth, Old Testament Pseudepigrapha Vol.1) pipelines[clarification needed] the verse as a probable later Christian interpolation on the grounds that "Christian explanations of the origin of evil linked Lk 10:18 with Isa 14 and eventually Gen. 3 so vs 4 could be a Christian interpolation... Jewish theology concentrated on Gen 6., and this is prominent in the Enoch cycle as in other apocalypses." Furthermore, the name used in 2 Enoch, Satanail, is not directly related to the Isaiah 14 text, and the surrounding imagery of fire suggests Ezekiel 28:17–18.[60]

text: Other instances of lucifer in the Old Testament pseudepigrapha are related to the "star" Venus, in the Sibylline Oracles battle of the constellations (line 517) "Lucifer fought mounted on the back of Leo",[61] or the entirely rewritten Christian version of the Greek Apocalypse of Ezra 4:32 which has a reference to Lucifer as Antichrist.[62]

text: An association of Isaiah 14:12–18 with a personification of evil, called the devil developed outside of mainstream Rabbinic Judaism in pseudepigrapha and Christian writings,[63] particularly with the apocalypses.[64]

text: Especially Isaiah 14:12, became a dominant conception of a fallen angel motif[65] in 1 Enoch 86–90 and 2 Enoch 29:3–4.[clarification needed] Rabbinical Judaism rejected any belief in rebel or fallen angels.[66] In the 11th century, the Pirqe de-Rabbi Eliezer illustrates the origin of the "fallen angel myth" by giving two accounts, one relates to the angel in the Garden of Eden who seduces Eve, and the other relates to the angels, the benei elohim who cohabit with the daughters of man (Genesis 6:1–4).[67]

text: Christianity[edit]

text: Christian writers applied the words of Isaiah 14:12 to Satan. Sigve K Tonstad argues that the New Testament War in Heaven theme of Revelation 12:7–9, in which the dragon "who is called the devil and Satan … was thrown down to the earth", derives from the passage in Isaiah 14.[68] Origen (184/185 – 253/254) interpreted such Old Testament passages as being about manifestations of the Devil; but writing in Greek, not Latin, he did not identify the devil with the name "Lucifer".[69][70][71][72] Tertullian (c. 160 – c. 225), who wrote in Latin, also understood Isaiah 14:14 ("I will ascend above the tops of the clouds; I will make myself like the Most High") as spoken by the Devil,[73] but "Lucifer" is not among the numerous names and phrases he used to describe the devil.[74] Even at the time of the Latin writer Augustine of Hippo (354–430), "Lucifer" had not yet become a common name for the Devil.[69]

text: Some time later, the metaphor of the morning star that Isaiah 14:12 applied to a king of Babylon gave rise to the general use of the Latin word for "morning star", capitalized, as the original name of the devil before his fall from grace, linking Isaiah 14:12 with Luke 10:18 ("I saw Satan fall like lightning from heaven") and interpreting the passage in Isaiah as an allegory of Satan's fall from heaven.[75][76]

text: However, the understanding of the morning star in Isaiah 14:12 as a metaphor referring to a king of Babylon continued also to exist among Christians. Theodoret of Cyrus (c. 393 – c. 457) wrote that Isaiah calls the king "morning star", not as being the star, but as having had the illusion of being it.[77] The same understanding is shown in Christian translations of the passage, which in English generally use "morning star" rather than treating the word as a proper name, "Lucifer". So too in other languages, such as French,[78] German,[79] Portuguese,[80] and Spanish.[81] Even the Vulgate text in Latin is printed with lower-case lucifer (morning star), not upper-case Lucifer (proper name).[6]

text: Calvin said: "The exposition of this passage, which some have given, as if it referred to Satan, has arisen from ignorance: for the context plainly shows these statements must be understood in reference to the king of the Babylonians."[82] Luther also considered it a gross error to refer this verse to the devil.[83]

text: Lucifer as Satan or the devil[edit]

text: Adherents of the King James Only movement and others who hold that Isaiah 14:12 does indeed refer to the devil have decried the modern translations.[84][85][86]

text: Those treating "Lucifer" as a name for Satan may use that name when speaking of such accounts of the devil or Satan as the following:

text:
Satan inciting David to number Israel (1 Chronicles 21:1), though in 2 Samuel 24:1 it is stated that God caused David to take census of Israel
Job tested by Satan (Book of Job)
Satan ready to accuse the high priest Joshua (Zechariah 3:1–2)
Sin brought into the world through the devil's envy (Wisdom 2:24)
"The prince of the power of the air, the spirit that is now at work in the sons of disobedience" (Ephesians 2:2)
"The god of this world" (2 Corinthians 4:4).
The devil disputing with Michael about the body of Moses (Jude 1:9)
The dragon of the Book of Revelation "who is called the devil and Satan" (Revelation 12:9;20:2)

tag: ul

text: They may also use the name "Lucifer" when speaking of Satan's motive for rebelling and of the nature of his sin, which, without using the name "Lucifer", Origen, Chrysostom, Jerome, Ambrose, and Augustine attributed to the devil's pride, and Irenaeus, Tertullian, Justin Martyr, Cyprian, and again Augustine attributed to the devil's envy of humanity created in the image of God.[87][88][89] Jealousy of humans, created in the divine image and given authority over the world is the motive that a modern writer, who denies that there is any such person as Lucifer, says that Tertullian attributed to the devil,[90] and, while he cited Tertullian and Augustine as giving envy as the motive for the fall, an 18th-century French Capuchin preacher himself described the rebel angel as jealous of Adam's exaltation, which he saw as a diminution of his own status.[89]

text: Latter-day Saints[edit]

text: Lucifer is regarded within The Church of Jesus Christ of Latter-day Saints as the pre-mortal name of the devil. Mormon theology teaches that in a heavenly council, Lucifer rebelled against the plan of God the Father and was subsequently cast out.[91] Mormon scripture reads:

text: "And this we saw also, and bear record, that an angel of God who was in authority in the presence of God, who rebelled against the Only Begotten Son whom the Father loved and who was in the bosom of the Father, was thrust down from the presence of God and the Son, and was called Perdition, for the heavens wept over him—he was Lucifer, a son of the morning. And we beheld, and lo, he is fallen! is fallen, even a son of the morning! And while we were yet in the Spirit, the Lord commanded us that we should write the vision; for we beheld Satan, that old serpent, even the devil, who rebelled against God, and sought to take the kingdom of our God and his Christ—Wherefore, he maketh war with the saints of God, and encompasseth them round about."[92]

text: After becoming Satan by his fall, Lucifer "goeth up and down, to and fro in the earth, seeking to destroy the souls of men".[93] Mormons consider Isaiah 14:12 to be referring to both the king of the Babylonians and the devil.[94][95]

text: Islam[edit]

text: Morning Star[edit]

text: In Persian teachings the Morning Star or Ishtar is called Zohra or Zohrah and commonly related to a "beautiful woman".[96] Two fallen angels named Harut and Marut were seduced by her beauty to commit shirk, murder, adultery and drinking wine. In their drunken state, Zohra elicited from these angels the secret words to ascend to heaven. Then she uttered the secret words, she elevated to the first heaven, but was imprisoned or transformed into Venus.[97]

text: Devil[edit]

text: In Islam the Devil is known as Iblīs (Arabic: إبليس, plural: ابالسة abālisah) or Shaytān (Arabic: شيطان, plural: شياطين shayātīn). Iblis is banished from heaven for refusing to prostrate himself before Adam, which is similar to the earlier 3 Enoch, chapter 4, in which all of the angels prostrate themselves before Enoch, an early descendant of Adam. Thus, he sins after the creation of man. He asks God for seducing human to sin until judgment day as long God's curse rest on him.[98] God grants this request, and Iblis then swears revenge by tempting human beings and turning them away from God. God tells him that any humans who follow him will join him in the fire of hell at judgment day, but that Iblis will have no power over all mankind except who wants to follow Iblis. QS (17:63–65) This story is cited multiple times in the Qur'an for different reasons.

text: Islamic literature presents Iblis as God worshipping and very pious until he refused to prostrate to Adam due to his jealousy and pride.[99][100] Iblis is also considered to be a type of supernatural being known as the Jinn, instead of an angel, who were made out of smokeless fire and created before humankind.[101][102][103][104] However, regardless of whether Iblis was an angel or a jinn, Islam refuses the idea the devil envied or rebelled against God, since Islam asserts absolute sovereignty of the creator, thus a creature aware of God would not rebel against him.[105][106] As well as Christianity associates Lucifer with an Angel of light, Iblis is also ascribed to a kind of light, that leads to falsehood and sin. Hasan of Basra was quoted as saying: "If Iblis were to reveal his light to mankind, they would worship him as god."[107] Likewise Ayn al-Quzat Hamadani stated, Iblis represents the "Dark light" that is the earthen world, standing in opposite to the Muhammadan Light that represents the heavens.[108]

text: Bogomilism[edit]

text: In the Bogomil and Cathar text Gospel of the secret supper, Lucifer is a glorified angel and the older brother of Jesus, but fell from heaven to establish his own kingdom and became the Demiurge. Therefore, he created the material world and trapped souls from heaven inside matter. Jesus descended to earth to free the captured souls.[109][110]

text: Anthroposophy[edit]

text: Rudolf Steiner's writings, which formed the basis for Anthroposophy, characterised Lucifer as a spiritual opposite to Ahriman, with Christ between the two forces, mediating a balanced path for humanity. Lucifer represents an intellectual, imaginative, delusional, otherworldly force which might be associated with visions, subjectivity, psychosis and fantasy. He associated Lucifer with the religious/philosophical cultures of Egypt, Rome and Greece. Steiner believed that Lucifer, as a supersensible Being, had incarnated in China about 3000 years before the birth of Christ.

text: Occultism[edit]

text: Luciferianism is a belief system that venerates the essential characteristics that are affixed to Lucifer. The tradition, influenced by Gnosticism, usually reveres Lucifer not as the devil, but as a liberator, a guardian or guiding spirit[111] or even the true god as opposed to Jehovah.[112]

text: In Anton LaVey's The Satanic Bible, Lucifer is one of the four crown princes of hell, particularly that of the East, the 'lord of the air', and is called the bringer of light, the morning star, intellectualism, and enlightenment.[113] The title 'lord of the air' is based upon Ephesians 2:2, which uses the phrase 'prince of the power of the air' to refer to the pagan god Zeus, but that phrase later became conflated with Satan.

text: Author Michael W. Ford has written on Lucifer as a "mask" of the adversary, a motivator and illuminating force of the mind and subconscious.[114]

text: Taxil's hoax[edit]

text: Léo Taxil (1854–1907) claimed that Freemasonry is associated with worshipping Lucifer. In what is known as the Taxil hoax, he alleged that leading Freemason Albert Pike had addressed "The 23 Supreme Confederated Councils of the world" (an invention of Taxil), instructing them that Lucifer was God, and was in opposition to the evil god Adonai. Supporters of Freemasonry contend that, when Albert Pike and other Masonic scholars spoke about the "Luciferian path," or the "energies of Lucifer," they were referring to the Morning Star, the light bearer,[115] the search for light; the very antithesis of dark, satanic evil. Taxil promoted a book by Diana Vaughan (actually written by himself, as he later confessed publicly)[116] that purported to reveal a highly secret ruling body called the Palladium, which controlled the organization and had a satanic agenda. As described by Freemasonry Disclosed in 1897:

text: With frightening cynicism, the miserable person we shall not name here [Taxil] declared before an assembly especially convened for him that for twelve years he had prepared and carried out to the end the most sacrilegious of hoaxes. We have always been careful to publish special articles concerning Palladism and Diana Vaughan. We are now giving in this issue a complete list of these articles, which can now be considered as not having existed.[117]

text: Taxil's work and Pike's address continue to be quoted by anti-masonic groups.[118]

text: In Devil-Worship in France, Arthur Edward Waite compared Taxil's work to what today we would call a tabloid story, replete with logical and factual inconsistencies.

text: Gallery[edit]

text:
Lucifer, by Alessandro Vellutello (1534), for Dante's Inferno, canto 34

Lucifer, by William Blake, for Dante's Inferno, canto 34

Satan/Lucifer arousing rebel angels in Milton's Paradise Lost, by William Blake

Cover of 1887 edition of Mario Rapisardi's poem Lucifero

Lucifer before the Lord, by Mihály Zichy (19th century)

Mayor Hall and Lucifer, by an unknown artist (1870)

Gustave Doré's illustration for Milton's Paradise Lost, III, 739–742: Satan on his way to bring about the fall of man

Gustave Doré's illustration for Milton's Paradise Lost, V, 1006–1015: Satan yielding before Gabriel


document_title: Tiptoe Through the Tulips

question_text: who made the song tiptoe through the tulips

text: Tiptoe Through the Tulips

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2008) (Learn how and when to remove this template message)

tag: table

text:
Tip Toe Through the Tulips with Me
by Joe Burke & Al DubinGenre
Popular song from the 1929 film Gold Diggers of BroadwayPublisher
M. Witmark & Sons (New York)

text: "Tiptoe Through the Tulips", also known as "Tip Toe Through the Tulips with Me", is a popular song published in 1929. The song was written by Al Dubin (lyrics) and Joe Burke (music) and made popular by guitarist Nick Lucas.

text: Recording history[edit]

text: "Crooning Troubadour" Nick Lucas topped the US charts with "Tiptoe Through the Tulips" in 1929, after introducing the song in the musical "talkie" film Gold Diggers of Broadway. Lucas's recording held the #1 position for 10 weeks.[1] Other artists charted with the song in 1929, including Jean Goldkette (#5), Johnny Marvin (#11), and Roy Fox (#18).

text: The song was used in Sinkin' in the Bathtub, the first Looney Tunes cartoon short, in 1930.  It is also heard in the opening scene of the 1945 film Confidential Agent.

text: The song was revived in 1967 by the California rock group The Humane Society and in 1968 by Tiny Tim, whose version charted at #17 that year, becoming his signature song, which he would continue to perform throughout his career. The song was also later covered by The Bonzo Dog Doo-Dah Band.

text: In popular culture[edit]

text: This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture, using references to reliable sources, rather than simply listing appearances. Unsourced material may be challenged and removed. (April 2017)

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2017) (Learn how and when to remove this template message)

text: The song is sung by Dr. Smith and again by the Robot in the Lost in Space episode "Space Circus"[2]

text: The song is mentioned in the 1997 book Harry Potter and the Philosopher's Stone.[3] Vernon Dursley hums the song while boarding up small cracks around the front and back doors of his house so he can stop letters from Hogwarts reaching Harry.

text: Comedian Otto Waalkes sang a version, similar to that from Tiny Tim in his program Otto[4]

text: In The Witcher 3: Wild Hunt, the phrase "I like to tiptoe through the tulips" is one of Geralt's speech options for the pass-phrase to enter the Putrid Grove in Novigrad (though not the correct one).[5]

text: In the 2011 film Wrecked, the song is played on the radio.[6]

text: The song is featured in the 2010 horror film Insidious.[7][better source needed]


document_title: List of National Basketball Association single-game steals leaders

question_text: what's the nba record for steals in a game

question_tokens: what 's the nba record for steals in a game

text: This is a complete listing of National Basketball Association players who have recorded nine or more steals in a game.

text: 51 different players have recorded nine or more steals in a game. It has occurred 72 times in total in NBA history.

text: Allen Iverson is the only player to record nine or more steals in a playoff game.

text: The NBA did not record steals until the 1973–74 season.

text:
^
Active NBA player

*
Inducted into the Naismith Memorial Basketball Hall of Fame

Occurred in playoff competition

Player's team lost the game

text:
Steals
Player
Team
Score
Opponent
Date
Minutes played
Points
Rebounds
Assists
Triple-double
Led the league in steals
Notes
Ref.

11
Kenon, LarryLarry Kenon
San Antonio Spurs
110–105
Kansas City Kings
000000001976-12-26-0000December 26, 1976
44
29
15
4
Yes
No

11
Gill, KendallKendall Gill
New Jersey Nets
88–77
Miami Heat
000000001999-04-03-0000April 3, 1999
40
15
10
3
Yes
Yes
[a]

10
West, JerryJerry West*
Los Angeles Lakers
111–115
Seattle SuperSonics
000000001973-12-07-0000December 7, 1973
37
27
5
5
No
No
[b]

10
Steele, LarryLarry Steele
Portland Trail Blazers
112–99
Los Angeles Lakers
000000001974-11-16-0000November 16, 1974
44
12
11
9
Yes
No
[c]

10
Brown, FredFred Brown
Seattle SuperSonics
121–112
Philadelphia 76ers
000000001976-12-03-0000December 3, 1976
40
29
3
7
No
No
[d]

10
Williams, GusGus Williams
Seattle SuperSonics
94–83
New Jersey Nets
000000001978-02-22-0000February 22, 1978
42
31
4
4
No
No

10
Jordan, EddieEddie Jordan
New Jersey Nets
98–110
Philadelphia 76ers
000000001979-03-23-0000March 23, 1979
39
13
1
1
No
No
[e]

10
Moore, JohnnyJohnny Moore
San Antonio Spurs
108–102
Indiana Pacers
000000001985-03-06-0000March 6, 1985
35
16
7
8
No
No

10
Lever, Lafayette "Fat"Lafayette "Fat" Lever
Denver Nuggets
126–116
Indiana Pacers
000000001985-03-09-0000March 9, 1985
31
13
4
15
Yes
No
[f]

10
Drexler, ClydeClyde Drexler*
Portland Trail Blazers
89–95
Milwaukee Bucks
000000001986-01-10-0000January 10, 1986
42
26
9
11
Yes
No
[g]

10
Robertson, AlvinAlvin Robertson
San Antonio Spurs
120–114
Phoenix Suns
000000001986-02-18-0000February 18, 1986
36
20
11
10
Yes
Yes
[h]

10
Robertson, AlvinAlvin Robertson (2)
San Antonio Spurs
109–102
Los Angeles Clippers
000000001986-11-22-0000November 22, 1986
39
30
5
6
No
Yes

10
Harper, RonRon Harper
Cleveland Cavaliers
91–100
Philadelphia 76ers
000000001987-03-10-0000March 10, 1987
44
28
5
7
No
No
[i]

10
Jordan, MichaelMichael Jordan*
Chicago Bulls
120–93
New Jersey Nets
000000001988-01-29-0000January 29, 1988
27
32
1
4
No
Yes
[j]

10
Robertson, AlvinAlvin Robertson (3)
San Antonio Spurs
117–122
Houston Rockets
000000001989-01-11-0000January 11, 1989
44
20
5
7
No
No
[k]

10
Robertson, AlvinAlvin Robertson (4)
Milwaukee Bucks
114–104
Utah Jazz
000000001990-11-19-0000November 19, 1990
39
16
3
9
No
Yes

10
Johnson, KevinKevin Johnson
Phoenix Suns
114–95
Washington Bullets
000000001993-12-09-0000December 9, 1993
38
17
3
13
Yes
No

10
Drexler, ClydeClyde Drexler* (2)
Houston Rockets
96–85
Sacramento Kings
000000001996-11-01-0000November 1, 1996
42
25
10
9
Yes
No
[l]

10
Blaylock, Daron "Mookie"Daron "Mookie" Blaylock
Atlanta Hawks
95–94
Philadelphia 76ers
000000001998-04-14-0000April 14, 1998
44
14
8
11
Yes
Yes

10
Iverson, AllenAllen Iverson*
Philadelphia 76ers
97–85
Orlando Magic
000000001999-05-13-0000May 13, 1999
43
33
5
5
No
–
[m]

10
Finley, MichaelMichael Finley
Dallas Mavericks
98–114
Philadelphia 76ers
000000002001-01-23-0000January 23, 2001
45
27
6
7
No
No
[n]

10
Roy, BrandonBrandon Roy
Portland Trail Blazers
100–87
Washington Wizards
000000002009-01-24-0000January 24, 2009
39:04
22
5
7
No
No

10
Green, DraymondDraymond Green^
Golden State Warriors
122-107
Memphis Grizzlies
000000002017-02-10-0000February 10, 2017
38
4
12
10
Yes
Yes
[o]

10
Williams, LouLou Williams^
Los Angeles Clippers
113–125
Utah Jazz
000000002018-01-20-0000January 20, 2018
40
31
2
7
No
No
[p]

9
Murphy, CalvinCalvin Murphy*
Houston Rockets
106–114
Boston Celtics
000000001973-12-14-0000December 14, 1973
43
21
2
10
No
No

9
Steele, LarryLarry Steele (2)
Portland Trail Blazers
107–102
Los Angeles Lakers
000000001974-03-05-0000March 5, 1974
40
15
5
10
No
Yes

9
Barry, RickRick Barry*
Golden State Warriors
130–101
Buffalo Braves
000000001974-10-29-0000October 29, 1974
43
30
10
11
Yes
Yes
[q]

9
Watts, Don "Slick"Don "Slick" Watts
Seattle SuperSonics
100–114
Philadelphia 76ers
000000001975-02-23-0000February 23, 1975
43
13
6
14
No
No
[r]

9
Steele, LarryLarry Steele (3)
Portland Trail Blazers
120–98
Phoenix Suns
000000001975-03-07-0000March 7, 1975
39
12
5
5
No
No

9
Steele, LarryLarry Steele (4)
Portland Trail Blazers
114–103
Detroit Pistons
000000001976-03-14-0000March 14, 1976
40
22
7
8
No
No

9
Buckner, QuinnQuinn Buckner
Milwaukee Bucks
109–116
Indiana Pacers
000000001977-01-02-0000January 2, 1977
33
16
7
7
No
No
[s]

9
Watts, Don "Slick"Don "Slick" Watts (2)
Seattle SuperSonics
100–121
Phoenix Suns
000000001977-03-27-0000March 27, 1977
36
14
3
8
No
No

9
Tatum, EarlEarl Tatum
Detroit Pistons
105–103
Los Angeles Lakers
000000001978-11-28-0000November 28, 1978
33
19
2
2
No
No

9
Williams, GusGus Williams (2)
Seattle SuperSonics
103–100
Washington Bullets
000000001979-01-23-0000January 23, 1979
37
24
7
6
No
No
[t]

9
Lee, RonRon Lee
Detroit Pistons
99–102
Houston Rockets
000000001980-03-16-0000March 16, 1980
42
20
5
6
No
No
[u]

9
Bradley, DudleyDudley Bradley
Indiana Pacers
106–108
Utah Jazz
000000001980-11-10-0000November 10, 1980
39
14
2
6
No
No
[v]

9
Bradley, DudleyDudley Bradley (2)
Indiana Pacers
117–101
Cleveland Cavaliers
000000001980-11-29-0000November 29, 1980
28
11
0
2
No
No
[w]

9
Richardson, Micheal RayMicheal Ray Richardson
New York Knicks
114–117
Chicago Bulls
000000001980-12-23-0000December 23, 1980
44
19
6
6
No
No

9
High, JohnnyJohnny High
Phoenix Suns
98–108
Washington Bullets
000000001981-01-28-0000January 28, 1981
26
11
4
2
No
No

9
Johnson, Earvin "Magic"Earvin "Magic" Johnson*
Los Angeles Lakers
99–101
Phoenix Suns
000000001981-11-06-0000November 6, 1981
40
11
7
16
No
Yes
[x]

9
Sikma, JackJack Sikma
Seattle SuperSonics
110–103
Kansas City Kings
000000001982-01-27-0000January 27, 1982
40
20
9
3
No
No

9
Green, RickeyRickey Green
Utah Jazz
125–119
Denver Nuggets
000000001982-11-10-0000November 10, 1982
45
24
5
11
No
No

9
Green, RickeyRickey Green (2)
Utah Jazz
113–126
Philadelphia 76ers
000000001982-11-27-0000November 27, 1982
44
26
7
12
No
No

9
Richardson, Micheal RayMicheal Ray Richardson (2)
Golden State Warriors
106–102
San Antonio Spurs
000000001983-02-05-0000February 5, 1983
42
10
5
11
No
Yes

9
Cook, DarwinDarwin Cook
New Jersey Nets
122–128
Portland Trail Blazers
000000001983-12-03-0000December 3, 1983
44
17
2
6
No
No
[y]

9
Williams, GusGus Williams (3)
Washington Bullets
119–104
Atlanta Hawks
000000001984-10-30-0000October 30, 1984
39
23
5
9
No
No

9
Moore, JohnnyJohnny Moore (2)
San Antonio Spurs
139–94
Golden State Warriors
000000001985-01-08-0000January 8, 1985
36
26
11
13
Yes
No
[z]

9
Bird, LarryLarry Bird*
Boston Celtics
110–94
Utah Jazz
000000001985-02-18-0000February 18, 1985
33
30
12
10
Yes
No
[aa]

9
Richardson, Micheal RayMicheal Ray Richardson (3)
New Jersey Nets
147–138
Indiana Pacers
000000001985-10-30-0000October 30, 1985
54
38
11
11
Yes
No
[ab]

9
Cheeks, MauriceMaurice Cheeks
Philadelphia 76ers
108–102
Los Angeles Clippers
000000001987-01-05-0000January 5, 1987
42
22
3
10
No
No
[ac]

9
Dunn, T. R.T. R. Dunn
Denver Nuggets
98–93
New Jersey Nets
000000001988-01-06-0000January 6, 1988
32
2
5
3
No
No
[ad]

9
Jordan, MichaelMichael Jordan* (2)
Chicago Bulls
110–104
Boston Celtics
000000001988-11-09-0000November 9, 1988
42
52
3
2
No
No
[ae]

9
Hawkins, HerseyHersey Hawkins
Philadelphia 76ers
116–94
Boston Celtics
000000001991-01-25-0000January 25, 1991
41
38
8
6
No
No

9
Stockton, JohnJohn Stockton*
Utah Jazz
113–92
Houston Rockets
000000001991-02-12-0000February 12, 1991
35
19
3
11
No
No

9
Adams, MichaelMichael Adams
Washington Bullets
109–103
Indiana Pacers
000000001991-11-01-0000November 1, 1991
42
23
4
13
No
No

9
Rivers, Glenn "Doc"Glenn "Doc" Rivers
Los Angeles Clippers
111–87
Phoenix Suns
000000001991-11-06-0000November 6, 1991
18
5
1
5
No
No
[af]

9
Jordan, MichaelMichael Jordan* (3)
Chicago Bulls
118–105
New Jersey Nets
000000001993-04-02-0000April 2, 1993
38
40
7
7
No
Yes

9
Lever, Lafayette "Fat"Lafayette "Fat" Lever (2)
Dallas Mavericks
87–77
Washington Bullets
000000001994-02-10-0000February 10, 1994
34
4
7
3
No
No

9
Pippen, ScottieScottie Pippen*
Chicago Bulls
116–95
Atlanta Hawks
000000001994-03-08-0000March 8, 1994
42
39
6
10
No
No

9
Murdock, EricEric Murdock
Milwaukee Bucks
96–104
Washington Bullets
000000001994-04-02-0000April 2, 1994
37
18
5
7
No
No

9
Blaylock, Daron "Mookie"Daron "Mookie" Blaylock (2)
Atlanta Hawks
98–127
Houston Rockets
000000001997-02-17-0000February 17, 1997
34
18
0
5
No
Yes

9
Christie, DougDoug Christie
Toronto Raptors
124–122
Denver Nuggets
000000001997-02-25-0000February 25, 1997
46
27
5
3
No
No
[ag]

9
Jones, EddieEddie Jones
Charlotte Hornets
98–89
Indiana Pacers
000000001999-11-04-0000November 4, 1999
36
22
3
3
No
Yes

9
Pierce, PaulPaul Pierce
Boston Celtics
96–84
Miami Heat
000000001999-12-03-0000December 3, 1999
38
26
5
4
No
No
[ah]

9
Iverson, AllenAllen Iverson* (2)
Philadelphia 76ers
89–85
Orlando Magic
000000002000-03-19-0000March 19, 2000
42
18
3
10
No
No
[ai]

9
Miller, AndreAndre Miller
Cleveland Cavaliers
91–94
Philadelphia 76ers
000000002001-12-15-0000December 15, 2001
44
14
4
22
No
No
[aj]

9
Iverson, AllenAllen Iverson* (3)
Philadelphia 76ers
107–104
Los Angeles Lakers
000000002002-12-20-0000December 20, 2002
48
32
2
5
No
Yes
[ak]

9
Nowitzki, DirkDirk Nowitzki^
Dallas Mavericks
98–101
Houston Rockets
000000002004-03-07-0000March 7, 2004
45
18
1
1
No
No

9
Alston, RaferRafer Alston
Houston Rockets
104–83
Charlotte Bobcats
000000002007-02-10-0000February 10, 2007
41:13
14
1
8
No
No
[al]

9
Paul, ChrisChris Paul^
New Orleans Hornets
104–93
Dallas Mavericks
000000002008-02-20-0000February 20, 2008
40:38
31
5
11
No
Yes
[am]

9
Chalmers, MarioMario Chalmers^
Miami Heat
106–83
Philadelphia 76ers
000000002008-11-05-0000November 5, 2008
30:32
6
4
6
No
No
[an]

9
Wall, JohnJohn Wall^
Washington Wizards
116–115
Philadelphia 76ers
000000002010-11-02-0000November 2, 2010
44:48
29
2
13
No
No
[ao]

9
Carter-Williams, MichaelMichael Carter-Williams^
Philadelphia 76ers
114–110
Miami Heat
000000002013-10-30-0000October 30, 2013
36:10
22
7
12
No
No
[ap]
[1]