document_title: Balaam

question_text: when did the donkey talk in the bible

question_tokens: when did the donkey talk in the bible

text: Balaam

text: Balaam and Balak[edit]

text: The main story of Balaam occurs during the sojourn of the Israelites in the plains of Moab, east of the Jordan River, at the close of 40 years of wandering, shortly before the death of Moses and the crossing of the Jordan. The Israelites have already defeated two kings in Transjordan: Sihon, king of the Amorites, and Og, king of Bashan. Balak, king of Moab,[3] consequently becomes alarmed, and sends elders of Midian and his Moabite messengers,[4] to Balaam, son of Beor, to induce him to come and curse Israel. Balaam's location, Pethor, is simply given as "which is by the river of the land of the children of his people" in the Masoretic Text and the Septuagint, though the Samaritan Pentateuch, Vulgate, and Peshitta all identify his land as Ammon.

text: Balaam sends back word that he can only do what YHWH commands, and God has, via a nocturnal dream, told him not to go. Balak consequently sends higher-ranking priests and offers Balaam honours; Balaam continues to press God, and God finally permits him to go but with instructions to say only what he commands. Balaam then sets out in the morning with the princes of Moab. God becomes angry that he went, and sends the Angel of the Lord (Numbers 22:22) to prevent him. At first, the angel is seen only by the donkey Balaam is riding, which tries to avoid the angel. After Balaam starts punishing the donkey for refusing to move, it is miraculously given the power to speak to Balaam (Numbers 22:28), and it complains about Balaam's treatment. At this point, Balaam is allowed to see the angel, who informs him that the donkey is the only reason the angel did not kill Balaam. Balaam immediately repents, but is told to go on.

text: Balak meets with Balaam at Kirjat Huzoth, and they go to the "high places of Baal", and offer sacrifices on seven altars, leading to Balaam being given a prophecy by Yahweh, which he speaks to Balak. However, the prophecy blesses Israel; Balak remonstrates, but Balaam reminds him that he can only speak the words put in his mouth, so Balak takes him to another "high place" at Pisgah, to try again. Building another seven altars here, and making sacrifices on each, Balaam provides another prophecy blessing Israel.

text: Balaam finally gets taken by a now very frustrated Balak to Peor, and, after the seven sacrifices there, decides not to "seek enchantments" but instead looks upon the Israelites from the peak. The Spirit of God comes upon Balaam and he delivers a third positive prophecy concerning Israel. Balak's anger rises to the point where he threatens Balaam, but Balaam merely offers a prediction of fate. Balaam then looks upon the Kenites, and Amalekites and offers two more predictions of their fates. Balak and Balaam then go to their respective homes.

text: Later, Numbers 25:1-9 describes how Israel engaged in sexual immorality and idolatry with the women of Moab, resulting in God's anger and a deadly plague. Numbers 31:16 attributes this to the advice of Balaam: "Behold, these caused the children of Israel, through the counsel of Balaam, to commit trespass against the LORD in the matter of Peor, and there was a plague among the congregation of the LORD."

text: Book of Deuteronomy 23:3–6 summarises these incidents, and further states that the Ammonites were associated with the Moabites. Joshua, in his farewell speech, also makes reference to it. With God's protection taken from him, Balaam is later listed among the Midianites who were killed in revenge for the "matter of Peor". Joshua 13:22 records that Balaam died "by the sword" during a battle for the Reubenite occupation of Moabite land.

text: Revelation also states that Balaam "taught Balak to cast a stumbling block before the children of Israel."[5]

text: Prophecies[edit]

text: All the prophecies which Balaam makes take the form of (Hebrew) poems:

text:
The first, Numbers 23:7–10, prophesies the unique exaltation of the Kingdom of Israel, and its countless numbers.
The second, Numbers 23:18–24, celebrates the moral virtue of Israel, its monarchy, and military conquests.
The third, Numbers 24:3–9, celebrates the glory and conquests of Israel's monarchy.
The fourth, Numbers 24:14–19, prophesies the coming of a king who will conquer Edom and Moab.
The fifth, Numbers 24:20, concerns the ruins of Amalek.
The sixth, Numbers 24:21–22, concerns the destruction of the Kenites by Assyria.
The seventh, Numbers 24:23–24, concerns "ships of Kittim" coming from the west to attack Assyria and Eber.

text: The poems fall into three groups. The first group consists of two poems which characteristically start immediately. The third group of three poems also start immediately, but are much shorter. The second group, however, consists of two poems which both start:

text: Balaam the son of Beor hath said, and the man whose eyes are open hath said: He hath said, which heard the words of God, which saw the vision of the Almighty, falling into a trance, but having his eyes open ...

text: Of these, the first and third groups are considered, according to the Documentary Hypothesis, to originate within the Elohist text, whereas the second group is considered to belong to the Jahwist. Thus the Elohist describes Balaam giving two blessings, making sacrifices on seven altars, at the high places of Baal, before each, then deciding not to "seek enchantments" after the third set of sacrifices, but to "set his face upon the wilderness," which Balak views as a third blessing, and so Balaam then gives the three final predictions of fate. Conversely, in the Jahwist source, Balaam arrives, the spirit of God comes upon him, and he simply delivers a blessing and a prophecy, in succession.

text: The poems themselves are considered to predate the Jahwist and Elohist,[citation needed] and simply to have been embedded by them in their works. While the Elohist took off whatever introduction was present in the poems they chose, the Jahwist left it on. An archaeological discovery in 1967 uncovered references to a Book of Balaam, from which these poems may have originally been taken. The first four poems are commonly regarded as ancient lyrics of the early monarchy of Israel and Judah, although several critics suspect that they have been edited either from less edifying oracles or from oracles which did not refer to Israel.

text: Agag, mentioned in the third poem, is described as a great king, which does not correspond to the king of the Amalekites who was named Agag, and described in I Samuel 15, since that description considers Amalek to be small and obscure. While it is the Masoretic text of the poem that uses the word Agag, the Septuagint, other Greek versions, and the Samaritan Pentateuch, all have Gog (i.e., king Gyges of Lydia, 716 BC to 678 BC), implying a very late date for the poem. These names are consequently thought to be textual corruptions, and Og has been suggested as the original.

text: The final three poems do not refer either to Israel or to Moab, and are thus considered unusual, since they seem to have little relevance to the narrative. It is thought that they may have been added to bring the number of poems either up to five, if inserted into the Elohist source, or up to seven, if only inserted once JE was constructed. While the sixth poem refers to Assyria, it is uncertain whether it is an historical reference to ancient Ninevah, or a prophecy, which some religious commentators consider refers to the Seleucid kingdom of Syria, which also took the name Assyria. The seventh is also ambiguous, and may either be a reference to the Sea Peoples, or, again in the view of some religious commentators, to the conquest of Persia by Alexander the Great.

text: In the view of textual criticism[6] the narrative, excepting the episode involving the donkey, is simply a framework invented in order to be able to insert much older poems.

text: Balaam in rabbinic literature[edit]

text: In rabbinic literature Balaam is represented as one of seven gentile prophets; the other six being Beor (Balaam's father), Job, and Job's four friends (Talmud, B. B. 15b). In this literature, Balaam gradually acquired a position among the non-Jews, which was exalted as much as that of Moses among the Jews (Midrash Numbers Rabbah 20); at first being a mere interpreter of dreams, but later becoming a magician, until finally the spirit of prophecy descended upon him (ib. 7).

text: According to a negative view of Balaam in the Talmud, Balaam possessed the gift of being able to ascertain the exact moment during which God is wroth — a gift bestowed upon no other creature. Balaam's intention was to curse the Israelites at this moment of wrath, and thus cause God himself to destroy them; but God purposely restrained His anger in order to baffle the wicked prophet and to save the nation from extermination (Talmud, Berachot 7a). The Talmud also recounts a more positive view of Balaam, stating that when the Law was given to Israel, a mighty voice shook the foundations of the earth, so much so that all kings trembled, and in their consternation turned to Balaam, inquiring whether this upheaval of nature portended a second deluge; the prophet assured them that what they heard was the voice of God, giving the sacred law to the Israelites (Talmud, Zeb. 116a).

text: According to Jewish legend, Balaam was made this powerful in order to prevent the non-Jewish tribes from saying: "If we had only had our own Moses, we would be as pious as the Jews." The wicked Balaam is included in the list of persons born circumcised along with Moses in the book Abbot De-Rabbi Natan.[7]

text: In rabbinical literature the epithet rasha, translating as the wicked one, is often attached to the name of Balaam (Talmud Berachot l.c.; Taanit 20a; Midrash Numbers Rabbah 20:14). Balaam is pictured as blind in one eye and lame in one foot (Talmud Sanhedrin 105a); and his disciples (followers) are distinguished by three morally corrupt qualities:

text:
an evil eye
a haughty bearing
an avaricious spirit

text: Due to his behavior with the Midianites, the Rabbis interpret Balaam as responsible for the behavior during the Heresy of Peor, which they consider to have been unchastity, and consequently the death of 24,000 victims of the plague which God sent as punishment. When Balaam saw that he could not curse the children of Israel, the Rabbis assert that he advised Balak, as a last resort, to tempt the Hebrew nation to immoral acts and, through these, to the worship of Baal-peor. The God of the Hebrews, adds Balaam, according to the Rabbis, hates lewdness; and severe chastisement must follow (San. 106a; Yer. ib. x. 28d; Num. R. l.c.).

text: The Rabbis, playing on the name Balaam, call him "Belo 'Am" (without people; that is, without a share with the people in the world to come), or "Billa' 'Am" (one that ruined a people); and this hostility against his memory finds its climax in the dictum that whenever one discovers a feature of wickedness or disgrace in his life, one should preach about it (Sanh. 106b). In the process of killing Balaam (Num. xxxi. 8), all four legal methods of execution—stoning, burning, decapitating, and strangling—were employed (Sanh. l.c.). He met his death at the age of thirty-three (ib.); and it is stated that he had no portion in the world to come (Sanh. x. 2; 90a). The book devotes a special section to the history of the prophet discussing why God has taken away the power of prophecy from the Gentiles (Tan., Balak, 1). Moses is expressly mentioned as the author of this episode in the Pentateuch (B. B. 14b).J. Sr. H. M.

text: "Ahithophel of the house of Israel and Balaam of the heathen nations were the two great sages of the world who, failing to show gratitude to God for their wisdom, perished in dishonor. To them the prophetic word finds application: 'Let not the wise man glory in his wisdom,' Jer. ix. 23" (Num. R. xxii.).[8]

text: In (Sanhedrin 106b) and (Giṭtin 57a) Balaam may be likened to Jesus. Some have theorized that Balaam became used as a pseudonym for Jesus in Jewish literature.[9][10][11][12]

text: Balaam in the New Testament, Josephus, and Philo[edit]

text: In the New Testament, Balaam is cited as a type of avarice; for example in Book of Revelation 2:14 we read of false teachers at Pergamum who held the "teaching of Balaam, who taught Balak to cast a stumbling-block before the children of Israel, to eat things sacrificed to idols, and to commit fornication." Balaam has attracted much interest, alike from Jews, Christians, and Muslims. Josephus paraphrases the story more so, and speaks of Balaam as the best prophet of his time, but with a disposition ill-adapted to resist temptation.[13] Philo describes him as a great magician in the Life of Moses;[14] elsewhere he speaks of "the sophist Balaam, being," i.e. symbolizing "a vain crowd of contrary and warring opinions" and again as "a vain people" — both phrases being based on a mistaken etymology of the name Balaam.

text: A man also named Balaam also figures as an example of a false prophet motivated by greed or avarice in both 2 Peter 2:15 and in Jude 1:11. This Balaam is listed as the son of Bezer, which is usually identified as Beor.[15][16][17][18] Some authors claim that Bezer was the Aramaic pronunciation of Beor,[17] while others hold that Peter was attempting to play off the Hebrew word basar or "flesh" to insult Balaam. Later Jewish tradition similarly played with Balaam's name to call him corrupt and imply bestiality. Still other authors hold that Bezer and Beor are distinct, while still identifying the Balaams of the Old and New Testaments, claiming that Beor is Balaam's father and Bezer is Balaam's home town.[18]

text: Balaam in the Quran[edit]

text:
Musa
Mūsa   ٰمُوسَى
Moses

Ten Commandments
Tawrat
Ṣuḥuf Mūsā
Biblical and Quranic narratives
Prophets and messengers in Islam
Golden calf
Asiya

Balaam
Samiri

Ulu'l azm prophets

Category
Islam portal

v
t
e

text: Regarding the Islamic view of Balaam, no clear reference is made to Balaam in the Qur'an. However, the commentators argue that he is the one to whom the following text is referring:

text:
Relate to them the story of the man to whom We sent Our signs, but he passed them by: so Satan followed him up, and he went astray.
If it had been Our will, We should have elevated him with Our signs; but he inclined to the earth, and followed his own vain desires. His similitude is that of a dog: if you attack him, he lolls out his tongue, or if you leave him alone, he (still) lolls out his tongue. That is the similitude of those who reject Our signs; So relate the story; perchance they may reflect.

text: The Muslim commentators explain that Balaam was a Canaanite who had been given knowledge of some of the books of God. His people asked him to curse Moses (Musa) and those who were with him, but he said, "How can I curse one who has angels with him?" They continued to press him, however, until he cursed the Israelites, and, as a consequence, they remained 40 years in the Wilderness of the Wanderings. Then, when he had cursed Moses, his tongue came out and fell upon his breast, and he began to pant like a dog.

text: The story as told by Tabari[20] is somewhat more Biblical. Balaam had the knowledge of the Most Sacred Name of God, and whatever he asked of God was granted to him. The story of Balaam and the ass, then follows at length. When it came to the actual cursing, God "turned his tongue" so that the cursing fell upon his own people and the blessing upon Israel. Then his tongue came out and hung down on his breast. Finally, he advised his people to adorn and beautify their women and to send them out to ensnare the Israelites. The story of the plague at Baal-peor and of Cozbi and Zimri[21] follows.

text: According to another story which al-Tabari gives, Balaam was a renegade Israelite who knew the Most Sacred Name, and to gain the things of this world, went over to the Canaanites. Al-Tha'labi[22] adds that Balaam was descended from Lot. He gives, too, the story of Balaam's dream, his being forbidden by God to curse Israel. Another version is that Balak, the king of Bal'a, compelled Balaam to use the Most Sacred Name against Israel. The curse fell automatically, and Moses, having learned from whence it came, entreated God to take from Balaam his knowledge of the Name and his faith. This being done, they went out from him in the form of a white dove.

text: Balaam and the Deir Alla inscription[edit]

text: In 1967, at Deir Alla, Jordan, archaeologists found an inscription with a story relating visions of the seer of the gods Bala'am, son of Be'or, who may be the same Bala'am mentioned in Numbers 22–24 and in other passages of the Bible. This Bala'am differs from the one in Numbers in that rather than being a prophet of Yahweh he is associated with Ashtar, a god named Shgr, and Shadday gods and goddesses.[23]

text: The Oxford Handbook of Biblical Studies describes it as "the oldest example of a book in a West Semitic language written with the alphabet, and the oldest piece of Aramaic literature."[24] The inscription is datable to ca. 840–760 BCE; it was painted in red and black inks, apparently to emphasize the text, on fragments of a plastered wall: 119 pieces of inked plaster were recovered. According to the story in the inscription,[25] Balaam wakes up weeping and tells his people that the gods appeared to him in the night telling him about a goddess threatening to destroy the land. She is to cover the sky and reduce the world to complete darkness. Meindert Dijkstra suggests that "the reticence of OT scholarship to take account of the text may be attributable to its damaged state, the difficulty of reconstructing and reading it, and the many questions it raises of script, language, literary form and religious content."[26]


document_title: Zoot Suit Riot (song)

question_text: what is the song zoot suit riot about

question_tokens: what is the song zoot suit riot about

root

text: Zoot Suit Riot (song)

text: Overview[edit]

text: Background[edit]

text: By the end of 1996, the formerly underground swing revival began drawing mainstream recognition following the success of bands including the Squirrel Nut Zippers and the hit film Swingers. As a result, the Cherry Poppin' Daddies, who were then at that time largely associated with the West Coast ska punk scene, began attracting a separate and sizable following for the prominent swing influences in their music. As means of having something new to sell on their next tour while the band was writing their next studio album, the Daddies quickly put together a compilation album of only the swing tracks from their first three albums, recording four new songs—including "Zoot Suit Riot"—to round out a full-length record.[1][2] The album, titled Zoot Suit Riot: The Swingin' Hits of the Cherry Poppin' Daddies, was released independently on Space Age Bachelor Pad Records in March 1997.

tag: p

text: "Zoot Suit Riot" is written in the musical style of 1940s jump blues. Lyrically, the song's narrative revolves around the Los Angeles Zoot Suit riots of the 1940s, though Perry has stated the song makes no overt political or social commentary regarding the events. In a 2009 interview, he elaborated on its significance as an intended "anthem" for the swing scene, saying "I guess it seemed like a Pachuco rallying cry that could double as a dance anthem for those of us interested in swing music and culture at a time when nobody else was. It was an expression of a proud marginalism. That's not that deep, but there you go."[3] In discussing the appropriation of the actual Zoot Suit riots, he wrote "To me, the simplified duality I used as I wrote the song was: we swingers were in solidarity with our counter cultural ancestors the 'Zoot Suiters' and we were opposed to the 'sailors' who represented the squares who weren’t yet hip to our growing communal jive".[4]

text: Due to the hurried production of the album, the vocal track for the song was recorded in one take. At the end of the recording, Perry is heard saying "I think I'm about ready to sing it", which he was signifying to the engineer. "I had sung the tune and the engineer, my friend, pressed the button and said, 'I think it sounds pretty good, come in here and listen to it'", Perry revealed in a 2014 interview. "He said, 'We should keep that in and it will be our joke that we did this on the first take.' So we left it in the song and moved on. Unbeknownst to us, it became a big hit record", noting elsewhere that he "probably would of given it 2 or 3 more rips, probably slightly slower, if we had known the future back in 1996".[5][6]

text: Mainstream recognition[edit]

text: Following steady independent sales of the album which reportedly reached as many as 4,000 copies a week, the Daddies eventually signed a distribution deal with major label subsidiary Mojo Records and Zoot Suit Riot was re-issued and nationally distributed in July 1997.[7] A promotional demo cassette featuring two swing songs from the album, "Dr. Bones" and "Brown Derby Jump", plus the ska b-side "Hi and Lo" was distributed to radio stations for possible airplay; "Zoot Suit Riot" was ultimately excluded from the tape as the band felt the song had no commercial potential.[8]

text: As swing music began gaining mainstream commercial momentum by late 1997, Mojo chose to issue "Zoot Suit Riot" as a single and distribute it among modern rock radio stations. The Daddies, who were in preparation over recording a new studio album, ardently protested this move under the belief that a swing song would never receive airplay on mainstream radio and were concerned over losing money from its marketing.[9][10] Mojo nevertheless persisted and "Zoot Suit Riot" soon found regular rotation on several major stations, notably Los Angeles' KROQ-FM, helping boost the single onto Billboard's Hot 100 Airplay chart and launch the Daddies into temporary mainstream notoriety.

text: Music videos[edit]

text: Two separate music videos were filmed for "Zoot Suit Riot". The first, directed by Isaac Camner, was produced by the Daddies and filmed at the Café Du Nord nightclub in San Francisco, California. The video depicts the band and a zoot suited Steve Perry performing the song to a group of swing dancers and punk rockers in a smoky lounge, intercut with various shots of surrealist and occult imagery. Legendary disc jockey Al "Jazzbo" Collins has a brief cameo as one of the club's patrons, singing along to a verse from the song.[11] Barry Ward, a former member of GWAR and Rich Kids on LSD, also makes a cameo appearance in the video.

text: Released in October 1997, the original video received minimal exposure, having aired only once on MTV as part of 12 Angry Viewers, a program in which twelve music fans critique a series of music videos, where it received almost unanimous disapproval.[12]

text: In early 1998, once "Zoot Suit Riot" had charted and the Daddies were gaining commercial notoriety, Mojo requested that a newer video be filmed. Directed by acclaimed pornographic film director Gregory Dark and edited by Bob Murawski,[13] the second video follows the same premise as the original, with the Daddies playing to a crowd of swing dancers and punk rockers, though the surrealist imagery is much more prominent. Throughout the video, there are shots of such visuals as evil clowns, a goat head being used as part of a ritual sacrifice, vampires, skulls and foot fetishism. According to Perry, the video's surrealist theme stemmed from his love of avant-garde cinema, notably the films of Luis Buñuel.[14]

text: Dark's video became the version most associated with the song, becoming one of MTV's most requested videos of the year. Despite Zoot Suit Riot being the fourth album of the Daddies then nine-year career, the band was nominated for a "Best New Artist in a Video" award at the 1998 MTV Video Music Awards, though ultimately lost out to Natalie Imbruglia's "Torn".

text: Cover versions[edit]

text: "Weird Al" Yankovic parodied the song as "Grapefruit Diet" on his 1999 album Running with Scissors. Perry stated in an interview that he felt "honored" to have been parodied, though didn't quite understand "why Weird Al is such an icon".[15]

text: In 1999, bandleader and trumpeter Ray Anthony, who had been active during the original swing era and a one-time member of the Glenn Miller Orchestra, recorded a cover of "Zoot Suit Riot" on his album Swing Club, featuring Patrick Tuzzolino on vocals.

text: Formats and track listing[edit]

text: Zoot Suit Riot US Promo CDNo.TitleLength1."Zoot Suit Riot"3:53

tag: table

text: Zoot Suit Riot Australian CD SingleNo.TitleLength1."Zoot Suit Riot" (Radio Edit)3:532."2:29"3:433."Zoot Suit Riot" (Spanish Version)3:55

text: Zoot Suit Riot UK CD SingleNo.TitleLength1."Zoot Suit Riot"3:532."2:29"3:433."No Mercy for Swine" (Live)3:35

text: Zoot Suit Riot UK 7" SingleNo.TitleLength1."Zoot Suit Riot"3:532."No Mercy for Swine" (Live)3:35

text: Chart positions[edit]

text:
Chart (1998)

Peakposition[16]

U.S. Billboard Hot 100

41

U.S. Billboard Top 40 Mainstream

32

U.S. Billboard Modern Rock Tracks

15

U.S. Billboard Adult Top 40

16

text: Personnel[edit]

text:
Steve Perry – lead vocals
Darren Cassidy – bass guitar
Dana Heitman – trumpet
Jason Moss – guitar
Sean Flannery – tenor saxophone
Hans Wagner – drums
Dustin Lanker – keyboards

tag: ul

text: Glen Bonney – trombone

text: 1990s portal


document_title: Bye, Felicia

question_text: where did the saying bye felicia originate from

text: Bye, Felicia

text: The phrase "Bye, Felicia" (actually spelled "Felisha" in the cast listing) came from a scene in the American stoner buddy crime comedy film Friday (1995). According to Ice Cube, who starred in the film and co-wrote its script, "Bye, Felicia" is "the phrase 'to get anyone out of your face'," and, as it was used in the Friday scene, is generally intended as a dismissive kiss-off.[1]

text: Popular culture[edit]

text: The saying gained popularity and continues to be used, even by people who have never seen the film. In 2009, it entered the lexicon of RuPaul's Drag Race, an American reality competition television series. However, People said "even that wouldn't necessarily account for the phrase extending beyond the cultures that would watch either Friday, Drag Race or both. (Seriously, just look how often people use it on Twitter.)"[1] Furthermore, the magazine said of the phrase, "So when your square friend uses it, take a little bit of pleasure in knowing they're referencing a stoner comedy – or a drag reality show referencing a stoner comedy – even if they have no idea."[1]

text: In 2014, VH1 began airing a television show called Bye Felicia, and American R&B-pop singer Jordin Sparks released a mixtape titled #ByeFelicia.[1][2] According to Google Trends, the phrase reached its highest usage in mid-2015.[1]

text: On December 14, 2017, Robin Roberts, a host of ABC TV’s Good Morning America, used the phrase to conclude a segment about Omarosa Manigault Newman's departure from the Trump administration staff.[3]