document_title: RuPaul's Drag Race (season 10)

question_text: who got eliminated on rupaul's drag race season 10 episode 8

question_tokens: who got eliminated on rupaul 's drag race season 10 episode 8

text: RuPaul's Drag Race (season 10)

text: Contestants[edit]

text: (Ages and names stated are at time of contest)

text:
Contestant
Name
Age
Hometown
Outcome

Aquaria

Giovanni Palandrani[6]

21

Brooklyn, New York

Winner

Eureka[a]

David Huggard[7]

27

Johnson City, Tennessee

Runner-up

Kameron Michaels

Dane Young[8]

31

Nashville, Tennessee

Asia O'Hara[b]

Antwan Lee[9]

35

Dallas, Texas

4th Place

Miz Cracker

Maxwell Heller[10]

33

Harlem, New York

5th Place

Monét X Change

Kevin Bertin[11]

27

The Bronx, New York

6th Place

The Vixen

Anthony Taylor[12][13]

26

Chicago, Illinois

7th Place

Monique Heart

Kevin Richardson[14]

31

Kansas City, Missouri

8th Place

Blair St. Clair

Andrew Bryson[15]

22

Indianapolis, Indiana

9th Place

Mayhem Miller

Dequan Johnson[16]

35

Riverside, California

10th Place

Dusty Ray Bottoms

Dustin Rayburn[17]

29

New York, New York

11th Place

Yuhua Hamasaki

Yuhua Ou[18]

27

New York, New York

12th Place

Kalorie Karbdashian Williams

Daniel Hernandez[19]

27

Albuquerque, New Mexico

13th Place

Vanessa Vanjie Mateo

Jose Cancel[20]

25

Tampa, Florida

14th Place

text:
Jump up ^ Eureka O'Hara is simply known as Eureka on the show.

Jump up ^ Asia T. O'Hara is simply known as Asia O’Hara on the show.

text: Contestant progress[edit]

text:
Contestant

1[21]

2[22]

3[23]

4[24]

5[25]

6[26]

7[27]

8[28]

9[29]

10[30]

11[31]

12
13
14

Aquaria

SAFE

SAFE

SAFE

WIN

SAFE

SAFE

WIN

LOW

HIGH

LOW

WIN

SAFE

Guest

Winner

Eureka

SAFE

BTM2

HIGH

SAFE

WIN

WIN

HIGH

SAFE

BTM2

HIGH

HIGH

SAFE

Guest

Runner-up

Kameron Michaels

SAFE

HIGH

LOW

HIGH

SAFE

HIGH

SAFE

WIN

BTM2

BTM2

BTM2

SAFE

Guest

Runner-up

Asia O'Hara

SAFE

SAFE

WIN

LOW

SAFE

SAFE

LOW

BTM2

WIN

HIGH

HIGH

SAFE

Guest

Eliminated

Miz Cracker

HIGH

HIGH

SAFE

HIGH

HIGH

LOW

SAFE

SAFE

LOW

WIN

ELIM

Guest

Guest

Monét X Change

SAFE

HIGH

SAFE

BTM2

BTM2

HIGH

HIGH

HIGH

HIGH

ELIM

Guest

Miss C

The Vixen

SAFE

WIN

SAFE

SAFE

LOW

BTM2

BTM2

ELIM

Guest

Guest

Monique Heart

SAFE

LOW

SAFE

SAFE

HIGH

SAFE

ELIM

Guest

Guest

Blair St. Clair

HIGH

HIGH

HIGH

SAFE

SAFE

ELIM

Guest

Guest

Mayhem Miller

WIN

HIGH

BTM2

SAFE

ELIM

Guest

Guest

Dusty Ray Bottoms

LOW

SAFE

SAFE

ELIM

Guest

Guest

Yuhua Hamasaki

HIGH

SAFE

ELIM

Guest

Guest

Kalorie Karbdashian Williams

BTM2

ELIM

Guest

Guest

Vanessa Vanjie Mateo

ELIM

Guest

Guest

text: Lip syncs[edit]

text:
Episode

Contestants

Song

Eliminated

1

Kalorie Karbdashian Williams

vs.

Vanessa Vanjie Mateo

“Ain't No Other Man” (Christina Aguilera)

Vanessa Vanjie Mateo

2

Eureka

vs.

Kalorie Karbdashian Williams

"Best of My Love"(The Emotions)

Kalorie Karbdashian Williams

3

Mayhem Miller

vs.

Yuhua Hamasaki

"Celebrity Skin"(Hole)

Yuhua Hamasaki

4

Dusty Ray Bottoms

vs.

Monét X Change

"Pound the Alarm"(Nicki Minaj)

Dusty Ray Bottoms

5

Mayhem Miller

vs.

Monét X Change

"Man! I Feel Like a Woman!"(Shania Twain)

Mayhem Miller

6

Blair St. Clair

vs.

The Vixen

"I'm Coming Out"(Diana Ross)

Blair St. Clair

7

Monique Heart

vs.

The Vixen

"Cut to the Feeling" (Carly Rae Jepsen)

Monique Heart

8

Asia O'Hara

vs.

The Vixen

"Groove Is in the Heart" (Deee-Lite)

The Vixen

9

Eureka

vs.

Kameron Michaels

"New Attitude" (Patti Labelle)

None

10

Kameron Michaels

vs.

Monét X Change

"Good as Hell" (Lizzo)

Monét X Change

11

Kameron Michaels

vs.

Miz Cracker

"Nasty Girl" (Vanity 6)

Miz Cracker

12

Aquaria vs. Asia O’Hara vs. Eureka vs. Kameron Michaels

"Call Me Mother" (RuPaul)

None

14

Asia O’Hara

vs.

Kameron Michaels

"Nasty" (Janet Jackson)

Asia O’Hara

Aquaria

vs.

Eureka

"If" (Janet Jackson)

None

Aquaria vs. Eureka vs. Kameron Michaels

"Bang Bang" (Jessie J, Ariana Grande & Nicki Minaj)

EurekaKameron Michaels

text: Guest judges[edit]

text: Listed in chronological order:[32]

text:
Christina Aguilera, singer, songwriter, actress
Halsey, singer, songwriter
Padma Lakshmi, actress, model
Courtney Love, singer, songwriter, actress
Nico Tortorella, actor, model
Logan Browning, actress
Tisha Campbell-Martin, actress, singer
Carrie Preston, actress, producer, singer
Shania Twain, singer, songwriter
Emily V. Gordon, writer, producer
Kumail Nanjiani, comedian, actor, writer
Audra McDonald, actress, singer
Kate Upton, model, actress
Andrew Rannells, actor, singer
Billy Eichner, comedian, actor, writer
Abbi Jacobson, comedian, writer, actress
Ilana Glazer, comedian, writer, actress
Miles Heizer, actor, musician
Lizzo, rapper, singer
Lena Dunham, actress, writer, director
Ashanti, singer, songwriter, actress
Todrick Hall, singer, director, choreographer

text: Special guests[edit]

text: Guests who appeared in episodes, but did not judge on the main stage.[33][34]

text: Episode 1

text:
Adore Delano, runner-up of season six and contestant on All Stars season two
Bob the Drag Queen, winner of season eight
Chad Michaels, runner-up of season four and winner of All Stars season one
Darienne Lake, contestant on season six
Delta Work, contestant on season three
Derrick Barry, contestant on season eight
Detox, contestant on season five and runner-up of All Stars season two
Jaymes Mansfield, contestant on season nine
Jessica Wild, contestant on season two
Jiggly Caliente, contestant on season four
Jinkx Monsoon, winner of season five
Jujubee, contestant on season two and All Stars season one
Katya, contestant on season seven and runner-up of All Stars season two
Kim Chi, runner-up of season eight
Laganja Estranja, contestant on season six
Manila Luzon, runner-up of season three and contestant on All Stars season one
Mariah Balenciaga, contestant on season three
Morgan McMichaels, contestant on season two and All Stars season three
Mrs. Kasha Davis, contestant on season seven
Ongina, contestant on season one
Pandora Boxx, contestant on season two and All Stars season one
Peppermint, runner-up of season nine
Raven, runner-up of season two and All Stars season one
Tempest DuJour, contestant on season seven
Trixie Mattel, contestant on season seven and winner of All Stars season three
Victoria "Porkchop" Parker, contestant on season one
Yara Sofia, contestant on season three and All Stars season one

text: Episode 2

text:
Andy Cohen, television personality[35]
Alyssa Edwards, contestant on season five and All Stars season two

text: Episode 4

text: Shawn Morales, Pit Crew member from seasons three to six

text: Episode 5

text: Ross Mathews

text: Episode 7

text:
Bianca Del Rio, winner of season six
Alex Trebek, game show host[36]

text: Episode 8

text:
Chad Michaels, runner-up of season four and winner of All Stars season one
Todrick Hall, singer, director, and choerographer

text: Episode 9

text:
Stephen Colbert, television host[35]
Randy Rainbow, comedian

text: Episode 10

text:
Anthony Padilla, actor, comedian, and YouTube personality
Chester See, singer, actor, and YouTube personality
Frankie Grande, dancer, actor, singer, and YouTube personality
Kingsley, comedian, blogger, and YouTube personality
Raymond Braun, actor, and YouTube personality
Tyler Oakley, author, and YouTube personality

text: Episode 11

text: Cheyenne Jackson, actor, singer[35]

text: Episodes[edit]

text:
No.overallNo. inseasonTitleOriginal air date1181"10s Across the Board[37]"March 22, 2018 (2018-03-22)[1]
The 14 queens enter the work room for the first time. RuPaul announces the first mini-challenge, the contestants must work the runway and stand out among previous contestants and winners; Monét X Change wins the mini-challenge.[21] For the maxi-challenge, RuPaul tasks the contestants to create a runway outfit from miscellaneous items found at a variety store; inspired by the first challenge on season one.[21] On stage, Aquaria, Asia O'Hara, Eureka, Kameron Michaels, Monét X Change, Monique Heart, and The Vixen are declared safe. Blair St. Clair, Mayhem Miller, Miz Cracker, and Yuhua Hamasaki all receive positive remarks, but Mayhem is declared the winner. Dusty Ray Bottoms, Kalorie Karbdashian Williams, and Vanessa Vanjie Mateo all received negative commentary for their runway looks.[21] Bottoms was declared safe, while Williams and Mateo lip-synced to Christina Aguilera's "Ain't No Other Man"; Williams won the lip-sync and Mateo was eliminated from the competition.[21]

Guest Judge: Christina Aguilera
Alternating Judges: Carson Kressley & Ross Mathews
Mini-Challenge: Stand out on the runway among a sea of legendary queens from past seasons.
Mini-Challenge Winner: Monét X Change
Mini-Challenge Prize: $2,000 gift card to FierceQueen.com
Maxi Challenge: Construct a runway outfit from miscellaneous items found at a variety store
Challenge Winner: Mayhem Miller
Maxi Challenge Prize: A luxury Hawaiian getaway to Hale Mohalu Guesthouse and Retreat
Bottom Two: Kalorie Karbdashian Williams & Vanessa Vanjie Mateo
Lip Sync Song: "Ain't No Other Man" by Christina Aguilera
Eliminated: Vanessa Vanjie Mateo
Farewell message: "Ladies I ❤ U The Vanjie way! xoxo Vanessa ❤!"

1192"PharmaRusical[37]"March 29, 2018 (2018-03-29)[38]
The 13 remaining queens were asked by RuPaul to perform a dance in 20 minute country quick drag for the mini-challenge, with special guest Andy Cohen judging their performances; Asia O'Hara and The Vixen are declared the winners and were made team captains for a live stage musical titled "PharmaRusical".[22] Team Asia O'Hara consisted of Aquaria, Dusty Ray Bottoms, Eureka, Kalorie Karbdashian Williams, Monique Heart, and Yuhua Hamasaki, with Team Vixen consisting of Blair St. Clair, Kameron Michaels, Mayhem Miller, Miz Cracker, and Monét X Change. The runway theme was "Very Best Drag." On the main stage, The Vixen's team is declared the winners with Vixen being the standout and winning the overall challange.[22] Asia O'Hara's team is declared the losers and are critiqued by the judges.[22] Heart, Eureka, and Williams are said to be the weakest of their team, Heart is announced as safe leaving Eureka and Williams to lip-sync to The Emotions' "Best of My Love"; Eureka is declared the winner of the lip-sync and Williams is subsequently eliminated from the competition.[22]

Guest Judges: Halsey & Padma Lakshmi
Alternating Judge: Ross Mathews
Mini-Challenge: Participate in the Hay Girl Hay hoedown
Mini-Challenge Winners: Asia O'Hara & The Vixen
Maxi Challenge: Perform in PharmaRusical
Runway Theme: Very Best Drag
Challenge Winner: The Vixen
Maxi Challenge Prize: Jewelry from Fierce Drag Jewels and a $2,000 gift card to Nailed by Cristy
Bottom Two: Eureka & Kalorie Karbdashian Williams
Lip Sync Song: "Best of My Love" by The Emotions
Eliminated: Kalorie Karbdashian Williams
Farewell message: "Thank you Sisters. I'm So Blessed to have met you all. Keep it Kute! KKW"

1203"Tap That App[37]"April 5, 2018 (2018-04-05)[38]
The 12 remaining queens were tasked by RuPaul to perform a skit to promote his self-titled chocolate bar. Blair St. Clair, Monét X Change, and Monique Heart are deemed the winners, and are selected as team leaders for the acting challenge "Tap That App", inspired by dating apps.[23] They are split into three teams: Team Blair consists of Eureka, Miz Cracker, and The Vixen; Team Monét are Aquaria, Asia O'Hara, and Yuhua Hamasaki; Team Monique are Dusty Ray Bottoms, Kameron Michaels, and Mayhem Miller. Subsequently, the runway theme for the episode was a look constructed with feathers.[23] On the main stage, Aquaria, Dusty Ray Bottoms, Miz Cracker, Monét X Change, Monique Heart and the Vixen are declared safe. Asia O'Hara, Blair St. Clair and Eureka are praised for their runway looks and performances, with Asia declared the winner of the main challenge. Conversely, Kameron Michaels, Mayhem Miller and Yuhua Hamasaki are criticized for their performances, though Kameron received rave reviews for her runway look.[23] Kameron was declared safe, while Mayhem and Yuhua lip-synced to Hole's "Celebrity Skin"; Mayhem won the lip-sync and Yuhua was eliminated from the competition.[23]

Guest Judges: Courtney Love & Nico Tortorella
Alternating Judge: Carson Kressley
Mini-Challenge: Perform in screen tests for Ru's provocative new RuPaul's Chocolate Bar campaign.
Mini-Challenge Winners: Blair St. Clair, Monét X Change, and Monique Heart
Maxi Challenge: Film ads for new dating apps
Runway Theme: Feathers
Challenge Winner: Asia O'Hara
Maxi Challenge Prize: $2,000 gift card to Casper Sleep and a $3,000 gift card to Catherine D'Lish
Bottom Two: Mayhem Miller & Yuhua Hamasaki
Lip Sync Song: "Celebrity Skin" by Hole
Eliminated: Yuhua Hamasaki
Farewell message: "我爱 you (I love you all! Season 10 is going to be amazing! - Yuhua Hamasaki)"

1214"The Last Ball on Earth[37]"April 12, 2018 (2018-04-12)[38]
The 11 remaining queens were asked by RuPaul to be part of a satire photo-bombing photo shoot featuring infamous celebrity photos; Aquaria won the mini-challenge. For the maxi-challenge, RuPaul tasked the contestants to design three looks for "The Last Ball on Earth". The three categories are: Alaskan Winter Realness, Miami Summer Realness, and Martian Eleganza Extravaganza. On the main stage, Blair St. Clair, Eureka, Mayhem Miller, Monique Heart, and The Vixen were declared safe. Aquaria, Kameron Michaels, and Miz Cracker were all praised for their runway looks, and Aquaria won the main challenge. Asia O'Hara, Dusty Ray Bottoms, and Monét X Change were criticized for their runway looks, though all three were praised for their Miami Summer Realness costume. Asia was declared safe, while Dusty and Monet lip-synced to Nicki Minaj's "Pound the Alarm"; Monét won the lip-sync and Dusty was eliminated from the competition.

Guest Judges: Logan Browning & Tisha Campbell Martin
Alternating Judge: Ross Matthews
Mini-Challenge: Photobomb iconic celebrity pictures
Mini-Challenge Winner: Aquaria
Mini-Challenge Prize: $1,000 credit to Postmates
Maxi Challenge: Create three looks based on climate change; Alaskan Winter Realness, Miami Summer Realness, and Martian Eleganza Extravaganza
Challenge Winner: Aquaria
Maxi Challenge Prize: $2,000 gift card to D Bleu Dazzled and wigs courtesy of RockStar Wigs
Bottom Two: Dusty Ray Bottoms & Monét X Change
Lip Sync Song: "Pound the Alarm" by Nicki Minaj
Eliminated: Dusty Ray Bottoms
Farewell message: "NEVA LAVD YA! ❤ Dusty"

1225"The Bossy Rossy Show[37]"April 19, 2018 (2018-04-19)[38]
The 10 remaining queens were tasked by RuPaul to get into quick drag and create an outfit inspired by the military; The Vixen wins the mini-challenge and pairs each contestant for the maxi-challenge.[39] In The Bossy Rossy Show, the queens must improvise through a storyline; Asia & The Vixen starred in a copycat storyline, Miz Cracker & Mayhem in a pickle phobia scene, Eureka & Aquaria in an adult baby scene, Blair & Monique in I Married a Cactus, and Kameron & Monét in a My Strange Addiction-style storyline.[39] The runway theme for the episode is denim and diamonds. On the main stage, Asia, Aquaria, Blair, and Kameron were declared safe. Miz Cracker and Monique Heart received praise on their performances and runway looks, however Eureka is declared the winner. Mayhem Miller, Monét X Change, and The Vixen were criticised for their performances, though The Vixen received positive remarks for her runway look. The Vixen is declared safe, while Mayhem and Monet lip-synced to "Man! I Feel Like a Woman!" by Shania Twain. Monét wins the lip sync and Mayhem is eliminated from the competition.[39]

Guest Judges: Carrie Preston & Shania Twain
Alternating Judge: Carson Kressley
Mini-Challenge: Create a military inspired outfit to enlist in the Drag Army
Mini-Challenge Winner: The Vixen
Maxi Challenge: Working in pairs, improvise in the new day-time talk show "Bossy Rossy"
Runway Theme: Denim & Diamonds
Challenge Winner: Eureka
Maxi Challenge Prize: 2 VIP tickets to Cirque du Soleil: Zumanity in Las Vegas, including flights and accommodation.
Bottom Two: Mayhem Miller & Monét X Change
Lip Sync Song: "Man! I Feel Like a Woman!" by Shania Twain
Eliminated: Mayhem Miller
Farewell message: "I ❤ to PARTY xoxo May"

1236"Drag Con Panel Extravaganza[37]"April 26, 2018 (2018-04-26)[38]
The 9 remaining queens were asked by RuPaul to participate in a game of Sittin' on a Secret, where contestants sit on an object while blind-folded; Asia O'Hara wins the challenge by guessing the most objects. For the maxi challenge, RuPaul tasks the queens to take part in a special rendition of RuPaul's DragCon.[26] The queens get to choose their own teams: Blair St. Clair, The Vixen, & Miz Cracker as Team Hair, Eureka, Kameron, & Monét X Change as Team Body, and Asia O'Hara, Aquaria, & Monique Heart as Team Face. Additionally, RuPaul announces that their performances will be in front of a live audience, and each contestant will be ranked in a poll.[26] The runway theme for this episode is Hats Incredible. On the main stage, Aquaria, Asia, and Monique are declared safe. Eureka, Kameron, and Monét are selected as the top team of the week, with Eureka winning the and receiving the highest public vote. Blair, Miz Cracker, and The Vixen are deemed the bottom team for their performances. Miz Cracker is declared safe, while Blair and The Vixen lip-synced to "I'm Coming Out" by Diana Ross. The Vixen wins the lip sync and Blair is eliminated from the competition.[26]

Guest Judges: Kumail Nanjiani & Emily V. Gordon
Alternating Judge: Ross Mathews
Mini-Challenge: Identify objects only by sitting on them
Mini-Challenge Winner: Asia O'Hara
Mini-Challenge Prize: $2,000 hair care package from Art Lab Salon
Maxi Challenge: In teams, create and produce RuPaul's DragCon panels on hair, face, and body in front of a live audience.
Runway Theme: Hats Incredible
Challenge Winner: Eureka
Maxi Challenge Prize: Four-night stay and spa treatments for 2 at Saguaro in Palm Springs
Bottom Two: Blair St. Clair & The Vixen
Lip Sync Song: "I'm Coming Out" by Diana Ross
Eliminated: Blair St. Clair
Farewell message: "Let me be your STAR! xoxo Blair St. Clair"

1247"Snatch Game[37]"May 3, 2018 (2018-05-03)[38]
The eight remaining queens were asked by RuPaul to participate in the mini-challenge roast "Reading is Fundamental", with Eureka winning. RuPaul tasks the contestants to participate in the series Snatch Game, where each queen impersonates a celebrity; Aquaria plays as Melania Trump, Asia O'Hara as Beyonce, Eureka as Alana Thompson, Kameron Michaels as Chyna, Miz Cracker as Dorothy Parker, Monét x Change as Maya Angelou, Monique Heart as Maxine Waters, and The Vixen as Blue Ivy Carter. Additionally, the runway theme was inspired by mermaids.[27] On the main stage, Kameron and Miz Cracker were deemed safe. Eureka and Monét x Change received positive reviews for their performances, but received mixed commentary for their runway looks. Aquaria won her second challenge, based on her performance and runway look. Asia, Monique and The Vixen were all criticized for their impersonations and runway looks. Asia is declared safe, while Monique and The Vixen lip-synced to "Cut to the Feeling" by Carly Rae Jepsen. During the lip-sync, Monique did not know the words to the song, which ultimately made The Vixen win and Monique being eliminated from the competition.[27]

Guest Judges: Audra McDonald & Kate Upton
Alternating Judge: Carson Kressley
Mini-Challenge: Reading Is Fundamental
Mini-Challenge Winner: Eureka
Mini-Challenge Prize: $2,000 gift card to l.a.Eyeworks
Maxi Challenge: Impersonate celebrities in the annual comedy challenge of Snatch Game
Runway Theme: Mermaid Fantasy
Challenge Winner: Aquaria
Maxi Challenge Prize: 6-night stay at Grove Hotel on Fire Island
Bottom Two: Monique Heart & The Vixen
Lip Sync Song: "Cut to the Feeling" by Carly Rae Jepsen
Eliminated: Monique Heart
Farewell message: "Always abide in love & learn your words! Facts are facts"

1258"The Unauthorized Rusical[37]"May 10, 2018 (2018-05-10)[38]
The seven remaining queens were asked by RuPaul to participate in an improv mini-challenge that pastiches a similar scene from the finale of season two. Each queen has to try and make RuPaul slap them, with Asia O'Hara winning the mini-challenge.[28] For the main challenge, the contestants were tasked by RuPaul to perform and sing in a live tribute act to American singer and actress Cher, titled "Cher: The Unauthorized Rusical". The contestants portray Cher from different phases of her career: Aquaria as Disco Cher, Asia O'Hara as Movie Star Cher, Eureka as Rock Star Cher, Kameron Michaels as '60s Cher, Miz Cracker as Comeback Cher, and Monét x Change and The Vixen as Variety Show Cher. Subsequently, the runway theme for this episode is Glitterific.[28]
On the main stage, Monét received positive comments for her performance and mixed reviews for her runway look, conversely for both Eureka and Miz Cracker with their runway and performance; all three contestants were deemed safe. Kameron was praised for both her runway look and Cher performance, winning the main challenge. Aquaria, Asia and The Vixen were complimented for their runway looks, but their performances placed them in the bottom three. Aquaria is declared safe, while Asia and The Vixen lip-synced to Groove Is In the Heart by Deee-Lite. Asia wins the lip sync and The Vixen is eliminated from the competition.[28]

Guest Judges: Billy Eichner & Andrew Rannells
Alternating Judge: Carson Kressley
Mini-Challenge: Attempt to make RuPaul slap them in a game called Slap Out of It
Mini-Challenge Winner: Asia O'Hara
Mini-Challenge Prize: $2,000 gift card to Sparkles Rhinestones
Maxi Challenge: Sing live in Cher: The Unauthorized Rusical
Runway Theme: Glitterific
Challenge Winner: Kameron Michaels
Maxi Challenge Prize: A luxury VIP getaway to Sofitel Hotel in Los Angeles
Bottom Two: Asia O'Hara & The Vixen
Lip Sync Song: "Groove Is In the Heart" by Deee-Lite
Eliminated: The Vixen
Farewell message: "EVIL Triumps when good queens do nothing! Buy My Album The Vixen"

1269"Breastworld[37]"May 17, 2018 (2018-05-17)[38]
The six remaining queens were asked by RuPaul to participate in a guessing game which involves each queen trying to match the most underwear worn by the Pit Crew; Aquaria wins the mini-challenge.[29] For the maxi challenge, RuPaul tasks the queens to act in a show titled Breastworld, loosely inspired by the American television show Westworld. Since Aquaria won the mini-challenge, she got to assign the characters: Aquaria as Dyslexa, Asia O'Hara as Para Salin, Eureka as Rosie, Kameron Michaels as Muffy, Miz Cracker as Julie, and Monét X Change as Viv. Subsequently, the runway theme was Silver Foxy, where the queens have to dress as aged-versions of themselves.[29]
On the main stage, Aquaria's performance and runway look received warm reviews from the judges, but was ultimately declared safe. Asia and Monét were praised for their performances, though both their runway looks received mixed opinions; eventually, Asia was declared the winner of the main challenge. Eureka, Kameron and Miz Cracker were placed in the bottom three for their performances, though Eureka received negative reviews for her runway look. Miz Cracker is declared safe, while Eureka and Kameron lip-synced to "New Attitude" by Patti LaBelle; and both Eureka and Kameron won the lip-sync.[29]

Guest Judges: Abbi Jacobson & Ilana Glazer
Alternating Judge: Ross Mathews
Mini-Challenge: Find matching pairs of Pit Crew underwear in a game called Pants Down Bottoms Up
Mini-Challenge Winner: Aquaria
Maxi Challenge: The queens must act in the new hit series, "Breastworld"
Runway Theme: Silver Foxy
Challenge Winner: Asia O'Hara
Maxi Challenge Prize: 4-night stay at Frog Meadow Farm in Vermont
Bottom Two: Eureka & Kameron Michaels
Lip Sync Song: "New Attitude" by Patti LaBelle
Eliminated: None

12710"Social Media Kings Into Queens[37]"May 24, 2018 (2018-05-24)[40]
The six remaining queens were asked by RuPaul to appear in a commercial that promotes RuPaul's perfume for men, titled Trade. Each queen is to dress as butch men and deliver comedic improvisations for the mini-challenge, and Eureka wins.[30] Eureka is tasked by RuPaul to pair each contestant with six special guests for the make-over challenge: Aquaria gets paired with Kingsley, Asia O'Hara and Raymond Braun, Eureka and Frankie Grande, Kameron Michaels and Anthony Padilla, Miz Cracker and Chester See, and Monét X Change with Tyler Oakley. Subsequently, each pair took part in a home-made music video to RuPaul's song "Charisma Uniqueness Nerve and Talent".[30]
On the main stage, Asia and Eureka, alongside their drag daughters America O'Hara and Eufreaka, received postiive reviews for their performances and make-overs, but were declared safe. Miz Cracker and her drag daughter Miz Cookie were commended for their performances, make-over, and chemistry, and were deemed the winners of the challenge. The bottom queens of the week were Aquaria, Kameron and Monet, who were criticized for not having a make-over resemblance to their drag daughters Capricia Corn, Kelly Michaels, and Short Change. Aquaria is declared safe, while Kameron and Monet lip-synced to "Good as Hell" by Lizzo; Kameron wins the lip-sync and Monet is eliminated from the competition.[30]

Guest Judges: Miles Heizer & Lizzo
Alternating Judge: Ross Mathews
Mini-Challenge: Participate in a manly photoshoot advertising a new body spray, Trade
Mini-Challenge Winner: Eureka
Mini-Challenge Prize: $2,000 gift card to MuLondon
Maxi Challenge: Give drag makeovers to social media superstars
Challenge Winner: Miz Cracker
Maxi Challenge Prize: $2,000 gift card to Jane Doe Latex for the queen and a $2,000 gift card to Klein, Epstein, & Parker for their partner
Bottom Two: Kameron Michaels & Monét X Change
Lip Sync Song: "Good as Hell" by Lizzo
Eliminated: Monét X Change
Farewell message: "Long Live the Sponge!!! MXC"

12811"Evil Twins[37]"June 7, 2018 (2018-06-07)[40]

Guest Judges: Lena Dunham & Ashanti
Alternating Judge: Carson Kressley
Mini-Challenge: Decorate a pancake in edible drag
Mini-Challenge Winner: Asia O'Hara
Mini-Challenge Prize: $2,000 gift card to The Spa on Rodeo
Maxi Challenge: Present two characters on the runway: best self and evil twin
Challenge Winner: Aquaria
Maxi Challenge Prize: A trip for 2 to The Grand Resort and Spa in Fort Lauderdale and two luggage sets from Radden Luggage
Bottom two: Kameron Michaels & Miz Cracker
Lip Sync Song: "Nasty Girl" by Vanity 6
Eliminated: Miz Cracker
Farewell message: "KNOW YOURSELF M"

12912"American[37]"June 14, 2018 (2018-06-14)[40]

Guest Judge: Todrick Hall
Alternating Judges: Carson Kressley & Ross Mathews
Maxi Challenge: Write, record, and perform their own verse to RuPaul's song "American" and guest star on the "What's the Tee?" podcast with Michelle Visage
Lip Sync Song: "Call Me Mother" by RuPaul

13013"Queens Reunited[37]"June 21, 2018 (2018-06-21)[40]
The queens reunite to discuss the season's highlights and drama
13114"Grand Finale[37]"June 28, 2018 (2018-06-28)[40]
"America's Next Drag Superstar" and "Miss Congeniality" are crowned

Miss Congeniality: Monét X Change
Eliminated: Asia O'Hara
Runners-up: Eureka & Kameron Michaels
Winner of RuPaul's Drag Race Season Ten: Aquaria

text: Ratings[edit]

text:
No.

Title

Air date
Rating/share(18–49)
Viewers(millions)

1

"10's Across the Board"

March 22, 2018
0.39[41]
0.785[41]

2

"PharmaRusical"

March 29, 2018
0.29[42]
0.581[42]

3

"Tap That App"

April 5, 2018
0.42[43]
0.766[43]

4

"The Last Ball on Earth"

April 12, 2018
0.36[44]
0.694[44]

5

"The Bossy Rossy Show"

April 19, 2018
0.39[45]
0.692[45]

6

"Drag Con Panel Extravaganza"

April 26, 2018
0.41[46]
0.771[46]

7

"Snatch Game"

May 3, 2018
0.45[47]
0.840[47]

8

"The Unauthorized Rusical"

May 10, 2018
0.37[48]
0.723[48]

9

"Breastworld"

May 17, 2018
0.33[49]
0.698[49]

10

"Social Media Kings Into Queens"

May 24, 2018
0.35[50]
0.715[50]

11

"Evil Twins"

June 7, 2018
0.31[51]
0.631[51]

12

"American"

June 14, 2018
0.35[52]
0.761[52]

13

"Queens Reunited"

June 21, 2018
0.27[53]
0.632[53]

14

"Grand Finale"

June 28, 2018
0.41[54]
0.838[54]


document_title: Suspect

question_text: who is the person who commits a crime

question_tokens: who is the person who commits a crime

root

text: Suspect

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. (March 2012) (Learn how and when to remove this template message)

tag: table

text: The examples and perspective in this article deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (March 2012) (Learn how and when to remove this template message)

text: In law enforcement jargon, a suspect is a known person accused or suspected of committing a crime. Police and reporters in the United States often use the word suspect as a jargon when referring to the perpetrator of the offense (perp in dated US slang). However, in official definition, the perpetrator is the robber, assailant, counterfeiter, etc.—the person who committed the crime. The distinction between suspect and perpetrator recognizes that the suspect is not known to have committed the offense, while the perpetrator—who may not yet have been suspected of the crime, and is thus not necessarily a suspect—is the one who did. The suspect may be a different person from the perpetrator, or there may have been no actual crime, which would mean there is no perpetrator.[1]

tag: p

text: A common error in police reports is a witness description of the suspect (as a witness generally describes a perpetrator, while a mug shot is of suspect). Frequently it is stated that police are looking for the suspect, when there is no suspect; the police could be looking for a suspect, but they are surely looking for the perpetrator, and very often it is impossible to tell from such a police report whether there is a suspect or not.

text: Possibly because of the misuse of suspect to mean perpetrator, police in the early 21st century began to use person of interest, possible suspect, and even possible person of interest, to mean suspect.

text: Under the judicial systems of the U.S., once a decision is approved to arrest a suspect, or bind him over for trial, either by a prosecutor issuing an information, a grand jury issuing a true bill or indictment, or a judge issuing an arrest warrant, the suspect can then be properly called a defendant, or the accused. Only after being convicted is the suspect properly called the perpetrator.


document_title: African-American culture

question_text: what was the term given to the period when african american culture became popular

question_tokens: what was the term given to the period when african american culture became popular

text: African-American culture

text: African-American cultural history[edit]

text: From the earliest days of American slavery in the 17th century, slave owners sought to exercise control over their slaves by attempting to strip them of their African culture. The physical isolation and societal marginalization of African slaves and, later, of their free progeny, however, facilitated the retention of significant elements of traditional culture among Africans in the New World generally, and in the US in particular. Slave owners deliberately tried to repress independent political or cultural organization in order to deal with the many slave rebellions or acts of resistance that took place in the United States, Brazil, Haiti, and the Dutch Guyanas.[8]

text: African cultures, slavery, slave rebellions, and the civil rights movement have shaped African-American religious, familial, political, and economic behaviors. The imprint of Africa is evident in a myriad of ways: in politics, economics, language, music, hairstyles, fashion, dance, religion, cuisine, and worldview.

text: In turn, African-American culture has had a pervasive, transformative impact on many elements of mainstream American culture. This process of mutual creative exchange is called creolization.[7] Over time, the culture of African slaves and their descendants has been ubiquitous in its impact on not only the dominant American culture, but on world culture as well.[9]

text: Oral tradition[edit]

text: Slaveholders limited or prohibited education of enslaved African Americans because they feared it might empower their chattel and inspire or enable emancipatory ambitions. In the United States, the legislation that denied slaves formal education likely contributed to their maintaining a strong oral tradition, a common feature of indigenous African cultures.[10] African-based oral traditions became the primary means of preserving history, mores, and other cultural information among the people. This was consistent with the griot practices of oral history in many African and other cultures that did not rely on the written word. Many of these cultural elements have been passed from generation to generation through storytelling. The folktales provided African Americans the opportunity to inspire and educate one another.[10]

text: Examples of African-American folktales include trickster tales of Br'er Rabbit[11] and heroic tales such as that of John Henry.[12] The Uncle Remus stories by Joel Chandler Harris helped to bring African-American folk tales into mainstream adoption.[13] Harris did not appreciate the complexity of the stories nor their potential for a lasting impact on society.[14] Other narratives that appear as important, recurring motifs in African-American culture are the "Signifying Monkey", "The Ballad of Shine", and the legend of Stagger Lee.

text: The legacy of the African-American oral tradition manifests in diverse forms. African-American preachers tend to perform rather than simply speak. The emotion of the subject is carried through the speaker's tone, volume, and cadence, which tend to mirror the rising action, climax, and descending action of the sermon. Often song, dance, verse, and structured pauses are placed throughout the sermon. Call and response is another pervasive element of the African-American oral tradition. It manifests in worship in what is commonly referred to as the "amen corner". In direct contrast to recent tradition in other American and Western cultures, it is an acceptable and common audience reaction to interrupt and affirm the speaker.[15] This pattern of interaction is also in evidence in music, particularly in blues and jazz forms. Hyperbolic and provocative, even incendiary, rhetoric is another aspect of African-American oral tradition often evident in the pulpit in a tradition sometimes referred to as "prophetic speech".[16]

text: Modernity and migration of black communities to the North has had a history of placing strain on the retention of black cultural practices and traditions. The urban and radically different spaces in which black culture was being produced raised fears in anthropologists and sociologists that the southern black folk aspect of black popular culture were at risk of being lost in history. The study over the fear of losing black popular cultural roots from the South have a topic of interest to many anthropologists, who among them include Zora Neale Hurston. Through her extensive studies of Southern folklore and cultural practices, Hurston has claimed that the popular Southern folklore traditions and practices are not dying off. Instead they are evolving, developing, and re-creating themselves in different regions.[17]

text: Other aspects of African-American oral tradition include the dozens, signifying, trash talk, rhyming, semantic inversion and word play, many of which have found their way into mainstream American popular culture and become international phenomena.[18]

text: Spoken word artistry is another example of how the African-American oral tradition has influenced modern popular culture. Spoken word artists employ the same techniques as African-American preachers including movement, rhythm, and audience participation.[19] Rap music from the 1980s and beyond has been seen as an extension of oral culture.[10]

text: Harlem Renaissance[edit]

text: The first major public recognition of African-American culture occurred during the Harlem Renaissance pioneered by Alain Locke. In the 1920s and 1930s, African-American music, literature, and art gained wide notice. Authors such as Zora Neale Hurston and Nella Larsen and poets such as Langston Hughes, Claude McKay, and Countee Cullen wrote works describing the African-American experience. Jazz, swing, blues and other musical forms entered American popular music. African-American artists such as William H. Johnson and Palmer Hayden created unique works of art featuring African Americans.[18]

text: The Harlem Renaissance was also a time of increased political involvement for African Americans. Among the notable African-American political movements founded in the early 20th century are the United Negro Improvement Association and the National Association for the Advancement of Colored People. The Nation of Islam, a notable quasi-Islamic religious movement, also began in the early 1930s.[20]

text: African-American cultural movement[edit]

text: The Black Power movement of the 1960s and 1970s followed in the wake of the non-violent Civil Rights Movement. The movement promoted racial pride and ethnic cohesion in contrast to the focus on integration of the Civil Rights Movement, and adopted a more militant posture in the face of racism.[21] It also inspired a new renaissance in African-American literary and artistic expression generally referred to as the African-American or "Black Arts Movement".

text: The works of popular recording artists such as Nina Simone ("Young, Gifted and Black") and The Impressions ("Keep On Pushing"), as well as the poetry, fine arts, and literature of the time, shaped and reflected the growing racial and political consciousness.[22] Among the most prominent writers of the African-American Arts Movement were poet Nikki Giovanni;[23] poet and publisher Don L. Lee, who later became known as Haki Madhubuti; poet and playwright Leroi Jones, later known as Amiri Baraka; and Sonia Sanchez. Other influential writers were Ed Bullins, Dudley Randall, Mari Evans, June Jordan, Larry Neal, and Ahmos Zu-Bolton.

text: Another major aspect of the African-American Arts Movement was the infusion of the African aesthetic, a return to a collective cultural sensibility and ethnic pride that was much in evidence during the Harlem Renaissance and in the celebration of Négritude among the artistic and literary circles in the US, Caribbean, and the African continent nearly four decades earlier: the idea that "black is beautiful". During this time, there was a resurgence of interest in, and an embrace of, elements of African culture within African-American culture that had been suppressed or devalued to conform to Eurocentric America. Natural hairstyles, such as the afro, and African clothing, such as the dashiki, gained popularity. More importantly, the African-American aesthetic encouraged personal pride and political awareness among African Americans.[24]

text: Music[edit]

text: African-American music is rooted in the typically polyrhythmic music of the ethnic groups of Africa, specifically those in the Western, Sahelean, and Sub-Saharan regions. African oral traditions, nurtured in slavery, encouraged the use of music to pass on history, teach lessons, ease suffering, and relay messages. The African pedigree of African-American music is evident in some common elements: call and response, syncopation, percussion, improvisation, swung notes, blue notes, the use of falsetto, melisma, and complex multi-part harmony.[10] During slavery, Africans in America blended traditional European hymns with African elements to create spirituals.[25]

text: Many African Americans sing "Lift Every Voice and Sing" in addition to the American national anthem, "The Star-Spangled Banner", or in lieu of it. Written by James Weldon Johnson and John Rosamond Johnson in 1900 to be performed for the birthday of Abraham Lincoln, the song was, and continues to be, a popular way for African Americans to recall past struggles and express ethnic solidarity, faith, and hope for the future.[26] The song was adopted as the "Negro National Anthem" by the NAACP in 1919.[27] Many African-American children are taught the song at school, church or by their families. "Lift Ev'ry Voice and Sing" traditionally is sung immediately following, or instead of, "The Star-Spangled Banner" at events hosted by African-American churches, schools, and other organizations.[28]

text: In the 19th century, as the result of the blackface minstrel show, African-American music entered mainstream American society. By the early 20th century, several musical forms with origins in the African-American community had transformed American popular music. Aided by the technological innovations of radio and phonograph records, ragtime, jazz, blues, and swing also became popular overseas, and the 1920s became known as the Jazz Age. The early 20th century also saw the creation of the first African-American Broadway shows, films such as King Vidor's Hallelujah!, and operas such as George Gershwin's Porgy and Bess.

text: Rock and roll, doo wop, soul, and R&B developed in the mid-20th century. These genres became very popular in white audiences and were influences for other genres such as surf. During the 1970s, the dozens, an urban African-American tradition of using rhyming slang to put down one's enemies (or friends), and the West Indian tradition of toasting developed into a new form of music. In the South Bronx the half speaking, half singing rhythmic street talk of "rapping" grew into the hugely successful cultural force known as hip hop.[29]

text: Contemporary[edit]

text: Hip Hop would become a multicultural movement, however, it still remained important to many African Americans. The African-American Cultural Movement of the 1960s and 1970s also fueled the growth of funk and later hip-hop forms such as rap, hip house, new jack swing, and go-go. House music was created in black communities in Chicago in the 1980s. African-American music has experienced far more widespread acceptance in American popular music in the 21st century than ever before. In addition to continuing to develop newer musical forms, modern artists have also started a rebirth of older genres in the form of genres such as neo soul and modern funk-inspired groups.[30]

text: In contemporary art, black subject matter has been used as raw material to portray the Black experience and aesthetics. The way Blacks' facial features were once conveyed as stereotypical in media and entertainment continues to be an influence within art. Dichotomies arise from artworks such as Open Casket by Dana Schutz based on the murder of Emmett Till to remove the painting and destroy it from the way Black pain is conveyed.[31] Meanwhile, Black artists such as Kerry James Marshall portrays the Black body as empowerment and Black invisibility.

text: The arts[edit]

text: Dance[edit]

text: African-American dance, like other aspects of African-American culture, finds its earliest roots in the dances of the hundreds of African ethnic groups that made up African slaves in the Americas as well as influences from European sources in the United States. Dance in the African tradition, and thus in the tradition of slaves, was a part of both everyday life and special occasions. Many of these traditions such as get down, ring shouts, and other elements of African body language survive as elements of modern dance.[32]

text: In the 19th century, African-American dance began to appear in minstrel shows. These shows often presented African Americans as caricatures for ridicule to large audiences. The first African-American dance to become popular with white dancers was the cakewalk in 1891.[33] Later dances to follow in this tradition include the Charleston, the Lindy Hop, the Jitterbug and the swing.[34]

text: During the Harlem Renaissance, African-American Broadway shows such as Shuffle Along helped to establish and legitimize African-American dancers. African-American dance forms such as tap, a combination of African and European influences, gained widespread popularity thanks to dancers such as Bill Robinson and were used by leading white choreographers, who often hired African-American dancers.[34]

text: Contemporary African-American dance is descended from these earlier forms and also draws influence from African and Caribbean dance forms. Groups such as the Alvin Ailey American Dance Theater have continued to contribute to the growth of this form. Modern popular dance in America is also greatly influenced by African-American dance. American popular dance has also drawn many influences from African-American dance most notably in the hip-hop genre.[35]

text: One of the uniquely African American forms of dancing, turfing, emerged from social and political movements in the East Bay in the San Francisco Bay Area.[36] Turfing is a hood dance and a response to the loss of African American lives, police brutality, and race relations in Oakland, California.[37] The dance is an expression of Blackness, and one that integrates concepts of solidarity, social support, peace, and the discourse of the state of black people in our current social structures.[38][39][40]

text: Art[edit]

text: From its early origins in slave communities, through the end of the 20th century, African-American art has made a vital contribution to the art of the United States.[41] During the period between the 17th century and the early 19th century, art took the form of small drums, quilts, wrought-iron figures, and ceramic vessels in the southern United States. These artifacts have similarities with comparable crafts in West and Central Africa. In contrast, African-American artisans like the New England–based engraver Scipio Moorhead and the Baltimore portrait painter Joshua Johnson created art that was conceived in a thoroughly western European fashion.[42]

text: During the 19th century, Harriet Powers made quilts in rural Georgia, United States that are now considered among the finest examples of 19th-century Southern quilting.[43] Later in the 20th century, the women of Gee's Bend developed a distinctive, bold, and sophisticated quilting style based on traditional African-American quilts with a geometric simplicity that developed separately but was like that of Amish quilts and modern art.[44]

text: After the American Civil War, museums and galleries began more frequently to display the work of African-American artists. Cultural expression in mainstream venues was still limited by the dominant European aesthetic and by racial prejudice. To increase the visibility of their work, many African-American artists traveled to Europe where they had greater freedom. It was not until the Harlem Renaissance that more European Americans began to pay attention to African-American art in America.[45]

text: During the 1920s, artists such as Raymond Barthé, Aaron Douglas,[46] Augusta Savage,[47] and photographer James Van Der Zee[48] became well known for their work. During the Great Depression, new opportunities arose for these and other African-American artists under the WPA. In later years, other programs and institutions, such as the New York City-based Harmon Foundation, helped to foster African-American artistic talent. Augusta Savage, Elizabeth Catlett, Lois Mailou Jones, Romare Bearden, Jacob Lawrence, and others exhibited in museums and juried art shows, and built reputations and followings for themselves.

text: In the 1950s and 1960s, there were very few widely accepted African-American artists. Despite this, The Highwaymen, a loose association of 27 African-American artists from Ft. Pierce, Florida, created idyllic, quickly realized images of the Florida landscape and peddled some 50,000 of them from the trunks of their cars. They sold their art directly to the public rather than through galleries and art agents, thus receiving the name "The Highwaymen". Rediscovered in the mid-1990s, today they are recognized as an important part of American folk history.[49][50] Their artwork is widely collected by enthusiasts and original pieces can easily fetch thousands of dollars in auctions and sales.[51]

text: The Black Arts Movement of the 1960s and 1970s was another period of resurgent interest in African-American art. During this period, several African-American artists gained national prominence, among them Lou Stovall, Ed Love, Charles White, and Jeff Donaldson. Donaldson and a group of African-American artists formed the Afrocentric collective AfriCOBRA, which remains in existence today. The sculptor Martin Puryear, whose work has been acclaimed for years, was being honored with a 30-year retrospective of his work at the Museum of Modern Art in New York in November 2007.[52] Notable contemporary African-American artists include Willie Cole, David Hammons, Eugene J. Martin, Mose Tolliver, Reynold Ruffins, the late William Tolliver, and Kara Walker.[53]

text: Literature[edit]

text: African-American literature has its roots in the oral traditions of African slaves in America. The slaves used stories and fables in much the same way as they used music.[10] These stories influenced the earliest African-American writers and poets in the 18th century such as Phillis Wheatley and Olaudah Equiano. These authors reached early high points by telling slave narratives.

text: During the early 20th century Harlem Renaissance, numerous authors and poets, such as Langston Hughes, W. E. B. Du Bois, and Booker T. Washington, grappled with how to respond to discrimination in America. Authors during the Civil Rights Movement, such as Richard Wright, James Baldwin, and Gwendolyn Brooks wrote about issues of racial segregation, oppression, and other aspects of African-American life. This tradition continues today with authors who have been accepted as an integral part of American literature, with works such as Roots: The Saga of an American Family by Alex Haley, The Color Purple by Alice Walker, Beloved by Nobel Prize-winning Toni Morrison, and fiction works by Octavia Butler and Walter Mosley. Such works have achieved both best-selling and/or award-winning status.[54]

text: Museums[edit]

text: The African-American Museum Movement emerged during the 1950s and 1960s to preserve the heritage of the African-American experience and to ensure its proper interpretation in American history.[55] Museums devoted to African-American history are found in many African-American neighborhoods. Institutions such as the African American Museum and Library at Oakland, The African American Museum in Cleveland and the Natchez Museum of African American History and Culture[56] were created by African Americans to teach and investigate cultural history that, until recent decades was primarily preserved through oral traditions.[57] Other prominent museums include Chicago's DuSable Museum of African American History and the National Museum of African American History and Culture, part of the Smithsonian Institution in Washington, D.C.

text: Language[edit]

text: Generations of hardships imposed on the African-American community created distinctive language patterns. Slave owners often intentionally mixed people who spoke different African languages to discourage communication in any language other than English. This, combined with prohibitions against education, led to the development of pidgins, simplified mixtures of two or more languages that speakers of different languages could use to communicate.[58] Examples of pidgins that became fully developed languages include Creole, common to Louisiana,[59] and Gullah, common to the Sea Islands off the coast of South Carolina and Georgia.[60]

text: African American Vernacular English (AAVE) is a variety (dialect, ethnolect, and sociolect) of the American English language closely associated with the speech of, but not exclusive to, African Americans.[61] While AAVE is academically considered a legitimate dialect because of its logical structure, some of both whites and African Americans consider it slang or the result of a poor command of Standard American English. Many African Americans who were born outside the American South still speak with hints of AAVE or southern dialect. Inner-city African-American children who are isolated by speaking only AAVE sometimes have more difficulty with standardized testing and, after school, moving to the mainstream world for work.[62][63] It is common for many speakers of AAVE to code switch between AAVE and Standard American English depending on the setting.[64]

text: Fashion and aesthetics[edit]

text: Attire[edit]

text: The Black Arts Movement, a cultural explosion of the 1960s, saw the incorporation of surviving cultural dress with elements from modern fashion and West African traditional clothing to create a uniquely African-American traditional style. Kente cloth is the best known African textile.[65] These festive woven patterns, which exist in numerous varieties, were originally made by the Ashanti and Ewe peoples of Ghana and Togo. Kente fabric also appears in a number of Western style fashions ranging from casual T-shirts to formal bow ties and cummerbunds. Kente strips are often sewn into liturgical and academic robes or worn as stoles. Since the Black Arts Movement, traditional African clothing has been popular amongst African Americans for both formal and informal occasions.[66] Other manifestations of traditional African dress in common evidence in African-American culture are vibrant colors, mud cloth, trade beads and the use of Adinkra motifs in jewelry and in couture and decorator fabrics.

text: Another common aspect of fashion in African-American culture involves the appropriate dress for worship in the Black church. It is expected in most churches that an individual present their best appearance for worship. African-American women in particular are known for wearing vibrant dresses and suits. An interpretation of a passage from the Christian Bible, "...every woman who prays or prophesies with her head uncovered dishonors her head...",[67] has led to the tradition of wearing elaborate Sunday hats, sometimes known as "crowns".[68][69]

text: Hair[edit]

text: Hair styling in African-American culture is greatly varied. African-American hair is typically composed of coiled curls, which range from tight to wavy. Many women choose to wear their hair in its natural state. Natural hair can be styled in a variety of ways, including the afro, twist outs, braid outs, and wash and go styles. It is a myth that natural hair presents styling problems or is hard to manage; this myth seems prevalent because mainstream culture has, for decades, attempted to get African American women to conform to its standard of beauty (i.e., straight hair). To that end, some women prefer straightening of the hair through the application of heat or chemical processes.[70] Although this can be a matter of personal preference, the choice is often affected by straight hair being a beauty standard in the West and the fact that hair type can affect employment. However, more and more women are wearing their hair in its natural state and receiving positive feedback. Alternatively, the predominant and most socially acceptable practice for men is to leave one's hair natural.[71][72]

text: Often, as men age and begin to lose their hair, the hair is either closely cropped, or the head is shaved completely free of hair. However, since the 1960s, natural hairstyles, such as the afro, braids, and dreadlocks, have been growing in popularity. Despite their association with radical political movements and their vast difference from mainstream Western hairstyles, the styles have attained considerable, but certainly limited, social acceptance.[73]

text: Maintaining facial hair is more prevalent among African-American men than in other male populations in the US.[74] In fact, the soul patch is so named because African-American men, particularly jazz musicians, popularized the style.[75] The preference for facial hair among African-American men is due partly to personal taste, but also because they are more prone than other ethnic groups to develop a condition known as pseudofolliculitis barbae, commonly referred to as razor bumps, many prefer not to shave.[76]

text: Body image[edit]

text: European-Americans have sometimes adopted different hairbraiding techniques and other forms of African-American hair. There are also individuals and groups who are working towards raising the standing of the African aesthetic among African Americans and internationally as well. This includes efforts toward promoting as models those with clearly defined African features; the mainstreaming of natural hairstyles; and, in women, fuller, more voluptuous body types.[73][77]

text: Religion[edit]

text: While African Americans practice a number of religions, Protestant Christianity is by far the most prevalent.[78] Additionally, 14 percent of Muslims in the United States and Canada are black.

text: Christianity[edit]

text: The religious institutions of African-American Christians commonly are referred to collectively as the black church. During slavery, many slaves were stripped of their African belief systems and typically denied free religious practice, forced to become Christian. Slaves managed, however, to hang on to some practices by integrating them into Christian worship in secret meetings. These practices, including dance, shouts, African rhythms, and enthusiastic singing, remain a large part of worship in the African-American church.[79]

text: African-American churches taught that all people were equal in God's eyes and viewed the doctrine of obedience to one's master taught in white churches as hypocritical – yet accepted and propagated internal hierarchies and support for corporal punishment of children among other things .[79] Instead the African-American church focused on the message of equality and hopes for a better future.[80] Before and after emancipation, racial segregation in America prompted the development of organized African-American denominations. The first of these was the AME Church founded by Richard Allen in 1787.[79]

text: After the Civil War the merger of three smaller Baptist groups formed the National Baptist Convention This organization is the largest African-American Christian Denomination and the second largest Baptist denomination in the United States. An African-American church is not necessarily a separate denomination. Several predominantly African-American churches exist as members of predominantly white denominations.[81] African-American churches have served to provide African-American people with leadership positions and opportunities to organize that were denied in mainstream American society. Because of this, African-American pastors became the bridge between the African-American and European American communities and thus played a crucial role in the Civil Rights Movement.[82]

text: Like many Christians, African-American Christians sometimes participate in or attend a Christmas play. Black Nativity by Langston Hughes is a re-telling of the classic Nativity story with gospel music.[83] Productions can be found in African-American theaters and churches all over the country.[84]

text: Islam[edit]

text: Generations before the advent of the Atlantic slave trade, Islam was a thriving religion in West Africa due to its peaceful introduction via the lucrative Trans-Saharan trade between prominent tribes in the southern Sahara and the Arabs and Berbers in North Africa. In his attesting to this fact the West African scholar Cheikh Anta Diop explained: "The primary reason for the success of Islam in Black Africa [...] consequently stems from the fact that it was propagated peacefully at first by solitary Arabo-Berber travelers to certain Black kings and notables, who then spread it about them to those under their jurisdiction".[85] Many first-generation slaves were often able to retain their Muslim identity, their descendants were not. Slaves were either forcibly converted to Christianity as was the case in the Catholic lands or were besieged with gross inconveniences to their religious practice such as in the case of the Protestant American mainland.[86]

text: In the decades after slavery and particularly during the depression era, Islam reemerged in the form of highly visible and sometimes controversial movements in the African-American community. The first of these of note was the Moorish Science Temple of America, founded by Noble Drew Ali. Ali had a profound influence on Wallace Fard, who later founded the Black nationalist Nation of Islam in 1930. Elijah Muhammad became head of the organization in 1934. Much like Malcolm X, who left the Nation of Islam in 1964, many African-American Muslims now follow traditional Islam.[87]

text: Many former members of the Nation of Islam converted to Sunni Islam when Warith Deen Mohammed took control of the organization after his father's death in 1975 and taught its members the traditional form of Islam based on the Qur'an.[88] A survey by the Council on American-Islamic Relations shows that 30% of Sunni Mosque attendees are African Americans. In fact, most African-American Muslims are orthodox Muslims, as only 2% are of the Nation of Islam.[89]

text: Judaism[edit]

text: There are 150,000 African Americans in the United States who practice Judaism.[90] Some of these are members of mainstream Jewish groups like the Reform, Conservative, or Orthodox branches of Judaism; others belong to non-mainstream Jewish groups like the Black Hebrew Israelites. The Black Hebrew Israelites are a collection of African-American religious organizations whose practices and beliefs are derived to some extent from Judaism. Their varied teachings often include, that African Americans are descended from the Biblical Israelites.[91]

text: Studies have shown in the last 10 to 15 years there has been major increase in African-Americans identifying as Jewish.[90] Rabbi Capers Funnye, the first cousin of Michelle Obama, says in response to skepticism by some on people being African-American and Jewish at the same time, "I am a Jew, and that breaks through all color and ethnic barriers."[92]

text: Other religions[edit]

text: Aside from Christianity, Islam, and Judaism, there are also African Americans who follow Buddhism and a number of other religions. There is a small but growing number of African Americans who participate in African traditional religions, such as West African Vodun, Santería, Ifá and diasporic traditions like the Rastafari movement. Many of them are immigrants or descendants of immigrants from the Caribbean and South America, where these are practiced. Because of religious practices, such as animal sacrifice, which are no longer common among the larger American religions, these groups may be viewed negatively and are sometimes the victims of harassment. It must be stated, however, that since the Supreme Court judgement that was given to the Lukumi Babaluaye church of Florida in 1993, there has been no major legal challenge to their right to function as they see fit.[93]

text: Irreligious beliefs[edit]

text: In a 2008 Pew Forum survey, 12% of African Americans described themselves as nothing in particular (11%), agnostic (1%), or atheist (<0.5%).[94]

text: Life events[edit]

text: For most African Americans, the observance of life events follows the pattern of mainstream American culture. While African Americans and whites often lived to themselves for much of American history, both groups generally had the same perspective on American culture. There are some traditions that are unique to African Americans.

text: Some African Americans have created new rites of passage that are linked to African traditions. Some pre-teen and teenage boys and girls take classes to prepare them for adulthood. These classes tend to focus on spirituality, responsibility, and leadership. Many of these programs are modeled after traditional African ceremonies, with the focus largely on embracing African cultures.[95]

text: To this day, some African-American couples choose to "jump the broom" as a part of their wedding ceremony. Although the practice, which can be traced back to Ghana,[96] fell out of favor in the African-American community after the end of slavery, it has experienced a slight resurgence in recent years as some couples seek to reaffirm their African heritage.[97]

text: Funeral traditions tend to vary based on a number of factors, including religion and location, but there are a number of commonalities. Probably the most important part of death and dying in the African-American culture is the gathering of family and friends. Either in the last days before death or shortly after death, typically any friends and family members that can be reached are notified. This gathering helps to provide spiritual and emotional support, as well as assistance in making decisions and accomplishing everyday tasks.

text: The spirituality of death is very important in African-American culture. A member of the clergy or members of the religious community, or both, are typically present with the family through the entire process. Death is often viewed as transitory rather than final. Many services are called homegoings or homecomings, instead of funerals, based on the belief that the person is going home to the afterlife; "Returning to god" or the Earth (also see Euphemism as well as Connotation).[98] The entire end of life process is generally treated as a celebration of the person's life, deeds and accomplishments – the "good things" rather than a mourning of loss. This is most notably demonstrated in the New Orleans jazz funeral tradition where upbeat music, dancing, and food encourage those gathered to be happy and celebrate the homegoing of a beloved friend.[99]

text: Cuisine[edit]

text: In studying of the African American culture, food cannot be left out as one of the medians to understand their traditions, religion, interaction, and social and cultural structures of their community. Observing the ways they prepare their food and eat their food ever since the enslaved era, reveals about the nature and identity of African American culture in the United States.[100] Derek Hicks examines the origins of "gumbo", which is considered a soul food to African Americans, in his reference to the intertwinement of food and culture in African American community. No written evidence are found historically about the gumbo or its recipes, so through the African American's nature of orally passing their stories and recipes down, gumbo came to represent their truly communal dish. Gumbo is said to be "an invention of enslaved Africans and African Americans".[101] By mixing and cooking leftover ingredients from their White owners (often less desirable cuts of meats and vegetables) all together into a dish that has consistency between stew and soup, African Americans took the detestable and created it into a desirable dish. Through sharing of this food in churches with a gathering of their people, they not only shared the food, but also experience, feelings, attachment, and sense of unity that brings the community together.

text: The cultivation and use of many agricultural products in the United States, such as yams, peanuts, rice, okra, sorghum, grits, indigo dyes, and cotton, can be traced to African influences. African-American foods reflect creative responses to racial and economic oppression and poverty. Under slavery, African Americans were not allowed to eat better cuts of meat, and after emancipation many were often too poor to afford them.[102]

text: Soul food, a hearty cuisine commonly associated with African Americans in the South (but also common to African Americans nationwide), makes creative use of inexpensive products procured through farming and subsistence hunting and fishing. Pig intestines are boiled and sometimes battered and fried to make chitterlings, also known as "chitlins". Ham hocks and neck bones provide seasoning to soups, beans and boiled greens (turnip greens, collard greens, and mustard greens).[103]

text: Other common foods, such as fried chicken and fish, macaroni and cheese, cornbread, and hoppin' john (black-eyed peas and rice) are prepared simply. When the African-American population was considerably more rural than it generally is today, rabbit, opossum, squirrel, and waterfowl were important additions to the diet. Many of these food traditions are especially predominant in many parts of the rural South.[103]

text: Traditionally prepared soul food is often high in fat, sodium, and starch. Highly suited to the physically demanding lives of laborers, farmhands and rural lifestyles generally, it is now a contributing factor to obesity, heart disease, and diabetes in a population that has become increasingly more urban and sedentary. As a result, more health-conscious African Americans are using alternative methods of preparation, eschewing trans fats in favor of natural vegetable oils and substituting smoked turkey for fatback and other, cured pork products; limiting the amount of refined sugar in desserts; and emphasizing the consumption of more fruits and vegetables than animal protein. There is some resistance to such changes, however, as they involve deviating from long culinary tradition.[104]

text: Holidays and observances[edit]

text: As with other American racial and ethnic groups, African Americans observe ethnic holidays alongside traditional American holidays. Holidays observed in African-American culture are not only observed by African Americans but are widely considered American holidays. The birthday of noted American civil rights leader Martin Luther King, Jr has been observed nationally since 1983.[105] It is one of three federal holidays named for an individual.[106]

text: Black History Month is another example of another African-American observance that has been adopted nationally and its teaching is even required by law in some states. Black History Month is an attempt to focus attention on previously neglected aspects of the American history, chiefly the lives and stories of African Americans. It is observed during the month of February to coincide with the founding of the NAACP and the birthdays of Frederick Douglass, a prominent African-American abolitionist, and Abraham Lincoln, the United States president who signed the Emancipation Proclamation.[105]

text: On June 7, 1979 President Jimmy Carter decreed that June would be the month of black music. For the past 28 years, presidents have announced to Americans that Black Music Month (also called African-American Music Month) should be recognized as a critical part of American heritage. Black Music Month is highlighted with various events urging citizens to revel in the many forms of music from gospel to hip-hop. African-American musicians, singers, and composers are also highlighted for their contributions to the nation's history and culture.[107]

text: Less-widely observed outside of the African-American community is Emancipation Day popularly known as Juneteenth or Freedom Day, in recognition of the official reading of the Emancipation Proclamation on June 19, 1865, in Texas.[108] Juneteenth is a day when African Americans reflect on their unique history and heritage. It is one of the fastest growing African-American holidays with observances in the United States. Another holiday not widely observed outside of the African-American community is the birthday of Malcolm X. The day is observed on May 19 in American cities with a significant African-American population, including Washington, D.C.[109]

text: Another noted African-American holiday is Kwanzaa. Like Emancipation Day, it is not widely observed outside of the African-American community, although it is growing in popularity with both African-American and African communities. African-American scholar and activist "Maulana" Ron Karenga invented the festival of Kwanzaa in 1966, as an alternative to the increasing commercialization of Christmas. Derived from the harvest rituals of Africans, Kwanzaa is observed each year from December 26 through January 1. Participants in Kwanzaa celebrations affirm their African heritage and the importance of family and community by drinking from a unity cup; lighting red, black, and green candles; exchanging heritage symbols, such as African art; and recounting the lives of people who struggled for African and African-American freedom.[110]

text: Negro Election Day is also another festival derived from rituals of African culture specifically West Africa and revolves around the voting of a black official in New England colonies during the 18th century.

text: Names[edit]

text: Although many African-American names are common among the larger population of the United States, distinct naming trends have emerged within the African American culture. Prior to the 1950s and 1960s, most African-American names closely resembled those used within European American culture.[111] A dramatic shift in naming traditions began to take shape in the 1960s and 1970s in America. With the rise of the mid-century Civil Rights Movement, there was a dramatic rise in names of various origins.[112] The practice of adopting neo-African or Islamic names gained popularity during that era. Efforts to recover African heritage inspired selection of names with deeper cultural significance. Before this, using African names was uncommon because African Americans were several generations removed from the last ancestor to have an African name, as slaves were often given European names and most surnames are of Anglo origin.[113]

text: African-American names have origins in many languages including French, Latin, English, Arabic, and African languages. One very notable influence on African-American names is the Muslim religion. Islamic names entered the popular culture with the rise of The Nation of Islam among Black Americans with its focus on civil rights. The popular name "Aisha" has origins in the Qur'an. Despite the origins of these names in the Muslim religion and the place of the Nation of Islam in the civil rights movement, many Muslim names such as Jamal and Malik entered popular usage among Black Americans simply because they were fashionable, and many Islamic names are now commonly used by African Americans regardless of their religion. Names of African origin began to crop up as well. Names like Ashanti, Tanisha, Aaliyah, Malaika have origins in the continent of Africa.[111][114]

text: By the 1970s and 1980s, it had become common within the culture to invent new names, although many of the invented names took elements from popular existing names. Prefixes such as La/Le-, Da/De-, Ra/Re-, or Ja/Je- and suffixes such as -ique/iqua, -isha, and -aun/-awn are common, as well as inventive spellings for common names.[115]

text: Even with the rise of creative names, it is also still common for African Americans to use biblical, historic, or European names.[111][116][117]

text: Family[edit]

text: When slavery was practiced in the United States, it was common for families to be separated through sale. Even during slavery, however, many African-American families managed to maintain strong familial bonds. Free African men and women, who managed to buy their own freedom by being hired out, who were emancipated, or who had escaped their masters, often worked long and hard to buy the members of their families who remained in bondage and send for them.

text: Others, separated from blood kin, formed close bonds based on fictive kin; play relations, play aunts, cousins, and the like. This practice, a holdover from African oral traditions such as sanankouya, survived Emancipation, with non-blood family friends commonly accorded the status and titles of blood relations. This broader, more African concept of what constitutes family and community, and the deeply rooted respect for elders that is part of African traditional societies, may be the genesis of the common use of the terms like "cousin" (or "cuz"), "aunt", "uncle", "brother", "sister", "Mother", and "Mama" when addressing other African-American people, some of whom may be complete strangers.

text: African-American family structure[edit]

text: Immediately after slavery, African-American families struggled to reunite and rebuild what had been taken. As late as 1960, when most African Americans lived under some form of segregation, 78 percent of African-American families were headed by married couples. This number steadily declined during the latter half of the 20th century.[118] For the first time since slavery, a majority of African-American children live in a household with only one parent, typically the mother.[119]

text: This apparent weakness is balanced by mutual-aid systems established by extended family members to provide emotional and economic support. Older family members pass on social and cultural traditions such as religion and manners to younger family members. In turn, the older family members are cared for by younger family members when they cannot care for themselves. These relationships exist at all economic levels in the African-American community, providing strength and support both to the African-American family and the community.[120]

text: Politics and social issues[edit]

text: Since the passing of the Voting Rights Act, African Americans are voting and being elected to public office in increasing numbers. As of 2008,[update] there were approximately 10,000 African-American elected officials in America.[121] African Americans are overwhelmingly Democratic. Only 11 percent of African Americans voted for George W. Bush in the 2004 Presidential Election.[122]

text: Social issues such as racial profiling,[123] the racial disparity in sentencing,[124] higher rates of poverty,[125] lower access to health care[126] and institutional racism[127] in general are important to the African-American community. While the divide on racial and fiscal issues has remained consistently wide for decades, seemingly indicating a wide social divide, African Americans tend to hold the same optimism and concern for America as whites.

text: These political and social sentiments have been expressed through hip-hop culture, including graffiti, break-dancing, rapping, and more.[128][129][130] This cultural movement makes statements about historical, as well as present-day topics like street culture and incarceration, and oftentimes expresses a call for change.[131][132] Hip hop artists play a prominent role in activism and fighting social injustices, and has a cultural role in defining and reflecting on political and social issues.[133][133]

text: An area where African Americans in general outstrip whites is in their condemnation of homosexuality. Prominent leaders in the Black church have demonstrated against gay rights issues such as gay marriage. This stands in stark contrast to the down-low phenomenon of covert male–male sexual acts. There are those within the community who take a different position, notably the late Coretta Scott King[134] and the Reverend Al Sharpton, the latter of whom, when asked in 2003 whether he supported gay marriage, replied that he might as well have been asked if he supported black marriage or white marriage.[135]

text: African-American population centers[edit]

text: African-American neighborhoods are types of ethnic enclaves found in many cities in the United States. The formation of African-American neighborhoods is closely linked to the history of segregation in the United States, either through formal laws, or as a product of social norms. Despite this, African-American neighborhoods have played an important role in the development of nearly all aspects of both African-American culture and broader American culture.

text: Wealthy African-American communities[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)

text: Many affluent African-American communities exist today, including the following: Woodmore, Maryland; Hillcrest, Rockland County, New York; Redan and Cascade Heights, Georgia; Mitchellville, Maryland; Desoto, Texas; Quinby, South Carolina; Forest Park, Oklahoma; Mount Airy, Philadelphia, Pennsylvania.

text: Ghettos[edit]

text: Due to segregated conditions and widespread poverty some African-American neighborhoods in the United States have been called "ghettos". The use of this term is controversial and, depending on the context, potentially offensive. Despite mainstream America's use of the term "ghetto" to signify a poor urban area populated by ethnic minorities, those living in the area often used it to signify something positive. The African-American ghettos did not always contain dilapidated houses and deteriorating projects, nor were all of its residents poverty-stricken. For many African Americans, the ghetto was "home", a place representing authentic "blackness" and a feeling, passion, or emotion derived from the rising above the struggle and suffering of being of African descent in America.[136]

text: Langston Hughes relays in the "Negro Ghetto" (1931) and "The Heart of Harlem" (1945): "The buildings in Harlem are brick and stone/And the streets are long and wide,/But Harlem's much more than these alone,/Harlem is what's inside." Playwright August Wilson used the term "ghetto" in Ma Rainey's Black Bottom (1984) and Fences (1987), both of which draw upon the author's experience growing up in the Hill District of Pittsburgh, an African-American ghetto.[137]

text: Although African-American neighborhoods may suffer from civic disinvestment,[138] with lower-quality schools,[139] less-effective policing[140] and fire protection,[141][142] there are institutions such as churches and museums and political organizations that help to improve the physical and social capital of African-American neighborhoods. In African-American neighborhoods the churches may be important sources of social cohesion.[143] For some African Americans, the kind spirituality learned through these churches works as a protective factor against the corrosive forces of racism.[144] Museums devoted to African-American history are also found in many African-American neighborhoods.

text: Many African-American neighborhoods are located in inner cities, and these are the mostly residential neighborhoods located closest to the central business district. The built environment is often row houses or brownstones, mixed with older single-family homes that may be converted to multi-family homes. In some areas there are larger apartment buildings. Shotgun houses are an important part of the built environment of some southern African-American neighborhoods. The houses consist of three to five rooms in a row with no hallways. This African-American house design is found in both rural and urban southern areas, mainly in African-American communities and neighborhoods.[145]

text: In Black Rednecks and White Liberals, Thomas Sowell suggested that modern urban black ghetto culture is rooted in the white Cracker culture of the North Britons and Scots-Irish who migrated from the generally lawless border regions of Britain to the American South, where they formed a redneck culture common to both blacks and whites in the antebellum South. According to Sowell, characteristics of this culture included lively music and dance, violence, unbridled emotions, flamboyant imagery, illegitimacy, religious oratory marked by strident rhetoric, and a lack of emphasis on education and intellectual interests.[146] Because redneck culture proved counterproductive, "that culture long ago died out ... among both white and black Southerners, while still surviving today in the poorest and worst of the urban black ghettos",[147] which Sowell described as being characterized by "brawling, braggadocio, self-indulgence, [and] disregard of the future",[147] and where "belligerence is considered being manly and crudity is considered cool, while being civilized is regarded as 'acting white'." [146] Sowell asserts that white liberal Americans have perpetuated this "counterproductive and self-destructive lifestyle" among black Americans living in urban ghettos through "the welfare state, and look-the-other-way policing, and smiling at 'gangsta rap'".[147]


document_title: Satrap

question_text: list the duties of the satraps of the persian government

text: Satrap

text: Etymology[edit]

text: The word satrap is derived via Latin satrapes from Greek satrápēs (σατράπης), itself borrowed from an Old Iranian *xšaθra-pā/ă-.[2] In Old Persian, which was the native language of the Achaemenids, it is recorded as xšaçapāvan (𐎧𐏁𐏂𐎱𐎠𐎺𐎠, literally "protector of the province"). The Median form is reconstructed as *xšaθrapāwan-.[3] It is cognate with Sanskrit kshatrapam (क्षत्रपम्) or kshtrapa, from xšaça ("realm" or "province") and pāvan ("protector") and is the origin of the word "kshatriya".

text: In the Parthian (language of the Arsacid Empire) and Middle Persian (the language of the Sassanian Empire), it is recorded in the forms šahrab and šasab, respectively.[4]

text: In modern Persian the descendant of xšaθrapāvan is shahrbān (شهربان), but the components have undergone semantic shift so the word now means "town keeper" (shahr [شهر] meaning "town" + bān [بان] meaning "keeper").

text: Medo-Persian satraps[edit]

text: Although the first large-scale use of satrapies, or provinces, originates from the inception of the First Persian Empire under Cyrus the Great, beginning at around 530 BCE, provincial organization actually originated during the Median era from at least 648 BCE.

text: Up to the time of the conquest of Media by Cyrus the Great, emperors ruled the lands they conquered through client kings and governors. The main difference was that in Persian culture the concept of kingship was indivisible from divinity: divine authority validated the divine right of kings. The twenty-six satraps established by Cyrus were never kings, but viceroys ruling in the king's name, although in political reality many took advantage of any opportunity to carve themselves an independent power base. Darius the Great gave the satrapies a definitive organization, increased their number to thirty-six, and fixed their annual tribute (Behistun inscription).

text: The satrap was in charge of the land that he owned as an administrator, and found himself surrounded by an all-but-royal court; he collected the taxes, controlled the local officials and the subject tribes and cities, and was the supreme judge of the province before whose "chair" (Nehemiah 3:7) every civil and criminal case could be brought. He was responsible for the safety of the roads (cf. Xenophon), and had to put down brigands and rebels.

text: He was assisted by a council of Persians, to which also provincials were admitted and which was controlled by a royal secretary and emissaries of the king, especially the "eye of the king", who made an annual inspection and exercised permanent control.

text: There were further checks on the power of each satrap: besides his secretarial scribe, his chief financial official (Old Persian ganzabara) and the general in charge of the regular army of his province and of the fortresses were independent of him and periodically ported directly to the shah, in person. The satrap was allowed to have troops in his own service.

text: The great satrapies (provinces) were often divided into smaller districts, the governors of which were also called satraps and (by Greco-Roman authors) also hyparchs (actually Hyparkhos in Greek, 'vice-regents'). The distribution of the great satrapies was changed repeatedly, and often two of them were given to the same man.

tag: ul

text:
As the provinces were the result of consecutive conquests (the homeland had a special status, exempt from provincial tribute), both primary and sub-satrapies were often defined by former states and/or ethno-religious identity. One of the keys to the Achaemenid success (as with most enduring great empires) was their open attitude to the culture and religion of the conquered people, so the Persian culture was the one most affected as the Great King endeavoured to meld elements from all his subjects into a new imperial style, especially at his capital, Persepolis.
Whenever central authority in the empire weakened, the satrap often enjoyed practical independence, especially as it became customary to appoint him also as general-in-chief of the army district, contrary to the original rule. "When his office became hereditary, the threat to the central authority could not be ignored" (Olmstead). Rebellions of satraps became frequent from the middle of the 5th century BCE. Darius I struggled with widespread rebellions in the satrapies, and under Artaxerxes II occasionally the greater part of Asia Minor and Syria was in open rebellion (Revolt of the Satraps).

text: The last great rebellions were put down by Artaxerxes III.

text: Hellenistic satraps[edit]

text: The satrapic administration and title were retained—even for Greco-Macedonian incumbents—by Alexander the Great, who conquered the Achaemenid Empire, and by his successors, the Diadochi (and their dynasties) who carved it up, especially in the Seleucid Empire, where the satrap generally was designated as strategos; but their provinces were much smaller than under the Persians. They would ultimately be replaced by conquering empires, especially the Parthians.

text: Parthian and Sassanian satraps[edit]

text: In the Parthian Empire, the king's power rested on the support of noble families who ruled large estates, and supplied soldiers and tribute to the king. City-states within the empire enjoyed a degree of self-government, and paid tribute to the king. Administration of the Sassanid Empire was considerably more centralized than that of the Parthian Empire; the semi-independent kingdoms and self-governing city states of the Parthian Empire were replaced with a system of "royal cities" which served as the seats of centrally appointed governors called shahrabs as well as the location of military garrisons. Shahrabs ruled both the city and the surrounding rural districts. Exceptionally, the East Roman Empire also adopted the title "satrap" for the semi-autonomous princes that governed one of its Armenian provinces, the Satrapiae.

text: Western satraps[edit]

text: The Western Satraps or Kshatrapas (35–405 CE) were Saka rulers in the western and central part of the Sindh region of Pakistan, and the Saurashtra and Malwa regions of western India. They were contemporaneous with the Kushans who ruled the northern part of the subcontinent from the area of Peshawar and were possibly their overlords, and with the Satavahana (Andhra) who ruled in central India to their south and east and the Kushan state to their immediate west.

text: Satraps today[edit]

text:
It is also used in modern times to refer (usually derogatorily) to the loyal subservient lieutenants or clients of some powerful figure (with equal imprecision also styled mogul, tycoon, or the like), in politics or business.[citation needed]
In Portuguese, Italian and Spanish, the word sátrapa not only carries the aforementioned ancient historical meaning, but in modern usage also applies to people who abuse power or authority. It can refer as well to those living in luxurious and ostentatious conditions or to individuals who act astutely and even disloyally.
The College of 'Pataphysics used the title Transcendent Satrap for certain of its members, including Marcel Duchamp, Jean Baudrillard and the Marx brothers.
In the Serbian language, satrap is used to mock a person who displays servile tendencies to an authority figure.[citation needed]
THRUSH, the primary antagonist organization in the TV series The Man From U.N.C.L.E., was divided into satrapies, based on geographic location.