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This is FRESH AIR. I'm David Bianculli, professor of television studies at Rowan University in New Jersey, in for Terry Gross. Today we feature interviews with two people nominated for Oscars for their work on the Jane Campion film "The Power of the Dog," composer Jonny Greenwood and actor Benedict Cumberbatch. The film is nominated for 12 Oscars in total.
First, we'll listen to Terry's interview from last month with Jonny Greenwood. He was known as the lead guitarist and keyboard player for the rock band Radiohead when screenwriter and director Paul Thomas Anderson asked him to write the score for his film "There Will Be Blood." That score was described in Rolling Stone as a sonic explosion that reinvented what film music could be. Greenwood wrote the scores for Anderson's subsequent films, including "Phantom Thread" and "The Master," which opened like this...
BIANCULLI: Greenwood also writes a lot of film music that is more avant garde, but some of the avant garde music is influenced by his love of baroque. He studied classical music when he was young, played in a youth orchestra and has been a composer in residence at the BBC Concert Orchestra. You can hear his music in three very different recent movies, Paul Thomas Anderson's newest film, "Licorice Pizza," which is set in the '70s, "Spencer" starring Kristen Stewart as Princess Diana, and "The Power Of The Dog," which is set in Montana in 1925. In the beginning of "The Power Of The Dog," two brothers who own a large cattle ranch are herding the cattle to market. This is the music we hear.
TERRY GROSS: Jonny Greenwood, welcome to FRESH AIR. I love your music. It's a pleasure to have you on our show. So that music that we just heard from "The Power Of The Dog," it starts like it's going to be very Western-ish, but not quite. And then there's other potentially menacing music intruding on it. It's a buzzy, ominous-sounding melody interfering with this Western-ish kind of sound. So - and it lets you know that this isn't going to be a conventional Western, even though they're herding cattle. And it also lets you know that bad things are going to be interfering. What's happening musically? What are you doing musically?
JONNY GREENWOOD: I think Westerns have a traditional sound, which is big, sweeping strings and sort of Copeland-style harmonies, which are not only beyond me but wouldn't have really suited the darkness of the film, I think. So the approach to this was originally to try and write music for banjo and string quartet because I'm a big believer that the banjo can be a great, dark, sinister instrument. I mean, I grew up listening to things like the Violent Femmes, and they managed to do that sort of country death song style, you know, banjo, as you know, the opposite of the Steve Martin, you know, routine about how banjos just make you smile, which is true. And, you know, and all that stuff is wonderful music. But there's also a dark side, I think, to that kind of music.
Anyway, I persuaded her to let me try and write something for banjo and string quartet. And it was awful, as you might imagine, and just sounded wrong in every way. So on the rebound from that, I just started trying to play my cello like it was a banjo, so doing the rolling fingerpicking thing on a cello instead.
GROSS: So with the strings that kind of interfere with that plucked cello sound, making this sound even more unconventional, what did you do to get that kind of menacing sound from violins or violins and violas?
GREENWOOD: So I had them play with no vibrato. And, you know, that's a really beautiful effect in a way. I think the danger with writing music not on paper and relying on computers and demos is that you start to get used to how some string sounds and then just look to replicate that. Whereas the variety of color that, you know, one player can make with a string instrument is - it's already - it's quite mind blowing. And just a combination of a whole ensemble and all the directions it can go, it's really exciting and daunting. And it's like - it's easily my favorite day of the year is when the string players turn up for an afternoon.
GROSS: Do you want the strings to be perfectly tuned or do you want them to be just slightly off?
GREENWOOD: Yes. I wrote one cue for the Lynne Ramsay film "You Were Never Really Here" where - asking them to have - half the players tuned a quarter tone flat. So just a little bit out of tune, but all as out of tune as one another, if you see what I mean. But because they're playing with their ears, it's very hard to do. So they're still making their fingers go to where their ear wants to hear the right note. So even though it was difficult to do and they were sort of - weren't doing it properly, it was one of those things where you just end up being even more impressed by what they can do and how they're playing and thinking and making these sounds.
GROSS: One of your influences who you've also worked with is Krzysztof Penderecki, an avant garde composer who once said that we have to use instruments which were built 300 years ago or 200. And the newest instrument in the orchestra is the saxophone. But that's at least a hundred years old. And he said in the century of landing on the Moon - he said this during the 20th century - we still have to write for very old instruments, museum instruments. I think this is the problem. It became the problem in the second half of the 20th century that there's not much progress because of the lack of instruments, of new instruments.
And I thought of you when I read that. And this is quoted on an album that you collaborated with him in on. I thought of you because it seems to me you want to make old instruments sound new by mixing them up a little bit, by doing unusual things with them or having them do unusual things with each other, whether it's their tunings or their dissonance is the number of instruments you use. So do you relate to that quote about using old instruments for new music?
GREENWOOD: I do, because I've always found acoustic instruments, certainly orchestral instruments to be capable of much more variety and strangeness and complexity than, you know, nearly all of the software I've used in the past. And I think that's maybe why, to me, music by people like Penderecki and Ligeti and - it just still sounds very strange and contemporary. And they still sound like the music of the future to me. Whereas lots of the electronic stuff that was done in the '60s and '70s, you hear it now, and it's just - it's sort of its time.
GROSS: Oh, that's so true (laughter). That is really true.
GREENWOOD: And I think that all instruments are just technology, however old and new they are. And the ideal situation is where you can just regard them as being all on the same level of importance and interest and - whether it's a, you know, a piano or a laptop or an electric guitar or tuba. They're all hugely exciting things, you know. And, you know, I remembered - as a 10-year-old, whatever, whenever my mom was driving us around, if we went past a music shop, my daydream, as we drove past, was never imagining being able to go in and buy a guitar or whatever. It would be imagining being able to go and buy a flute or a trumpet. I was just fascinated with all these different colors and ways of making music and making sounds. And in a really tragic, middle-aged man kind of way, that's sort of what I've turned my life into...
GROSS: (Laughter).
GREENWOOD: ...As I'm sitting, talking to you, surrounded by lots of, you know, those kind of instruments.
GROSS: But I'm wondering - getting back to that Penderecki quote, I'm wondering if you try to make old instruments sound just a little bit unrecognizable and use them, like, in a way that sounds new even though the instrument is old, you know, that sounds like a new sound that you're getting from it.
GREENWOOD: So I was very lucky when I was in elementary school, age 9, 10, that we were sitting with our teacher, and he had everyone bring in their instruments, whether it was recorders or violins. And he said, OK, everyone, try and make a new sound with your instrument; try and get a different noise out of it. And that really stuck with me, and that was just something that fascinated me then and is probably, you know, still in my - it's still in my - how I work today. So yeah, just very grateful to have, you know, a great music teacher at an early stage in my life.
GROSS: Do you remember what you did to get a different sound?
GREENWOOD: I think I put the bow under the strings and played the bottom string and top string at the same time, (laughter) as I remember. But just realizing that there were really no rules, and if it makes a sound, then it's musical. And you can just look at an instrument and think about it in any way you want to.
GROSS: Well, let's take a short break here, and then we'll talk some more. If you're just joining us, my guest is Jonny Greenwood. You may know him from two different musical areas of his life - one is in Radiohead, and the other as a film score composer. And he wrote scores for three current films - for "Spencer," "The Power Of The Dog" and Paul Thomas Anderson's "Licorice Pizza." He's also done the scores for Anderson's "Phantom Thread," "The Master" and "There Will Be Blood." We'll be right back. This is FRESH AIR.
GROSS: This is FRESH AIR. Let's get back to my interview with Jonny Greenwood, who you probably know from his work with the band Radiohead but also for his film scores. And he has three films he wrote scores for, three new ones - "Spencer," "Licorice Pizza" and "The Power Of The Dog." And "Licorice Pizza" isn't by far the first film he's done with Paul Thomas Anderson. He scored Anderson's films "Phantom Thread," "The Master" and "There Will Be Blood."
I want to talk with you about the music for "Phantom Thread." There's three versions of what's basically, like, the theme of the movie. And I want to play two of those versions, and we're going to start with version 2. And I should say, at this point - the movie is about this very kind of classical fashion designer who is both obsessive and very set in his ways and very temperamental. And he deals - you know, he does, like, gowns and other evening dresses for, you know, high-society, wealthy women. And so - and when we hear this music, his muse-dash-girlfriend is about to start poisoning him with mushrooms because when he isn't feeling well, when he's vulnerable, he becomes more accessible and more affectionate and needy, and that puts her in a better position, she thinks. So this is a duet with you at the piano and Daniel Pioro on violin.
GROSS: I think that is really just a beautiful theme. And just - everything is, like, just a little bit off. I'm wondering if the piano that you're playing there is prepared in any way 'cause the notes sound imperfectly tuned and a little bit muffled maybe. So what have you done with the piano? (Laughter).
GREENWOOD: There's a roll of felt laid between the hammers and the strings, which is why it sounds like that. And it's a little bit out of tune just because I'm a bit lazy with my booking the piano tuner, I'm afraid. But (laughter) that's the - yeah, that one...
GROSS: It's not because you like the sound? It's because you're lazy?
GREENWOOD: It's (laughter) - well - it's because I like the sound, yes. And I'm lazy.
GROSS: (Laughter) So you have felt under the lid, like, on the strings, as opposed to, like, on the keys. They're on the - felt is on the strings.
GREENWOOD: Yes.
GROSS: And the violin - it's almost like you asked him, I want to hear the friction of the bow on the strings.
GREENWOOD: Well, that's - Daniel is a very physical player indeed and is interested in every possible color and texture. And I also love a recording where you can hear the physicality of what's happening, whether it's the breathing of the player or the - just, you know, the effort involved in making the music, you know? And I know it drives some people crazy, but things like Glenn Gould singing along and all of that reminder that there's all this muscle and physical effort behind the making of the music. I just - makes it, you know, more exciting to me. I think that stuff is quite often clinically stripped out in most people's consumption of music, and especially classical music.
GROSS: So let's hear another version of the theme that we heard from "Phantom Thread." And this happens as the fashion designer is really feeling the effects of the poison. And so he's been talking to his sister. And he's been complaining about his muse. And he doesn't realize he's being poisoned by her. But he says, there's an air of quiet death in this house, and I do not like the way it smells. So here we go. This is a more orchestral version and a more dirge-like version of the theme that we heard. This is from the "Phantom Thread" - music composed by my guest, Jonny Greenwood.
GROSS: I just love that (laughter). And I'm not sure exactly what to ask you, but can you talk a little bit about shaping it into that version of the theme?
GREENWOOD: Sure. I mean, I'm a big fan of these historically very inaccurate recordings of baroque music that were done in the '70s - '60s, '70s, '80s even - before the, you know, the authenticity police stepped in and made everyone play with the right size of orchestra and the right kind of violins and - because it's sort of glorious hearing this baroque music done with big, romantic orchestras for all that it, you know, would never have sounded like that. So that was a reference I sent to Paul. And he was also talking about that Kubrick film, "Barry Lyndon," that has some big, baroque, orchestral things in it. And it was just, you know - I mean, on one level, another excuse to get in a room with an orchestra and just revel in that beautiful, big sound they make.
BIANCULLI: Jonny Greenwood spoke with Terry Gross last month. He's nominated for an Academy Award for his film score for the Jane Campion film "The Power Of The Dog." After a break, we'll continue their conversation. And we'll hear from another of this year's Oscar nominees from "The Power Of The Dog," actor Benedict Cumberbatch. And I'll review "Winning Time," the new HBO series about the Los Angeles Lakers basketball dynasty of the 1980s. I'm David Bianculli. And this is FRESH AIR.
BIANCULLI: This is FRESH AIR. I'm David Bianculli, in for Terry Gross. Let's get back to Terry's interview from last month with Jonny Greenwood, best known for his work with the band Radiohead and more recently for his movie scores. He's nominated for an Oscar this year for his score for the Jane Campion film "The Power Of The Dog." He also scored Paul Thomas Anderson's new movie "Licorice Pizza," as well as Anderson's "Phantom Thread," "The Master" and "There Will Be Blood."
GROSS: So before you were with Radiohead, my understanding is you were in a band with Thom Yorke's younger brother. Thom Yorke is the lead singer-songwriter from Radiohead. So your older brother was in a band with Thom Yorke. You were in a band with Thom Yorke's younger brother. Do I have that right?
GREENWOOD: You do. That's right.
GROSS: So how did you end up playing with Thom Yorke and forming Radiohead?
GREENWOOD: Well, they had a keyboard player who - it's Thom's band - had a keyboard player, which I think they didn't get on with because he played his keyboard so loud. And so when I got the chance to play with him, the first thing I did was make sure my keyboard was turned off when I was playing. And I must have done months of rehearsals with them with this keyboard that was just - they didn't know that I'd already turned it off and was just - they made quite a racket, quite a noise. It was all guitars and distortion.
And so I would pretend to play for weeks on end, and Thom would say, I can't quite hear what you're doing, but I think you're adding a really interesting texture that - 'cause I can tell when you're not playing. And I'm thinking, no, you can't because I'm really not playing. And I'd go home in the evening and work out how to actually play chords. And cautiously over the next few months, I would start turning this keyboard up. And that's how I started - you know, started in with Radiohead.
GROSS: Wait a minute. I want to make sure I understand this correctly. So the first period that you were playing with Radiohead, you turned off the keyboard?
GREENWOOD: Yeah.
GROSS: And so you were...
GREENWOOD: Sure.
GROSS: ...Fingering the keys, but no sound was being emitted because this is an electric keyboard, so...
GREENWOOD: Exactly, yeah.
GROSS: Nothing was coming out, and nobody noticed.
GREENWOOD: Yeah. I mean, you know, we were kind of noisy garage band, I suppose, in a small rehearsal room. And I remember the first few songs when I did start playing melodies. And Tom liked it, and it was very exciting.
GROSS: So since you've had a foot in classical music and in rock for so long and have been important in both worlds, I think the division has melted away for a lot of classical performers but not so much for other people 'cause so many people don't listen to classical music at all anymore. It's just not - I think it's become more and more of a niche, with the exception of film scores. That's one of the great things about film scores is that it brings a different kind of music often into - you know, into people who otherwise wouldn't hear it.
GREENWOOD: I think streaming has been quite bad for classical music because if you are keen to find out more about classical music - you might have heard that the Beethoven "Violin Concerto" is a great piece of music, so you go on to Spotify or whatever. And when you search for it, you're presented with 500 recordings. And it's just - I think it's just a bit of a sort of daunting and off-putting thing. There's very little curation. I do sort of mourn the days when you used to listen to a record hundreds of times and get everything you could out of it.
And I'm the same. I'll - you know, I'll listen to a Miles Davis record on Spotify, and then rather than play it again, I'll move on to the next one. And there's just none of that sort of obsession. And I think classical music especially suffers with that because if you can, you know, live with the same piece of classical music for a few weeks, you know, it'll reveal itself to you. But it's about having the patience to do that.
GROSS: I know you like performing in churches and listening to music in churches because often the period of music that's being played is from the period that the church was built in. Correct me if I'm wrong here, but can you talk a little bit about that, about the experience of being, like, in an old church or cathedral and playing or hearing music there?
GREENWOOD: Yeah, so I've - spending a lot of time in Italy at the moment, and the churches there have just some glorious and strange organs that I've been really lucky enough to play and write a few things for. That's opened up a whole side of classical music I didn't know about, like all these early organs that have two sets of black keys so that you can play the notes in between the notes a bit like Penderecki, I suppose. And they have keys that reproduce the sound of birds singing. And if you look inside the organ, it's these little boxes with water in them that blow air through them.
And these instruments are, you know, 400 or 500 years old. And it just occurred to me that when you're sitting, hearing one being played, you are hearing an actual, authentic performance from - that would be identical to someone sitting in the same chair 500 years earlier because the walls are the same and the pipes are the same and the organ is the same. And this is what it sounded like, and that's - there's a sort of exciting time traveler-y (ph) sort of enjoyment to be had with that kind of music, I think.
GROSS: Jonny Greenwood, thank you so much. It's been a pleasure to talk with you. Thank you for your music. And I'm expecting one or more of your scores to be nominated for Oscars. So, you know, I don't know if you care very much about awards, but I wish you good luck in awards season.
GREENWOOD: Thank you. Thank you, Terry.
BIANCULLI: Jonny Greenwood speaking to Terry Gross last month. He's nominated for an Academy Award this year for his score for the film "The Power Of The Dog." After a break, we'll hear from another Oscar nominee from that same movie, lead actor nominee Benedict Cumberbatch. This is FRESH AIR.
(SOUNDBITE OF JONNY GREENWOOD'S "WEST ALONE") Transcript provided by NPR, Copyright NPR.


text: We made the four hour drive today down to Pensacola Beach, Florida for my last stage race of the year this weekend. This was a great race last year, and I'm looking forward to the road race tomorrow morning and the criterium on Sunday. I'm not looking forward to the time trial, but it should be fun anyway. Here's some pics from my beach pre-ride today.

subset: commoncrawl


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TechRadar Verdict
A fantastic Blu-ray deck that sets the standard for all other manufacturers to follow. Perfect pictures and packed full of features
- +
Superb, detailed pictures
- +
YouTube connectivity is a lot of fun
- +
Multimedia playback
- -
Sluggish loading times
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Uninspired design
Why you can trust TechRadar
Kids don't know they're born these days – with their new-fangled feature-laden Blu-ray players, like the new Blu-ray deck from Panasonic, the DMP-BD80.
In my day, all we had was a top-loading VHS deck with only one stand-out add-on – the ability to add copious amounts of picture noise to already fuzzy images.
Even DVD was simply happy to list 'interactive menus' as a bonus for years. Imagine that? Just the film itself. Crazy times.
Now the kids need more than crisp, vibrant Full HD images and full-on, spine-tingling 7.1 high-res audio. They need interactive games. They need picture-in-picture documentaries, with directors holding their metaphorical hands while they skip through his work.
They need multiple media slots to pour a flood of salubriously-sourced XviD files onto their screen. They need to be able to text each other on-screen, with comments like 'b3sti3 sux balls'. They need to watch ill-conceived skateboard stunts in low-bitrates and sub-resolutions over the 'net. Which is where Panasonic's DMP-BD80 comes in…
Stream weaver
The DMP-BD80 is wired to the world wide web. However, this player, and its BD60 sibling, is not simply connected for access to BD-Live content and a Profile 2.0 badge; it features a fully-functioning YouTube portal via the company's proprietary VieraCast network.
Yes indeed, the world of happy-slapping and home-made ephemera is a big part of this player's genetics. And, do you know what? I'm sold.
Although it seems unlikely that anybody would want to make a leap into the HD world and subsequently watch 320 x 240 video shot on a mobile phone, it's all about content these days. And, if you're not already an avid 'net consumer, you'll be surprised how much is available, for free, on YouTube.
Admittedly, most of the service's library is utter tosh, puerile and vacuous (should you take leave of your senses to hunt for it, you can find a video of a student drinking tomato ketchup...).
But hidden amongst the, literally, millions of clips are, for example, episodes of Robot Chicken, clips from Armando Iannucci's excellent Time Trumpet, and a host of 1980s cartoons that are well-worth a weekend's nostalgic trawl. And if you're overly-enamoured by pets doing stupid things, you might never leave the house again.
So okay, it's not quite BBC's iPlayer, but as with the new widget TVs from Samsung, it's a gimmick you'll probably find yourself losing several hours to.
And, as rumours abound that YouTube is in negotiation with several movie studios (most notably Sony Pictures) to stream full films for free, it may become an even more essential feature in the future. Time can only tell. At least the BD80 is well-placed to take advantage.
For now, VieraCast is a clever addition that adds extra value to Panasonic's flagship player and, though flawed (streamed video at YouTube bitrates looks decidedly shoddy blown-up on screen sizes over 32in), it's more than the sideshow that BD-Live has become.
Plus, you get access to Google's expansive picture library and database service Picasa, where you can store your snaps remotely. So it gets a thumbs-up from me.
Pixel plus
In comparison, even two thumbs aren't enough to convey what I think about the BD80's Blu-ray performance. Between you and me, I can't see the fuss certain people are making about the high-end decks – not when this is available for around £350. It is a visual tour de force in a slimline box, and its audio talents punch above its weight.
As with all of my Blu-ray player reviews, I ran the deck through its paces using Silicon Optix's HQV Benchmark discs (both Blu-ray and PAL DVD). These discs have, in both HD and SD versions, a series of tests that can expose lesser picture processors in different areas.
Tests include noise reduction, video resolution loss, film resolution loss, jaggies reduction (the stepping effect around diagonal edges) and more. The BD80 passed all of them. I haven't seen that before. Not with such ease anyway.
Normally, the Blu-ray performance can be exceptional but the player can fall down with DVD-upscaling. Or vice versa. Or they're both just sort of average. However, this Panasonic disc-spinner excels with both. And in the real world it makes a huge difference.
Like its predecessor Casino Royale, Quantum of Solace on Blu-ray is a visual feast – one that requires keen control of shaded areas (there's a fair bit of sneaking around in the dark) and vivid colourfields.
And the BD80 handles both so accurately that it can be afforded the ultimate accolade. Rather then study the picture intently for faults, I just fell headlong into the movie and found myself forgetting to review the hardware.
For the record, the image holds up crisp, clean and true without any unnecessary fiddling with the set-up options. And the sewer chase near the beginning of the movie looks more defined and detail-crammed than when I saw it in the cinema.
The colour-denuded clarity of An Empress and the Warriors is also eye-popping. Images of period slaughter seem supernaturally sharp. Standard DVD playback is a treat too – as evidenced with Slumdog Millionaire.
Upscaled SD pictures are not HD – and don't believe otherwise – but this deck does a great job of making them look their best. it also manages to keep fast camera pans in check, where lesser processors may initiate a fall into a blurry mess.
Multichannel mayhem
Audio performance is a step-up from the budget BD60, and its ability to both bitstream and decode DTS-HD Master Audio and Dolby TrueHD is admirable. The deck also offers a 7.1 analogue audio output for those without an HDMI-switching receiver.
However, while there's nothing wrong with its sound processing per se, this is clearly the area exploited by high-end Sony, Denon and Pioneer players – which many of my colleagues are now using as CD-spinners too, so good is their stereo performance. They are, though, approximately three times the price, so, with audio at least, you get what you pay for.
Actually, this is also true with build quality. This may not be a major bugbear, but the BD80 isn't exactly a looker. It's not got the same kind of design flair as, say, the Samsung BD-P4600. In comparison, it looks like a bland slab of plastic. It does, however, sit in a rack quite nicely, and that's all that really matters.
And while we're being finicky, I'm not particularly bowled-over by the player's loading times either. As a PlayStation 3 owner, I'm used to almost instant start-up and disc access. The BD80 is far removed from that.
As with many current stand-alone decks, it can take around a minute just to play a conventional BD movie (such as Spider-Man 3), and that is bound to put off those with little patience.
The rest of us, though, can simply bow down to the awesome, near-perfect images, cracking feature-set and amusing and relevant gimmickry that, for a brief moment at least, remind us what it's like to be a kid again.
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In a nation that officially – officially, mind you, at the highest levels of government – can no longer distinguish between an act of terror and an act of workplace violence (the Fort Hood shootings) or a spontaneous celebration and a terrorist plot on the eleventh anniversary of the September 11 attacks (Benghazi), it is important to distinguish between the words "terrorism" and "tragedy" in the context of the Boston Marathon Massacre.
A hurricane, a plague, a tornado, or a famine is a tragedy – even if, like the Dust Bowl of the 1930's, it is ultimately the predictable result of human conduct. An earthquake that takes human lives is a tragedy, as likewise a tsunami that does the same.
A pressure cooker stuffed with explosives, nails, and ball bearings set to explode as thousands of lightly clad runners finishing a twenty-six mile road race in front of friends and family is an act of terrorism. This is especially true of such an attack that takes place on Patriot's Day in Boston, a home of the American revolution, on the day that U. S. federal and state personal income tax returns are due.
In contrast to the Benghazi and Ft. Hood attacks, this time the administration relatively quickly acknowledged the attack for what it is. Although the word "terror" first came from a White House spokesperson, the President himself was soon on board.
Presumably no one outside the administration – and plausibly no one within it – yet knows who may be behind the attack. This may lead cynics to suspect that early intelligence does not suggest that the attack came from al Qaeda, Iranian, or Taliban-trained Islamic extremists, or official sources might be either blaming a YouTube video or exclaiming in defiance "at this point, what difference can it possibly make?"
At this point the fairest answer, which the media should acknowledge, is that we simply don't know.
But whether the miscreants behind this mayhem are members of al Qaeda or Sinn Fein, Hamas or Hezbollah, the Weathermen or the Aryan Nation, the administration has, to its credit, already labeled this a terrorist act and not just a "tragedy."
The attack remains, of course, a tragedy for the runners, the race, and the City of Boston, and most especially for those who were wounded or killed and their family and friends.
But the first step, as they say, in solving a problem is to call it by its right name.


text: A modern twist on an antique and well-loved Union Pacific lantern. Gorgeous seeded glass and copper accents make this a unique light for a curated dinner table or at camp. High-tech and functional, this lantern utilizes battery or USB with a run time of 100+ hours on low or 3.5 hours on high. Adjustable brightness LED Edison-style bulb provides a classic warming glow perfect for every occasion.


text:
Events found on this timeline:
- Judah taken captive by Babylon-605BC
- Jerusalem Destroyed-586BC
- King Nebuchadnezzar's Dream
- The Fiery Furnace
- Nebuchadnezzar Becomes like an "Animal" for Seven Years
- Handwriting on the Wall/Babylon Falls-539BC
- "Darius the Mead" Becomes King
- Daniel in the Lion's Den
- The Return of Zerubbable-536BC
- Temple in Jerusalem Rededicated-515BC
- Babylon Destroyed-480BC
- Return of Ezra With Decree to Rebuild Jerusalem-457BC
- Return of Nehemiah-444BC
- The Rebuild of Jerusalem Completed-408BC
(NOTE: The story of Daniel is the story of God's love in action. While using captivity to bring the hearts of the people back to Him, God also used Daniel 1) to prove to their captives that their God was a alive, powerful, wise and loving, 2) to prove to us through prophecy that God is real and can be trusted, and 3) to tell the Universe what His plans are for both the faithful and the unfaithful. As you read this page please note how much God does to protect His children who in are trusting Him enough to follow His leading.)
The story of Daniel begins with the army of King Nebuchadnezzar coming for the third and last time and totally overthrowing Jerusalem. The Prophet Jeremiah had warned the people not to resist being captured, and so those who listened and obeyed were taken alive, while those who resisted were killed.
Among those who listened was young Daniel, of royal lineage, and because of his loyalty to God even in the face of death he became ruler over the whole province of Babylon.
While faithfully serving King Nebuchadnezzar and later King Darius Daniel also remained totally faithful to God. And God used Daniel in many ways, one of which was by giving him dreams and visions, and the ability to interpret the dreams of others. Many of these dreams and visions were prophetic, telling details about the future that only God could know.
One of these dreams Daniel never did understand though because it was "sealed" by God until the end of time. Then God gave us the key to understanding this dream. The Book of Revelation is the key to understanding the prophecy found in Daniel 8 & 9. (See the Daniel 8 & 9 Timeline, The Knowledge Timeline, The End-Times Timeline, and the Revelation Timeline.)
Many scholars reject Daniel as not having ever existed, but the fulfilment of the prophecies found in this book prove that Daniel was not only a real person but that God is wise and all-knowing.
God's love can even be seen in the captivity of Israel and Judah. Here are a few notes:
- Israel was warned before they were taken captive into Babylon. It can be seen in the following text that God did not want Israel to have to go into captivity and so they were given time to correct their mistakes and escape the coming punishment that was designed to bring their hearts back to Him. "It may be that the house of Judah will hear all the evil which I purpose to do unto them; that they may return every man from his evil way; that I may forgive their iniquity and their sin." Jeremiah 36:3 We can see from what God said here that "All His promises, His warnings, are but the breathing of unutterable love." Steps to Christ, page 35
- The Israelites were told to pray for the city of their captivity, Babylon. "Build ye houses, and dwell in them; and plant gardens, and eat the fruit of them; . . . and seek the peace of the city whither I have caused you to be carried away captives, and pray unto the Lord for it: for in the peace thereof shall ye have peace." Jeremiah 29:5-7
- The captivity of Israel would last 70 years. "For thus saith the LORD, That after seventy years be accomplished at Babylon I will visit you, and perform my good word toward you, in causing you to return to this place." Jeremiah 29:10
- Babylon was besieged by Cyrus, nephew of Darius the Mede, and commanding general of the combined armies of the Medes and Persians. Cyrus made Darius king of Babylon.
- Both Israel and Judah would return to their own land. Judah had split off from Israel, but in God's eyes they were still His people. (See the People and Events Timeline.) ("For, lo, the days come, saith the LORD, that I will bring again the captivity of my people Israel and Judah, saith the LORD: and I will cause them to return to the land that I gave to their fathers, and they shall possess it. " Jeremiah 30:3)
Judah Taken Captive
Daniel 1
1 In the third year of the reign of Jehoiakim king of Judah came Nebuchadnezzar king of Babylon unto Jerusalem, and besieged it.
2 And the Lord gave Jehoiakim king of Judah into his hand, with part of the vessels of the house of God: which he carried into the land of Shinar to the house of his god; and he brought the vessels into the treasure house of his god.
3 And the king spake unto Ashpenaz the master of his eunuchs, that he should bring certain of the children of Israel, and of the king's seed, and of the princes;
4 Children in whom was no blemish, but well favoured, and skilful in all wisdom, and cunning in knowledge, and understanding science, and such as had ability in them to stand in the king's palace, and whom they might teach the learning and the tongue of the Chaldeans.
5 And the king appointed them a daily provision of the king's meat, and of the wine which he drank: so nourishing them three years, that at the end thereof they might stand before the king.
6 Now among these were of the children of Judah, Daniel, Hananiah, Mishael, and Azariah:
7 Unto whom the prince of the eunuchs gave names: for he gave unto Daniel the name of Belteshazzar; and to Hananiah, of Shadrach; and to Mishael, of Meshach; and to Azariah, of Abednego.
8 But Daniel purposed in his heart that he would not defile himself with the portion of the king's meat, nor with the wine which he drank: therefore he requested of the prince of the eunuchs that he might not defile himself.
9 Now God had brought Daniel into favour and tender love with the prince of the eunuchs.
10 And the prince of the eunuchs said unto Daniel, I fear my lord the king, who hath appointed your meat and your drink: for why should he see your faces worse liking than the children which are of your sort? then shall ye make me endanger my head to the king.
11 Then said Daniel to Melzar, whom the prince of the eunuchs had set over Daniel, Hananiah, Mishael, and Azariah,
12 Prove thy servants, I beseech thee, ten days; and let them give us pulse to eat, and water to drink.
13 Then let our countenances be looked upon before thee, and the countenance of the children that eat of the portion of the king's meat: and as thou seest, deal with thy servants.
14 So he consented to them in this matter, and proved them ten days.
15 And at the end of ten days their countenances appeared fairer and fatter in flesh than all the children which did eat the portion of the king's meat.
16 Thus Melzar took away the portion of their meat, and the wine that they should drink; and gave them pulse.
17 As for these four children, God gave them knowledge and skill in all learning and wisdom: and Daniel had understanding in all visions and dreams.
18 Now at the end of the days that the king had said he should bring them in, then the prince of the eunuchs brought them in before Nebuchadnezzar.
19 And the king communed with them; and among them all was found none like Daniel, Hananiah, Mishael, and Azariah: therefore stood they before the king.
20 And in all matters of wisdom and understanding, that the king enquired of them, he found them ten times better than all the magicians and astrologers that were in all his realm.
21 And Daniel continued even unto the first year of king Cyrus.
Nebuchadnezzar Dreams of a Great Image
In this part of the story we once again see how much God loves people, all people. Here is a short summary of what happened:
- During Daniel's third year of captivity King Nebuchadnezzar had a dream that he could not remember yet he knew that it was important.
- The king asked all of his wisest men to tell him the dream and its meaning, which none could do.
- Daniel is "found" and tells the king both what he saw in his dream and the meaning of the dream.
2:1 And in the second year of the reign of Nebuchadnezzar Nebuchadnezzar dreamed dreams, wherewith his spirit was troubled, and his sleep brake from him.
2:2 Then the king commanded to call the magicians, and the astrologers, and the sorcerers, and the Chaldeans, for to show the king his dreams. So they came and stood before the king.
2:3 And the king said unto them, I have dreamed a dream, and my spirit was troubled to know the dream.
2:4 Then spake the Chaldeans to the king in Syriack, O king, live for ever: tell thy servants the dream, and we will show the interpretation.
2:5 The king answered and said to the Chaldeans, The thing is gone from me: if ye will not make known unto me the dream, with the interpretation thereof, ye shall be cut in pieces, and your houses shall be made a dunghill.
2:6 But if ye show the dream, and the interpretation thereof, ye shall receive of me gifts and rewards and great honour: therefore show me the dream, and the interpretation thereof.
2:7 They answered again and said, Let the king tell his servants the dream, and we will show the interpretation of it.
2:8 The king answered and said, I know of certainty that ye would gain the time, because ye see the thing is gone from me.
2:9 But if ye will not make known unto me the dream, [there is but] one decree for you: for ye have prepared lying and corrupt words to speak before me, till the time be changed: therefore tell me the dream, and I shall know that ye can show me the interpretation thereof.
2:10 The Chaldeans answered before the king, and said, There is not a man upon the earth that can show the king's matter: therefore [there is] no king, lord, nor ruler, [that] asked such things at any magician, or astrologer, or Chaldean.
2:11 And [it is] a rare thing that the king requireth, and there is none other that can show it before the king, except the gods, whose dwelling is not with flesh.
2:12 For this cause the king was angry and very furious, and commanded to destroy all the wise [men] of Babylon.
2:13 And the decree went forth that the wise [men] should be slain; and they sought Daniel and his fellows to be slain.
2:14 Then Daniel answered with counsel and wisdom to Arioch the captain of the king's guard, which was gone forth to slay the wise [men] of Babylon:
2:15 He answered and said to Arioch the king's captain, Why [is] the decree [so] hasty from the king? Then Arioch made the thing known to Daniel.
2:16 Then Daniel went in, and desired of the king that he would give him time, and that he would show the king the interpretation.
2:17 Then Daniel went to his house, and made the thing known to Hananiah, Mishael, and Azariah, his companions:
2:18 That they would desire mercies of the God of heaven concerning this secret; that Daniel and his fellows should not perish with the rest of the wise [men] of Babylon.
2:19 Then was the secret revealed unto Daniel in a night vision. Then Daniel blessed the God of heaven.
2:20 Daniel answered and said, Blessed be the name of God for ever and ever: for wisdom and might are his:
2:21 And he changeth the times and the seasons: he removeth kings, and setteth up kings: he giveth wisdom unto the wise, and knowledge to them that know understanding:
2:22 He revealeth the deep and secret things: he knoweth what [is] in the darkness, and the light dwelleth with him.
2:23 I thank thee, and praise thee, O thou God of my fathers, who hast given me wisdom and might, and hast made known unto me now what we desired of thee: for thou hast [now] made known unto us the king's matter.
2:24 Therefore Daniel went in unto Arioch, whom the king had ordained to destroy the wise [men] of Babylon: he went and said thus unto him; Destroy not the wise [men] of Babylon: bring me in before the king, and I will show unto the king the interpretation.
2:25 Then Arioch brought in Daniel before the king in haste, and said thus unto him, I have found a man of the captives of Judah, that will make known unto the king the interpretation.
2:26 The king answered and said to Daniel, whose name [was] Belteshazzar, Art thou able to make known unto me the dream which I have seen, and the interpretation thereof?
2:27 Daniel answered in the presence of the king, and said, The secret which the king hath demanded cannot the wise [men], the astrologers, the magicians, the soothsayers, show unto the king;
2:28 But there is a God in heaven that revealeth secrets, and maketh known to the king Nebuchadnezzar what shall be in the latter days. Thy dream, and the visions of thy head upon thy bed, are these;
2:29 As for thee, O king, thy thoughts came [into thy mind] upon thy bed, what should come to pass hereafter: and he that revealeth secrets maketh known to thee what shall come to pass.
2:30 But as for me, this secret is not revealed to me for [any] wisdom that I have more than any living, but for [their] sakes that shall make known the interpretation to the king, and that thou mightest know the thoughts of thy heart.
2:31 Thou, O king, sawest, and behold a great image. This great image, whose brightness [was] excellent, stood before thee; and the form thereof [was] terrible.
2:32 This image's head [was] of fine gold, his breast and his arms of silver, his belly and his thighs of brass,
2:33 His legs of iron, his feet part of iron and part of clay.
2:34 Thou sawest till that a stone was cut out without hands, which smote the image upon his feet [that were] of iron and clay, and brake them to pieces.
2:35 Then was the iron, the clay, the brass, the silver, and the gold, broken to pieces together, and became like the chaff of the summer threshingfloors; and the wind carried them away, that no place was found for them: and the stone that smote the image became a great mountain, and filled the whole earth.
2:36 This [is] the dream; and we will tell the interpretation thereof before the king.
2:37 Thou, O king, [art] a king of kings: for the God of heaven hath given thee a kingdom, power, and strength, and glory.
2:38 And wheresoever the children of men dwell, the beasts of the field and the fowls of the heaven hath he given into thine hand, and hath made thee ruler over them all. Thou [art] this head of gold.
2:39 And after thee shall arise another kingdom inferior to thee, and another third kingdom of brass, which shall bear rule over all the earth.
2:40 And the fourth kingdom shall be strong as iron: forasmuch as iron breaketh in pieces and subdueth all [things]: and as iron that breaketh all these, shall it break in pieces and bruise.
2:41 And whereas thou sawest the feet and toes, part of potters' clay, and part of iron, the kingdom shall be divided; but there shall be in it of the strength of the iron, forasmuch as thou sawest the iron mixed with miry clay.
2:42 And [as] the toes of the feet [were] part of iron, and part of clay, [so] the kingdom shall be partly strong, and partly broken.
2:43 And whereas thou sawest iron mixed with miry clay, they shall mingle themselves with the seed of men: but they shall not cleave one to another, even as iron is not mixed with clay.
2:44 And in the days of these kings shall the God of heaven set up a kingdom, which shall never be destroyed: and the kingdom shall not be left to other people, [but] it shall break in pieces and consume all these kingdoms, and it shall stand for ever.
2:45 Forasmuch as thou sawest that the stone was cut out of the mountain without hands, and that it brake in pieces the iron, the brass, the clay, the silver, and the gold; the great God hath made known to the king what shall come to pass hereafter: and the dream [is] certain, and the interpretation thereof sure.
2:46 Then the king Nebuchadnezzar fell upon his face, and worshipped Daniel, and commanded that they should offer an oblation and sweet odours unto him.
2:47 The king answered unto Daniel, and said, Of a truth [it is], that your God [is] a God of gods, and a Lord of kings, and a revealer of secrets, seeing thou couldest reveal this secret.
2:48 Then the king made Daniel a great man, and gave him many great gifts, and made him ruler over the whole province of Babylon, and chief of the governors over all the wise [men] of Babylon.
2:49 Then Daniel requested of the king, and he set Shadrach, Meshach, and Abednego, over the affairs of the province of Babylon: but Daniel [sat] in the gate of the king.
For further study:
Read: Nebuchadnezzar's Dream
See the Daniel 2 Timeline
The Fiery Furnace
- It appears that Daniel was not present at this image dedication.
- This image was probably inspired by King Nebuchadnezzar's dream of Daniel 2.
3:1 Nebuchadnezzar the king made an image of gold, whose height [was] threescore cubits, [and] the breadth thereof six cubits: he set it up in the plain of Dura, in the province of Babylon.
3:2 Then Nebuchadnezzar the king sent to gather together the princes, the governors, and the captains, the judges, the treasurers, the counsellors, the sheriffs, and all the rulers of the provinces, to come to the dedication of the image which Nebuchadnezzar the king had set up.
3:3 Then the princes, the governors, and captains, the judges, the treasurers, the counsellors, the sheriffs, and all the rulers of the provinces, were gathered together unto the dedication of the image that Nebuchadnezzar the king had set up; and they stood before the image that Nebuchadnezzar had set up.
3:4 Then an herald cried aloud, To you it is commanded, O people, nations, and languages,
3:5 [That] at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, dulcimer, and all kinds of music, ye fall down and worship the golden image that Nebuchadnezzar the king hath set up:
3:6 And whoso falleth not down and worshippeth shall the same hour be cast into the midst of a burning fiery furnace.
3:7 Therefore at that time, when all the people heard the sound of the cornet, flute, harp, sackbut, psaltery, and all kinds of music, all the people, the nations, and the languages, fell down [and] worshipped the golden image that Nebuchadnezzar the king had set up.
3:8 Wherefore at that time certain Chaldeans came near, and accused the Jews.
3:9 They spake and said to the king Nebuchadnezzar, O king, live for ever.
3:10 Thou, O king, hast made a decree, that every man that shall hear the sound of the cornet, flute, harp, sackbut, psaltery, and dulcimer, and all kinds of music, shall fall down and worship the golden image:
3:11 And whoso falleth not down and worshippeth, [that] he should be cast into the midst of a burning fiery furnace.
3:12 There are certain Jews whom thou hast set over the affairs of the province of Babylon, Shadrach, Meshach, and Abednego; these men, O king, have not regarded thee: they serve not thy gods, nor worship the golden image which thou hast set up.
3:13 Then Nebuchadnezzar in [his] rage and fury commanded to bring Shadrach, Meshach, and Abednego. Then they brought these men before the king.
3:14 Nebuchadnezzar spake and said unto them, [Is it] true, O Shadrach, Meshach, and Abednego, do not ye serve my gods, nor worship the golden image which I have set up?
3:15 Now if ye be ready that at what time ye hear the sound of the cornet, flute, harp, sackbut, psaltery, and dulcimer, and all kinds of music, ye fall down and worship the image which I have made; [well]: but if ye worship not, ye shall be cast the same hour into the midst of a burning fiery furnace; and who [is] that God that shall deliver you out of my hands?
3:16 Shadrach, Meshach, and Abednego, answered and said to the king, O Nebuchadnezzar, we [are] not careful to answer thee in this matter.
3:17 If it be [so], our God whom we serve is able to deliver us from the burning fiery furnace, and he will deliver [us] out of thine hand, O king.
3:18 But if not, be it known unto thee, O king, that we will not serve thy gods, nor worship the golden image which thou hast set up.
3:19 Then was Nebuchadnezzar full of fury, and the form of his visage was changed against Shadrach, Meshach, and Abednego: [therefore] he spake, and commanded that they should heat the furnace one seven times more than it was wont to be heated.
3:20 And he commanded the most mighty men that [were] in his army to bind Shadrach, Meshach, and Abednego, [and] to cast [them] into the burning fiery furnace.
3:21 Then these men were bound in their coats, their hosen, and their hats, and their [other] garments, and were cast into the midst of the burning fiery furnace.
3:22 Therefore because the king's commandment was urgent, and the furnace exceeding hot, the flame of the fire slew those men that took up Shadrach, Meshach, and Abednego.
3:23 And these three men, Shadrach, Meshach, and Abednego, fell down bound into the midst of the burning fiery furnace.
3:24 Then Nebuchadnezzar the king was astonied, and rose up in haste, [and] spake, and said unto his counsellors, Did not we cast three men bound into the midst of the fire? They answered and said unto the king, True, O king.
3:25 He answered and said, Lo, I see four men loose, walking in the midst of the fire, and they have no hurt; and the form of the fourth is like the Son of God.
3:26 Then Nebuchadnezzar came near to the mouth of the burning fiery furnace, [and] spake, and said, Shadrach, Meshach, and Abednego, ye servants of the most high God, come forth, and come [hither]. Then Shadrach, Meshach, and Abednego, came forth of the midst of the fire.
3:27 And the princes, governors, and captains, and the king's counsellors, being gathered together, saw these men, upon whose bodies the fire had no power, nor was an hair of their head singed, neither were their coats changed, nor the smell of fire had passed on them.
3:28 [Then] Nebuchadnezzar spake, and said, Blessed [be] the God of Shadrach, Meshach, and Abednego, who hath sent his angel, and delivered his servants that trusted in him, and have changed the king's word, and yielded their bodies, that they might not serve nor worship any god, except their own God.
3:29 Therefore I make a decree, That every people, nation, and language, which speak any thing amiss against the God of Shadrach, Meshach, and Abednego, shall be cut in pieces, and their houses shall be made a dunghill: because there is no other God that can deliver after this sort.
3:30 Then the king promoted Shadrach, Meshach, and Abednego, in the province of Babylon.
For further study, read:
Nebuchadnezzar Becomes an "Animal" for Seven Years
4:1 Nebuchadnezzar the king, unto all people, nations, and languages, that dwell in all the earth; Peace be multiplied unto you.
4:2 I thought it good to show the signs and wonders that the high God hath wrought toward me.
4:3 How great [are] his signs! and how mighty [are] his wonders! his kingdom [is] an everlasting kingdom, and his dominion [is] from generation to generation.
4:4 I Nebuchadnezzar was at rest in mine house, and flourishing in my palace:
4:5 I saw a dream which made me afraid, and the thoughts upon my bed and the visions of my head troubled me.
4:6 Therefore made I a decree to bring in all the wise [men] of Babylon before me, that they might make known unto me the interpretation of the dream.
4:7 Then came in the magicians, the astrologers, the Chaldeans, and the soothsayers: and I told the dream before them; but they did not make known unto me the interpretation thereof.
4:8 But at the last Daniel came in before me, whose name [was] Belteshazzar, according to the name of my god, and in whom [is] the spirit of the holy gods: and before him I told the dream, [saying],
4:9 O Belteshazzar, master of the magicians, because I know that the spirit of the holy gods [is] in thee, and no secret troubleth thee, tell me the visions of my dream that I have seen, and the interpretation thereof.
4:10 Thus [were] the visions of mine head in my bed; I saw, and behold, a tree in the midst of the earth, and the height thereof [was] great.
4:11 The tree grew, and was strong, and the height thereof reached unto heaven, and the sight thereof to the end of all the earth:
4:12 The leaves thereof [were] fair, and the fruit thereof much, and in it [was] meat for all: the beasts of the field had shadow under it, and the fowls of the heaven dwelt in the boughs thereof, and all flesh was fed of it.
4:13 I saw in the visions of my head upon my bed, and, behold, a watcher and an holy one came down from heaven;
4:14 He cried aloud, and said thus, Hew down the tree, and cut off his branches, shake off his leaves, and scatter his fruit: let the beasts get away from under it, and the fowls from his branches:
4:15 Nevertheless leave the stump of his roots in the earth, even with a band of iron and brass, in the tender grass of the field; and let it be wet with the dew of heaven, and [let] his portion [be] with the beasts in the grass of the earth:
4:16 Let his heart be changed from man's, and let a beast's heart be given unto him: and let seven times pass over him.
4:17 This matter [is] by the decree of the watchers, and the demand by the word of the holy ones: to the intent that the living may know that the most High ruleth in the kingdom of men, and giveth it to whomsoever he will, and setteth up over it the basest of men.
4:18 This dream I king Nebuchadnezzar have seen. Now thou, O Belteshazzar, declare the interpretation thereof, forasmuch as all the wise [men] of my kingdom are not able to make known unto me the interpretation: but thou [art] able; for the spirit of the holy gods [is] in thee.
4:19 Then Daniel, whose name [was] Belteshazzar, was astonied for one hour, and his thoughts troubled him. The king spake, and said, Belteshazzar, let not the dream, or the interpretation thereof, trouble thee. Belteshazzar answered and said, My lord, the dream [be] to them that hate thee, and the interpretation thereof to thine enemies.
4:20 The tree that thou sawest, which grew, and was strong, whose height reached unto the heaven, and the sight thereof to all the earth;
4:21 Whose leaves [were] fair, and the fruit thereof much, and in it [was] meat for all; under which the beasts of the field dwelt, and upon whose branches the fowls of the heaven had their habitation:
4:22 It [is] thou, O king, that art grown and become strong: for thy greatness is grown, and reacheth unto heaven, and thy dominion to the end of the earth.
4:23 And whereas the king saw a watcher and an holy one coming down from heaven, and saying, Hew the tree down, and destroy it; yet leave the stump of the roots thereof in the earth, even with a band of iron and brass, in the tender grass of the field; and let it be wet with the dew of heaven, and [let] his portion [be] with the beasts of the field, till seven times pass over him;
4:24 This [is] the interpretation, O king, and this [is] the decree of the most High, which is come upon my lord the king:
4:25 That they shall drive thee from men, and thy dwelling shall be with the beasts of the field, and they shall make thee to eat grass as oxen, and they shall wet thee with the dew of heaven, and seven times shall pass over thee, till thou know that the most High ruleth in the kingdom of men, and giveth it to whomsoever he will.
4:26 And whereas they commanded to leave the stump of the tree roots; thy kingdom shall be sure unto thee, after that thou shalt have known that the heavens do rule.
4:27 Wherefore, O king, let my counsel be acceptable unto thee, and break off thy sins by righteousness, and thine iniquities by showing mercy to the poor; if it may be a lengthening of thy tranquillity.
4:28 All this came upon the king Nebuchadnezzar.
4:29 At the end of twelve months he walked in the palace of the kingdom of Babylon.
4:30 The king spake, and said, Is not this great Babylon, that I have built for the house of the kingdom by the might of my power, and for the honour of my majesty?
4:31 While the word [was] in the king's mouth, there fell a voice from heaven, [saying], O king Nebuchadnezzar, to thee it is spoken; The kingdom is departed from thee.
4:32 And they shall drive thee from men, and thy dwelling [shall be] with the beasts of the field: they shall make thee to eat grass as oxen, and seven times shall pass over thee, until thou know that the most High ruleth in the kingdom of men, and giveth it to whomsoever he will.
4:33 The same hour was the thing fulfilled upon Nebuchadnezzar: and he was driven from men, and did eat grass as oxen, and his body was wet with the dew of heaven, till his hairs were grown like eagles' [feathers], and his nails like birds' [claws].
4:34 And at the end of the days I Nebuchadnezzar lifted up mine eyes unto heaven, and mine understanding returned unto me, and I blessed the most High, and I praised and honoured him that liveth for ever, whose dominion [is] an everlasting dominion, and his kingdom [is] from generation to generation:
4:35 And all the inhabitants of the earth [are] reputed as nothing: and he doeth according to his will in the army of heaven, and [among] the inhabitants of the earth: and none can stay his hand, or say unto him, What doest thou?
4:36 At the same time my reason returned unto me; and for the glory of my kingdom, mine honour and brightness returned unto me; and my counsellors and my lords sought unto me; and I was established in my kingdom, and excellent majesty was added unto me.
4:37 Now I Nebuchadnezzar praise and extol and honour the King of heaven, all whose works [are] truth, and his ways judgment: and those that walk in pride he is able to abase.
Handwriting on the Wall & Babylon Falls
5:1 Belshazzar the king made a great feast to a thousand of his lords, and drank wine before the thousand.
5:2 Belshazzar, whiles he tasted the wine, commanded to bring the golden and silver vessels which his father Nebuchadnezzar had taken out of the temple which [was] in Jerusalem; that the king, and his princes, his wives, and his concubines, might drink therein.
5:3 Then they brought the golden vessels that were taken out of the temple of the house of God which [was] at Jerusalem; and the king, and his princes, his wives, and his concubines, drank in them.
5:4 They drank wine, and praised the gods of gold, and of silver, of brass, of iron, of wood, and of stone.
5:5 In the same hour came forth fingers of a man's hand, and wrote over against the candlestick upon the plaster of the wall of the king's palace: and the king saw the part of the hand that wrote.
5:6 Then the king's countenance was changed, and his thoughts troubled him, so that the joints of his loins were loosed, and his knees smote one against another.
5:7 The king cried aloud to bring in the astrologers, the Chaldeans, and the soothsayers. [And] the king spake, and said to the wise [men] of Babylon, Whosoever shall read this writing, and show me the interpretation thereof, shall be clothed with scarlet, and [have] a chain of gold about his neck, and shall be the third ruler in the kingdom.
5:8 Then came in all the king's wise [men]: but they could not read the writing, nor make known to the king the interpretation thereof.
5:9 Then was king Belshazzar greatly troubled, and his countenance was changed in him, and his lords were astonied.
5:10 [Now] the queen by reason of the words of the king and his lords came into the banquet house: [and] the queen spake and said, O king, live for ever: let not thy thoughts trouble thee, nor let thy countenance be changed:
5:11 There is a man in thy kingdom, in whom [is] the spirit of the holy gods; and in the days of thy father light and understanding and wisdom, like the wisdom of the gods, was found in him; whom the king Nebuchadnezzar thy father, the king, [I say], thy father, made master of the magicians, astrologers, Chaldeans, [and] soothsayers;
5:12 Forasmuch as an excellent spirit, and knowledge, and understanding, interpreting of dreams, and showing of hard sentences, and dissolving of doubts, were found in the same Daniel, whom the king named Belteshazzar: now let Daniel be called, and he will show the interpretation.
5:13 Then was Daniel brought in before the king. [And] the king spake and said unto Daniel, [Art] thou that Daniel, which [art] of the children of the captivity of Judah, whom the king my father brought out of Jewry?
5:14 I have even heard of thee, that the spirit of the gods [is] in thee, and [that] light and understanding and excellent wisdom is found in thee.
5:15 And now the wise [men], the astrologers, have been brought in before me, that they should read this writing, and make known unto me the interpretation thereof: but they could not show the interpretation of the thing:
5:16 And I have heard of thee, that thou canst make interpretations, and dissolve doubts: now if thou canst read the writing, and make known to me the interpretation thereof, thou shalt be clothed with scarlet, and [have] a chain of gold about thy neck, and shalt be the third ruler in the kingdom.
5:17 Then Daniel answered and said before the king, Let thy gifts be to thyself, and give thy rewards to another; yet I will read the writing unto the king, and make known to him the interpretation.
5:18 O thou king, the most high God gave Nebuchadnezzar thy father a kingdom, and majesty, and glory, and honour:
5:19 And for the majesty that he gave him, all people, nations, and languages, trembled and feared before him: whom he would he slew; and whom he would he kept alive; and whom he would he set up; and whom he would he put down.
5:20 But when his heart was lifted up, and his mind hardened in pride, he was deposed from his kingly throne, and they took his glory from him:
5:21 And he was driven from the sons of men; and his heart was made like the beasts, and his dwelling [was] with the wild asses: they fed him with grass like oxen, and his body was wet with the dew of heaven; till he knew that the most high God ruled in the kingdom of men, and [that] he appointeth over it whomsoever he will.
5:22 And thou his son, O Belshazzar, hast not humbled thine heart, though thou knewest all this;
5:23 But hast lifted up thyself against the Lord of heaven; and they have brought the vessels of his house before thee, and thou, and thy lords, thy wives, and thy concubines, have drunk wine in them; and thou hast praised the gods of silver, and gold, of brass, iron, wood, and stone, which see not, nor hear, nor know: and the God in whose hand thy breath [is], and whose [are] all thy ways, hast thou not glorified:
5:24 Then was the part of the hand sent from him; and this writing was written.
5:25 And this [is] the writing that was written, MENE, MENE, TEKEL, UPHARSIN.
5:26 This [is] the interpretation of the thing: MENE; God hath numbered thy kingdom, and finished it.
5:27 TEKEL; Thou art weighed in the balances, and art found wanting.
5:28 PERES; Thy kingdom is divided, and given to the Medes and Persians.
5:29 Then commanded Belshazzar, and they clothed Daniel with scarlet, and [put] a chain of gold about his neck, and made a proclamation concerning him, that he should be the third ruler in the kingdom.
5:30 In that night was Belshazzar the king of the Chaldeans slain.
5:31 And Darius the Median took the kingdom, [being] about threescore and two years old.
For further study, read:
Daniel in the Lion's Den
6:1 It pleased Darius to set over the kingdom an hundred and twenty princes, which should be over the whole kingdom;
6:2 And over these three presidents; of whom Daniel [was] first: that the princes might give accounts unto them, and the king should have no damage.
6:3 Then this Daniel was preferred above the presidents and princes, because an excellent spirit [was] in him; and the king thought to set him over the whole realm.
6:4 Then the presidents and princes sought to find occasion against Daniel concerning the kingdom; but they could find none occasion nor fault; forasmuch as he [was] faithful, neither was there any error or fault found in him.
6:5 Then said these men, We shall not find any occasion against this Daniel, except we find [it] against him concerning the law of his God.
6:6 Then these presidents and princes assembled together to the king, and said thus unto him, King Darius, live for ever.
6:7 All the presidents of the kingdom, the governors, and the princes, the counsellors, and the captains, have consulted together to establish a royal statute, and to make a firm decree, that whosoever shall ask a petition of any God or man for thirty days, save of thee, O king, he shall be cast into the den of lions.
6:8 Now, O king, establish the decree, and sign the writing, that it be not changed, according to the law of the Medes and Persians, which altereth not.
6:9 Wherefore king Darius signed the writing and the decree.
6:10 Now when Daniel knew that the writing was signed, he went into his house; and his windows being open in his chamber toward Jerusalem, he kneeled upon his knees three times a day, and prayed, and gave thanks before his God, as he did aforetime.
6:11 Then these men assembled, and found Daniel praying and making supplication before his God.
6:12 Then they came near, and spake before the king concerning the king's decree; Hast thou not signed a decree, that every man that shall ask [a petition] of any God or man within thirty days, save of thee, O king, shall be cast into the den of lions? The king answered and said, The thing [is] true, according to the law of the Medes and Persians, which altereth not.
6:13 Then answered they and said before the king, That Daniel, which [is] of the children of the captivity of Judah, regardeth not thee, O king, nor the decree that thou hast signed, but maketh his petition three times a day.
6:14 Then the king, when he heard [these] words, was sore displeased with himself, and set [his] heart on Daniel to deliver him: and he laboured till the going down of the sun to deliver him.
6:15 Then these men assembled unto the king, and said unto the king, Know, O king, that the law of the Medes and Persians [is], That no decree nor statute which the king establisheth may be changed.
6:16 Then the king commanded, and they brought Daniel, and cast [him] into the den of lions. [Now] the king spake and said unto Daniel, Thy God whom thou servest continually, he will deliver thee.
6:17 And a stone was brought, and laid upon the mouth of the den; and the king sealed it with his own signet, and with the signet of his lords; that the purpose might not be changed concerning Daniel.
6:18 Then the king went to his palace, and passed the night fasting: neither were instruments of music brought before him: and his sleep went from him.
6:19 Then the king arose very early in the morning, and went in haste unto the den of lions.
6:20 And when he came to the den, he cried with a lamentable voice unto Daniel: [and] the king spake and said to Daniel, O Daniel, servant of the living God, is thy God, whom thou servest continually, able to deliver thee from the lions?
6:21 Then said Daniel unto the king, O king, live for ever.
6:22 My God hath sent his angel, and hath shut the lions' mouths, that they have not hurt me: forasmuch as before him innocency was found in me; and also before thee, O king, have I done no hurt.
6:23 Then was the king exceeding glad for him, and commanded that they should take Daniel up out of the den. So Daniel was taken up out of the den, and no manner of hurt was found upon him, because he believed in his God.
6:24 And the king commanded, and they brought those men which had accused Daniel, and they cast [them] into the den of lions, them, their children, and their wives; and the lions had the mastery of them, and brake all their bones in pieces or ever they came at the bottom of the den.
6:25 Then king Darius wrote unto all people, nations, and languages, that dwell in all the earth; Peace be multiplied unto you.
6:26 I make a decree, That in every dominion of my kingdom men tremble and fear before the God of Daniel: for he [is] the living God, and stedfast for ever, and his kingdom [that] which shall not be destroyed, and his dominion [shall be even] unto the end.
6:27 He delivereth and rescueth, and he worketh signs and wonders in heaven and in earth, who hath delivered Daniel from the power of the lions.
6:28 So this Daniel prospered in the reign of Darius, and in the reign of Cyrus the Persian.
For further study, read:
(There isn't a Daniel & Babylon Timeline suitable for printing, sorry.)


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Ugo's Pizza started 30 years ago from a family recipe that has been in continuous operation for over 40 years in its Dallas location.
We never set out to make the cheapest pizza, we think the competition has that covered. We set out to make the BEST pizza possible. Like other parlors we roll our dough daily then we take it one step further. We use a cake yeast and age our dough 24 hours so it rises in the oven when we cook it. We use 100% real cheese, our own blend that we grind ourselves, not pre-shredded out of a bag. We use the highest quality toppings like real Italian sausage, not a pre-cooked crumble of parts and pieces, Dole Pineapple, and the finest tomato products to hand make our sauce, We make all of our pizzas out to the edge of the pie, not a 16″ pizza with only 14″ worth of toppings and a 2″crust. It costs more to make a pizza like this, and for your family dinner we know your worth it.
So if a soggy crust and pre-cooked toppings have got you down, give us a try and you will agree that Ugo's Premium Pizza truly is "Pound for Pound the Best Pizza Around" for over 30 years.
Team Ugo's wants to thank the Stayton, Sublimity and Aumsville communities including surrounding areas for keeping us in business for the better part of 3 decades. Your support is what keeps us cooking. You are the reason we are here, we appreciate EVERY customer. My crew and I will personally guarantee the best PIZZA and SERVICE possible 362 days a year.
THANKS again,
Kerry Johnson & Team Ugo's.


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In response to a series of wildfires that ravaged Southern California in 2017, we look to this article explaining why your family should have a "go-bag" ready in the event a natural disaster or other emergency strikes your home. Go-bags originated with the US military, which requires its personnel to always keep one on-hand packed with the essential items needed to survive for at least three days following a disaster.
When you have just minutes to evacuate, you won't have time to think about what you should pack to survive the days—or weeks—to come, so the time to prepare for your family's safety is now.
In 2020, we're not only dealing with deadly wildfires again in California, but we're also experiencing multiple hurricanes on the East and Gulf Coasts, and a number of devastating tornadoes and floods in the Midwest. And on top of all that, we're still in the middle of the COVID-19 pandemic, which has already killed more than 180,000 Americans and seems unlikely to disappear anytime soon.
In light of the increased dangers posed by the pandemic, we decided to update our previous go-bag article. Although most of the items you should have in your go-bag remain the same, here we'll cover the supplies and documents you should pack to deal with COVID-19. Whether you are forced to temporarily relocate somewhere other than your home, require hospitalization, or are subject to quarantine, the pandemic comes with unique risks that call for additional preparation.
The go-bag revisited
Before we discuss the estate planning and other key documents you should include in your go bag, we need to mention some general supplies to include to help protect your family from contracting COVID-19. Along with the personal sanitary items we listed in our previous article, you should add the following items:
- Face masks and/or face coverings
- Hand sanitizer containing at least 60% alcohol
- Lysol or other disinfectant sprays
- Disinfecting wipes
- Disposable gloves
When it comes to your estate plan, even if you have all of the necessary planning documents in place and updated, they won't do you any good if your loved ones don't know about them or can't quickly locate them during an emergency. Without immediate access to your plan, if you become seriously ill or injured, medical and financial decisions can be dangerously delayed or be made by someone other than the people you would want.
And the need for your plan to be easily accessible is particularly urgent during the pandemic. Due to the highly contagious nature of COVID, there's a good chance your family members will not be allowed to accompany you if you are hospitalized or forced to quarantine. For these reasons, adding your estate plan and other important documents to your go-bag is a must.
While all of your estate planning documents should be included in your go-bag, having your medical power of attorney and living will readily accessible is especially vital for medical emergencies. Without these documents, doctors and other healthcare professionals won't know your wishes for treatment or which of your loved ones should help them make decisions.
At the same time, you should review and update your medical power of attorney and living will to address the unique medical scenarios and treatments related to COVID-19. The specifics of what this entails can be found here: COVID-19 Highlights Critical Need for Advanced Healthcare Directives.
Copies of your health insurance or Medicare card, along with a summary of your medical history should also be included in your go-bag. In your medical history, you'll want to mention any chronic underlying medical conditions and illnesses, as well as list all prescriptions drugs, over-the-counter medications, and/or supplements you are currently taking—and don't forget to list any known allergies.
You may also want to have your financial power of attorney and inventory of assets on hand, so that your loved ones would know what you have, where it is, and how to access it in the event you become incapacitated. If you have not yet created an inventory of your assets or the other legal documents you'd need, please watch this training by my mentor on creating your own personal resource map for the people you love.
As noted in our first article, including your ID and other essential personal documents in your go-bag should be a top priority. Among these items, you should also include contact information for your primary care doctor and other medical providers, as well as listing your emergency contacts, particularly your agents for both medical and financial power of attorney.
Make sure your loved ones know about your go-bag, and where to find it. You might even want to keep the bag near your home's primary exit, so it's there for you or someone else to grab on the way out the door. To make it as portable as possible, download your plan and other essential documents to a thumb drive you can carry in your go-bag and upload additional copies to the cloud.
Safeguard your belongings—and memories
While protecting your family's health, safety, and well-being is the primary purpose of packing a go-bag, you should also take steps to prevent the financial devastation that can result from having your home and other property destroyed in a disaster. Obviously, having the appropriate levels of insurance coverage in place is your first task—and we can help with this.
But to make sure the insurance companies fully reimburse you for what you stand to lose, you should also take video and photos of all your belongings. We recommend walking through each room of your home, opening all cabinet and closet doors, along with desk and dresser drawers, to record everything stored inside. Such visual documentation can not only ensure you are able to replace your assets, but that your insurance claim is processed as quickly and smoothly as possible.
Of course, not all of your belongings can be replaced, so you should take additional precautions to safeguard your most precious sentimental items—photo albums, home videos, old letters, family histories, and treasured cards from the past. Since you won't have the time or space to bring these items with you in your go-bag, you should make digital copies of these keepsakes and store them in the cloud.
Keenly aware of the priceless value these items represent, we believe safely storing your sentimentals online is so important we offer this as a service to all of our clients. Be sure to ask us how we can help you preserve your family's precious mementos.
Planning ahead is key
Given the chaotic times we're living in, it's no wonder people are experiencing increasing levels of fear, anxiety, and confusion. Although it's not possible to totally prevent you or your loved ones from experiencing injury, illness, or death, putting proactive planning strategies in place can significantly minimize the suffering and conflict that can result if something tragic does occur.
We can help ensure you've taken every conceivable precaution to protect your family and assets from today's growing litany of threats. Contact us today to get started with a Family Wealth Planning Session™.
Proper estate planning can keep your family out of conflict, out of court, and out of the public eye. If you're ready to create a comprehensive estate plan, contact us to schedule your Family Wealth Planning Session. Even if you already have a plan in place, we will review it and help you bring it up to date to avoid heartache for your family. Schedule online today.


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Hailing 53 years of golden boots and brilliant play, the KING Platinum is made for modern ballers. As football gets faster and faster, control is key. Reengineered for next-level performance, these killer kicks are lightweight and ultra-agile. In signature black leather, but with our all-new KINGForm technology to increase touch and responsiveness, you'll be commanding the pitch like a pro.
- Super soft premium K-leather upper for superior touch and feel
- KINGForm technology in key contact areas to increase responsiveness
- Super lightweight Peba outsole provides exceptional freedom of movement and support for dynamic moves
- Multidirectional conical studs offer superior traction and enhanced motion
- Suitable for use on both firm natural surfaces and artificial grass
- Knitted tongue and lace closure for a comfortable, snug fit
- PUMA Formstrip on lateral sides
- Product SKU: 106478-04
- Product Color: Puma Black/Neon Citrus


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'Thor: Ragnarok' Got 'Immigrant Song' Clearance at Last Minute
All too often, the inclusion of a rock classic in a movie soundtrack can feel like a lazy way to underscore whatever the filmmaker wants an audience to feel in the moment. But when Thor: Ragnarok pulls out Led Zeppelin's "Immigrant Song" — not once, but twice — it's the perfect musical companion to one of the more satisfying battles in the sprawling Marvel Cinematic Universe. As it turns out, director Taika Waititi didn't even know he had clearance for the track until the movie was almost finished.
"Immigrant Song" was always part of Waititi's concept for the film, which finds Thor stripped of his magical hammer, orphaned and marooned on a distant planet while his secret sister, Hela the Goddess of Death, invades their Asgardian home. But Led Zeppelin's rights management team is notoriously finicky when it comes to signing off on song approval, and as Waititi told Business Insider, it wasn't until the Zep camp actually caught a glimpse of the movie that they agreed to clear the track.
"When we had the first cut of the trailer and showed Led Zep, they understood how perfect the song was for this character," Waititi explained. "I think it wouldn't have happened if we didn't start the conversation with them really, really early on."
As Waititi added, it also helped that he was making the movie for Marvel, whose corporate parents at Disney have some of the deepest pockets in the movie industry. While the studio isn't known for overpaying, the surviving members of the band aren't exactly hurting for cash, so the director assumes there wasn't much in the way of negotiations. "I have a feeling if you want to entertain that idea of using their music, you have to have the money," said Waititi. "No negotiations. Offer it to them straight up. They're worth it!"
It all added up to one of the coolest musical moments in a 2017 blockbuster movie — and a happy ending to a long-held dream for Waititi, who had "Immigrant Song" on the soundtrack even when he put together his first pitch reel for Marvel execs. Ironically, many of the Marvel reps present for the meeting weren't even familiar with the track.
"They were like, 'Oh that's really cool. That's a cool song. What's that?'" he recently recalled. "I was like, [deadpan] 'It's 'Immigrant Song', Led Zeppelin, one of the most famous songs of all time.' They were like, 'Oh cool, never heard it before, very cool.'"


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Though the Dodd-Frank Wall Street reform act was passed way back 2010, much of the law remains to be implemented. One reason for the lag between passage of laws and their implementation is that when federal agencies propose new regulations, they are required to first seek public comment.
Monday was the final day that federal regulators were accepting comments on the so-called Volcker Rule, a regulation, first proposed by former Federal Reserve Chairman Paul Volcker, which bans federally-supported banks from making financial bets with their own capital.
Over the past several months, banks and other financial institutions have come out against the rule, claiming it would make financial markets less liquid, and American banks less competitive.
(MORE: Are We Already Planting the Seeds of the Next Financial Crisis?)
Volcker came to the rule's defense yesterday, submitting an eight-page letter to federal regulators. He writes,
"The basic public policy set out by the Dodd-Frank legislation is clear: the continuing explicit and implicit support by the Federal government of commercial banking organizations can be justified only to the extent those institutions provide essential financial services."
Speculative trading, he insists, cannot be justified as an essential financial service.
Volcker goes on to argue that if the regulation would reduce liquidity in financial markets, it may not be an entirely bad thing. "At some point, great liquidity, or the perception of it, may itself encourage more speculative trading," and encourage the kind of bubbles which precipitated our current economic malaise.
As for competition, Volcker dismisses the argument that banks would be at a competitive disadvantage if unable to trade speculatively with their own capital. He argues that banks that are prohibited from risky trades and highly leveraged balance sheets will actually be better able to lure depositors and those seeking financial advise or underwriting services.
(MORE: The Street Fighter: This Man is Busting Wall St.)
But Volcker doesn't disregard all of the banking industry's concerns. Much of the recent criticism of the rule revolves around what affect it would have on institutions which want to engage in 'market making,' rather than proprietary trading. A market maker is someone who holds an inventory of a certain kind of security, not with the intent of reaping speculative gains, but for the purpose of providing a venue for customers to buy and sell those securities, and making profit on the "bid-ask spread" (the small difference between the price at which you can buy and sell a security). Just like sellers of any other product, market makers reap small profits by serving as a middleman.
Volcker admits that a clear definition of what is and isn't a market maker will prove "thorny," and that the rule has the potential to prevent market makers from efficiently doing their jobs. But the former Fed chair believes that the benefits to the regulation outweigh potential side effects, and that with proper cooperation between industry and regulators, these side effects can be mitigated.


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RFC4262: X.509 Certificate Extension for Secure/Multipurpose Internet Mail Extensions (S/MIME) Capabilities
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Related keywords:
(cryptographic capabilities)
Network Working Group S. Santesson Request for Comments: 4262 Microsoft Category: Standards Track December 2005 X.509 Certificate Extension for Secure/Multipurpose Internet Mail Extensions (S/MIME) Capabilities Status of This Memo This document specifies an Internet standards track protocol for the Internet community, and requests discussion and suggestions for improvements. Please refer to the current edition of the "Internet Official Protocol Standards" (STD 1) for the standardization state and status of this protocol. Distribution of this memo is unlimited. Copyright Notice Copyright (C) The Internet Society (2005). Abstract This document defines a certificate extension for inclusion of Secure/Multipurpose Internet Mail Extensions (S/MIME) Capabilities in X.509 public key certificates, as defined by RFC 3280. This certificate extension provides an optional method to indicate the cryptographic capabilities of an entity as a complement to the S/MIME Capabilities signed attribute in S/MIME messages according to RFC 3851. 1. Introduction This document defines a certificate extension for inclusion of S/MIME Capabilities in X.509 public key certificates, as defined by RFC 3280 [RFC3280]. The S/MIME Capabilities attribute, defined in RFC 3851 [RFC3851], is defined to indicate cryptographic capabilities of the sender of a signed S/MIME message. This information can be used by the recipient in subsequent S/MIME secured exchanges to select appropriate cryptographic properties. However, S/MIME does involve also the scenario where, for example, a sender of an encrypted message has no prior established knowledge of the recipient's cryptographic capabilities through recent S/MIME exchanges. Santesson Standards Track [Page 1] RFC 4262 S/MIME Capabilities Extensions December 2005 In such a case, the sender is forced to rely on out-of-band means or its default configuration to select a content encryption algorithm for encrypted messages to recipients with unknown capabilities. Such default configuration may, however, be incompatible with the recipient's capabilities and/or security policy. The solution defined in this specification leverages the fact that S/MIME encryption requires possession of the recipient's public key certificate. This certificate already contains information about the recipient's public key and the cryptographic capabilities of this key. Through the extension mechanism defined in this specification, the certificate may also identify the subject's cryptographic S/MIME capabilities. This may then be used as an optional information resource to select appropriate encryption settings for the communication. This document is limited to the "static" approach where asserted cryptographic capabilities remain unchanged until the certificate expires or is revoked. Other "dynamic" approaches, which allow retrieval of certified dynamically updateable capabilities during the lifetime of a certificate, are out of scope of this document. 1.1. Terminology The key words "MUST", "MUST NOT", "REQUIRED", "SHALL", "SHALL NOT", "SHOULD", "SHOULD NOT", "RECOMMENDED", "MAY", and "OPTIONAL" in this document are to be interpreted as described in RFC 2119 [STDWORDS]. 2. S/MIME Capabilities Extension This section defines the S/MIME Capabilities extension. The S/MIME Capabilities extension data structure used in this specification is identical to the data structure of the SMIMECapabilities attribute defined in RFC 3851 [RFC3851]. (The ASN.1 structure of smimeCapabilities is included below for illustrative purposes only.) smimeCapabilities OBJECT IDENTIFIER ::= {iso(1) member-body(2) us(840) rsadsi(113549) pkcs(1) pkcs-9(9) 15} SMIMECapabilities ::= SEQUENCE OF SMIMECapability SMIMECapability ::= SEQUENCE { capabilityID OBJECT IDENTIFIER, parameters ANY DEFINED BY capabilityID OPTIONAL } Santesson Standards Track [Page 2] RFC 4262 S/MIME Capabilities Extensions December 2005 All content requirements defined for the SMIMECapabilities attribute in RFC 3851 apply also to this extension. There are numerous different types of S/MIME Capabilities that have been defined in various documents. While all of the different capabilities can be placed in this extension, the intended purpose of this specification is mainly to support inclusion of S/MIME Capabilities specifying content encryption algorithms. Certification Authorities (CAs) SHOULD limit the type of included S/MIME Capabilities in this extension to types that are considered relevant to the intended use of the certificate. Client applications processing this extension MAY at their own discretion ignore any present S/MIME Capabilities and SHOULD always gracefully ignore any present S/MIME Capabilities that are not considered relevant to the particular use of the certificate. This extension MUST NOT be marked critical. 3. Use in Applications Applications using the S/MIME Capabilities extension SHOULD NOT use information in the extension if more reliable and relevant authenticated capabilities information is available to the application. It is outside the scope of this specification to define what is, or is not, regarded as a more reliable source of information by the application that is using the certificate. 4. Security Considerations The S/MIME Capabilities extension contains a statement about the subject's capabilities made at the time of certificate issuance. Implementers should therefore take into account any effect caused by the change of these capabilities during the lifetime of the certificate. Change in the subject's capabilities during the lifetime of a certificate may require revocation of the certificate. Revocation should, however, only be motivated if a listed algorithm is considered broken or considered too weak for the governing security policy. Santesson Standards Track [Page 3] RFC 4262 S/MIME Capabilities Extensions December 2005 Implementers should take into account that the use of this extension does not change the fact that it is always the responsibility of the sender to choose sufficiently strong encryption for its information disclosure. 5. Normative References [STDWORDS] Bradner, S., "Key words for use in RFCs to Indicate Requirement Levels", BCP 14, RFC 2119, March 1997. [RFC3280] Housley, R., Polk, W., Ford, W., and D. Solo, "Internet X.509 Public Key Infrastructure Certificate and Certificate Revocation List (CRL) Profile", RFC 3280, April 2002. [RFC3851] Ramsdell, B., "Secure/Multipurpose Internet Mail Extensions (S/MIME) Version 3.1 Message Specification", RFC 3851, July 2004. Author's Address Stefan Santesson Microsoft Tuborg Boulevard 12 2900 Hellerup Denmark EMail: email@example.com Santesson Standards Track [Page 4] RFC 4262 S/MIME Capabilities Extensions December 2005 Full Copyright Statement Copyright (C) The Internet Society (2005). This document is subject to the rights, licenses and restrictions contained in BCP 78, and except as set forth therein, the authors retain all their rights. This document and the information contained herein are provided on an "AS IS" basis and THE CONTRIBUTOR, THE ORGANIZATION HE/SHE REPRESENTS OR IS SPONSORED BY (IF ANY), THE INTERNET SOCIETY AND THE INTERNET ENGINEERING TASK FORCE DISCLAIM ALL WARRANTIES, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY WARRANTY THAT THE USE OF THE INFORMATION HEREIN WILL NOT INFRINGE ANY RIGHTS OR ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. Intellectual Property The IETF takes no position regarding the validity or scope of any Intellectual Property Rights or other rights that might be claimed to pertain to the implementation or use of the technology described in this document or the extent to which any license under such rights might or might not be available; nor does it represent that it has made any independent effort to identify any such rights. Information on the procedures with respect to rights in RFC documents can be found in BCP 78 and BCP 79. Copies of IPR disclosures made to the IETF Secretariat and any assurances of licenses to be made available, or the result of an attempt made to obtain a general license or permission for the use of such proprietary rights by implementers or users of this specification can be obtained from the IETF on-line IPR repository at http://www.ietf.org/ipr. The IETF invites any interested party to bring to its attention any copyrights, patents or patent applications, or other proprietary rights that may cover technology that may be required to implement this standard. Please address the information to the IETF at ietf- firstname.lastname@example.com. Acknowledgement Funding for the RFC Editor function is currently provided by the Internet Society. Santesson Standards Track [Page 5]