This article describes scapegoat in its traditional historical sense. For scapegoat in the more modern social psychological sense of scapegoating see scapegoating.

The Scapegoat by William Holman Hunt, 1854.

In modern usage a scapegoat may be a child, employee, peer, ethnic or religious group, or country singled out for unmerited negative treatment or blame.^[1] A whipping boy or "fall guy" is a form of scapegoat.

Scapegoat (i.e. "escape-goat") derives from the common English translation of the Hebrew term azazel (Hebrew: עזאזל) which occurs in Leviticus 16:8 after the prefix la- (Hebrew לַ "for").

In ancient Greece a cripple or beggar or criminal (the pharmakos) was cast out of the community, either in response to a natural disaster (such as a plague, famine or an invasion) or in response to a calendrical crisis (such as the end of the year). In the Bible, the scapegoat was a goat that was designated (Hebrew לַעֲזָאזֵֽל ) la-aza'zeyl to be outcast in the desert as part of the ceremonies of the Day of Atonement, that began during the Exodus with the original Tabernacle and continued through the times of the temples in Jerusalem.

In psychology and sociology, the practice of selecting someone as a scapegoat has led to the concept of scapegoating.

Etymology[link]

The verb "to scapegoat" (noun form "scapegoating") is a modern intransitive or transitive coinage from the older transitive verb-noun construction "to make (someone) a scapegoat."

Scapegoat (i.e. "escape-goat") derives from the common English translation of the Hebrew term azazel (Hebrew: עזאזל) which occurs in Leviticus 16:8 after the prefix la- (Hebrew לַ "for"). The lexicographer Gesenius^[2] and Brown–Driver–Briggs Hebrew Lexicon^[3] give la-azazel (Hebrew: עזאזל) as a reduplicative intensive of the stem azel "remove", hence la-azazel, "for entire removal". This reading is supported by the Jewish Greek Bible translation as "the sender away (of sins)." Later Jewish sources in the Talmud (Yoma 6:4,67b)give the etymology of azazel as a compound of "az", strong or rough, and "el", mighty, that the goat was sent from the most rugged or strongest of mountains.^[4]

"And Aaron shall cast lots over the two goats, one lot for the Lord and the other lot for Azazel.1

Footnote [1] 16:8 The meaning of Azazel is uncertain.ESV

Alternatively, broadly contemporary with the Septuagint, the pseudepigrapical Book of Enoch may preserve Azazel as the name of a fallen angel^[5] and from the Targums onwards the term azazel was also seen by some rabbinical commentators as the name of a Hebrew demon, fallen angel, or pagan deity.^{[6][7] [8]} The two readings are still disputed today.^[9]

English Bible versions traditionally follow the translation of the Septuagint and Latin Vulgate which interpret azazel as "the goat that departs" (Greek tragos apopompaios, "goat sent out", Latin caper emissarius, "emissary goat"). William Tyndale rendered the Latin as "(e)scape goat" in his 1530 Bible. This translation was followed by following versions up to the King James Version of the Bible in 1611: "And Aaron shall cast lots upon the two goats; one lot for the Lord, and the other lot for the scapegoat."^[10] Several modern versions however either follow the reading as a demon, Azazel, or footnote "for Azazel." as an alternative reading.

History[link]

Ancient Syria[link]

A concept superficially similar to the biblical scapegoat is attested in two ritual texts in archives at Ebla of the 24th century BC.^[11] They were connected with ritual purification on the occasion of the king's wedding. In them, a she-goat with a silver bracelet hung from her neck was driven forth into the wasteland of "Alini"; "we" in the report of the ritual involves the whole community. Such "elimination rites", in which an animal, without confession of sins, is the vehicle of evils (not sins) that are chased from the community are widely attested in the Ancient Near East.^[12]

Ancient Greece[link]

The Ancient Greeks practiced a scapegoating rite in which a cripple or beggar or criminal (the pharmakos) was cast out of the community, either in response to a natural disaster (such as a plague, famine or an invasion) or in response to a calendrical crisis (such as the end of the year). The scholia refer to the pharmakos being killed, but many scholars reject this, and argue that the earliest evidence (the fragments of the iambic satirist Hipponax) only show the pharmakos being stoned, beaten and driven from the community.^[13]

The Bible[link]

The scapegoat was a goat that was designated (Hebrew לַעֲזָאזֵֽל ) la-aza'zeyl; either "for absolute removal" (Brown-Driver-Briggs Lexicon) or possibly "for Azazel" (some modern versions taking the term as a name) and outcast in the desert as part of the ceremonies of the Day of Atonement, that began during the Exodus with the original Tabernacle and continued through the times of the temples in Jerusalem.

Throughout the year the sins of the Israelites were transferred to the daily animal sacrifices by the blood of the sacrifices. On the Day of Atonement, the tabernacle was cleansed and the High Priest of Israel sacrificed a goat to cleanse and atone for his personal sins in preparation to offer two subsequent goats for the corporate sins of God's people -- Israel. Two goats were chosen by lot: one to be "The Lord's Goat" and offerred as the blood sacrifice for the sins of Israel, and the second goat to be the "Azazel" scapegoat to be cast out into the wilderness bearing the sins of God's people. Leviticus 16. At that time the high priest confesses the sins of the Children of Israel to the God of Israel -- placing those sins on the head of the Azazel scapegoat. The Azazel is then sent into the desert wilderness, thus, the Children of Israel's sins were "atoned for" (paid for) by the scapegoat sacrifices of "The Lord's Goat" and "The Azazel Goat".

Christians later reinterpreted the Hebrew bible in light of their own theology and soteriology, and came to see this process of atonement through blood sacrifice as prefiguring a final judgment on mankind's sins. According to the later Christian interpretations, it is through the blood sacrifice of Jesus Christ as "The Lord's Goat" at Calvary that the sins of Christ believers are forgiven (atoned and paid for) per the law of atonement as mandated in Leviticus 16 once and for all. Barabas, the murderer chosen to live is also recognized as the "Azazel Goat" who was subsequently cast out into the wilderness. The fact that "unatoned for sins", sins which are not confessed or surrendered by faith in Christ, are on record in the "Books" of heaven (see Revelation 20:12) clearly indicates, at the final judgment, the responsibility for all unforgiven sins (unrepented of sins through lack of faith in Christ) shall be accredited to the individuals who committed and maintained their sins through unrepentance (non-cessation and unatoned for sins).

Since this goat is sent away to perish,^[14] the word "scapegoat" has come to mean a person who is blamed and punished for the sins of others, generally as a way of distracting attention from the real causes. The story of the scapegoat in Leviticus has also been interpreted as a symbolic prefigure of the self-sacrifice of Jesus, who takes the sins of humanity on his own head, having been crucified on a cross outside the city by order of the gentile Roman prefect, Pontius Pilate political leader, after pressure from the Jewish religious leaders.

References[link]

Look up scapegoat in Wiktionary, the free dictionary.

Christy Moore
Christy Moore in Liverpool Philharmonic , October 2008.
Background information
Birth name	Christopher Andrew Moore
Born	(1945-05-07) 7 May 1945 (age 67)
Origin	Newbridge, County Kildare, Ireland
Genres	Folk, traditional Irish, Pop
Occupations	Musician, songwriter
Instruments	Vocals, guitar, Bodhrán
Years active	1969–present
Associated acts	Planxty, Moving Hearts
Website	http://www.christymoore.com/

Christopher Andrew "Christy" Moore (born 7 May 1945) is an Irish folk singer, songwriter, and guitarist. He is well known as one of the founding members of Planxty and Moving Hearts. His first album, Paddy on the Road (a minor release of 500, although made available again on CD through his website and at gigs in 2010) was recorded with Dominic Behan (brother of Brendan) in 1969. In 2007, he was named as Ireland's greatest living musician in RTÉ's People of the Year Awards.^[1]

Early life[link]

Moore was born in Newbridge, County Kildare, Ireland. He was originally a bank employee who wanted to express himself using traditional music. A bank strike in 1966, which lasted six months (and effectively paralysed Irish commercial life for the duration), resulted in Moore spending considerable time practising music. When the strike ended, Moore had already decided where his passion in life arose, and left the bank for good.^[2]

Musical career[link]

1972 brought his first major release, Prosperous (named after the village of Prosperous, County Kildare, where the album was recorded), which brought together the four musicians who shortly thereafter formed Planxty: Liam O'Flynn, Andy Irvine, and Dónal Lunny. For a time they called themselves "CLAD", an acronym of their names, but soon decided on Planxty.^[2]

After leaving Planxty in 1975, Moore continued on his solo career, reforming his old band on occasion (which he has been doing ever since). He also formed the band Moving Hearts with Lunny and five other musicians in 1980. In 2000 he published his autobiography, One Voice.^[2]

Moore's earlier years of heavy drinking, sleeping dysfunctional hours, continual travelling, and often eating takeaway foods resulted in a decline in health, and several operations. Moore's battle with alcohol, and subsequent heart operations have taken their toll. At the end of the 1990s, Moore was requested to reduce his workload for medical reasons.^[2]

Some of Moore's songs are heavily influenced by drink and the effects of drink. His song "Delirium Tremens" being a good example. Listening to Johnny Mulhern's song "Hard Cases" causes Moore, in his website chat, to recall the Galway drinking scene with local musicians  Mickey Finn, Pete Galligan, Corky and Terry Smith.

On 17 April 2009, Moore released his first new studio album in four years, titled 'Listen' and it was promoted through a series of live gigs.^[3]

In December 2011, Moore released his latest album Folk Tale and made it available on Irish music website IrishCountry.ie

Political and social commentary[link]

Moore is best known for his political and social commentary, which reflects a leftwing Irish Republican perspective, this despite the fact that his mother was a Fine Gael county councillor and parliamentary candidate in Kildare.^[4] He supported the republican H-Block protestors in the 1970s and 1980s with the album H-Block in 1978, the launch of which was raided by the police, and The Spirit of Freedom.^[5] He has also recorded songs by the hunger striker Bobby Sands. However, in 1987 he ceased supporting the military activities of the IRA as a result of the Enniskillen bombing.^[6]

Individual political songs he has performed throughout his career include Mick Hanly's 'On the Blanket' about the protests of republican prisoners, his own 'Viva la Quinta Brigada' about Irish volunteers in the Spanish Civil War and his own 'Minds Locked Shut' about Bloody Sunday in Derry.

Moore has endorsed a long list of left wing support causes, ranging from El Salvador to Mary Robinson in the 1990 Presidential Election.^[2] At Glastonbury Festival in 2005 he sang about the Palestinian solidarity activist Rachel Corrie.

With typical Moore social consciousness, he opened the festival marking Ballymun's inception as Dublin's first Fairtrade Town on 23 November 2006. Ballymun, once synonymous with social deprivation and drug problems, is currently the largest urban regeneration project in northern Europe.

Allusions in his songs[link]

• The former Bishop of Galway, Eamon Casey, is the subject of Martin Egan's song 'Casey' often performed by Moore.
• In 2005, his popular release "Don't Forget Your Shovel" (written by Christie Hennessey) was referenced in a number 1 UK single "The JCB Song" by Nizlopi: "And the engine rattles my bum like berserk. While we're singin, 'Don't forget your shovel if you want to go to work!'" It was further referenced in the video for the same song; as the line is sung, the characters in the JCB pass a shop called "Christie's Shovels".
• In his song "If I Get an Encore" he compares Tulsk to hell,"Mountbellew was like purgatory but Tulsk was just like being in hell". Its a reference to a row that broke during one of his gigs in a Tulsk venue.

Musical style[link]

His solo style includes driving rhythms on guitar and bodhrán as well as slower ballads.

Family[link]

Moore's brother Barry, whose stage name is Luka Bloom, is also a successful singer-songwriter.^[7] His nephew, Conor Byrne, is also an accomplished traditional flautist and tin whistle player, with Christy appearing on his Wind Dancer album.^[8]

Memorable events[link]

An Góilín Surprise[link]

On 6 October 2006 Moore paid a surprise visit to the An Góilín traditional singers' club in Dublin. There, before fifty or so people, Moore took out his guitar (instruments are rarely used in An Góilín, it being a singers' refuge) and sang songs reflective of the Irish language and socially radical culture of the club such as Na Conghailigh, about the deaths of Tomás and Seán Ó Conghaile off Conamara, and Viva la Quinta Brigada, about the role of the Irish fighting with the socialists in the Spanish Civil War.

[edit] Desert Island Discs

In June 2007, Moore was guest on Desert Island Discs, a BBC programme that is often considered an accolade. He selected mainly Irish folk music that had inspired him and spoke of personal and political issues that had shaped his life.

Detention incident, 2004[link]

In October 2004, a story in several news agencies revealed how Moore had been stopped and detained by customs officers at the Welsh port of Holyhead.^[9][10] The article claimed the singer was stopped in his van with his driver, taken into an office and questioned over the lyrics of his songs. The following day in response to The Irish Times article, Moore released a statement saying: "My driver and I were stopped and held for two hours at Holyhead last Monday, under the Prevention of Terrorism Act 2002. My driver and I were held separately in two interrogation rooms. I found the whole experience threatening. I was questioned about the contents of my briefcase." Despite initial reports to the contrary, the singer's van, which was full of musical equipment, was not searched. "I was questioned about lyrics of songs and I was asked a lot of personal questions about members of my family and my children and about my home. At no time was I given any explanation as to why I was being held and interrogated in this manner", he added. He said the fact that Irish people are still being treated this way on their way to Britain is very "saddening". "I had hoped to deal with this matter out of the public domain. But seeing as it has become a news item, I feel the need to offer my side of the story. I found the whole affair quite frightening."^{[citation needed]}

Oxegen[link]

On Sunday 10 July 2011 Moore joined Chris Martin from Coldplay on stage at 2011 Oxegen Festival performing the song "Ride On".

Discography[link]

Solo[link]

• Paddy on the Road (1969)
• Prosperous (1972)
• Whatever Tickles Your Fancy (1975)
• Christy Moore (1976)
• The Iron Behind the Velvet (1978)
• Live in Dublin (1978)
• H Block (1980)
• Christy Moore and Friends (1981)
• The Time Has Come (1983)
• Ride On (1984)
• Ordinary Man (1985)
• The Spirit of Freedom (1986)
• Unfinished Revolution (1987)
• Voyage (1989)
• Smoke and Strong Whiskey (1991)
• King Puck (1993)
• Live at the Point (1994)
• Graffiti Tongue (1996)
• Traveller (1999)
• This is the Day (2001)
• Live at Vicar Street (2002)
• Burning Times (2005)
• Live at The Point 2006 (2006)
• Listen (2009)
• Folk Tale (2011)

With Planxty[link]

• Planxty (1972)
• The Well Below the Valley (1973)
• Cold Blow And The Rainy Night (1974)
• After The Break (1979)
• The Woman I Loved So Well (1980)
• Words and Music (1983)
• Planxty Live 2004 (2004)

With Moving Hearts[link]

• Moving Hearts (1981)
• Dark End Of The Street (1982)

Compilation albums[link]

• High Kings of Tara (Christy Moore, Planxty,..) (1980)
• Nice 'n Easy (1984)
• Aris (Planxty) (1984)
• Christy Moore (Compilation USA) (1988)
• The Christy Moore Collection 1981–1991 (1991)
• Christy Moore Collection Part 2 (1997)
• The Box Set 1964 2004 (2004)

Video[link]

• Christy (1995) 54 mins - Christy reflects on life and career.

DVDS[link]

• Christy Moore Uncovered (2001) 104 mins - features collaborations with Jimmy MacCarthy, Wally Page, Shane McGowan, Sinéad O'Connor and John Spillane.
• Planxty Live 2004 The reunion of the hugely popular and influential group after a 20 year hiatus.
• Christy Moore Live In Dublin 2006 (2006) 143 mins - First time a live solo concert has been recorded and released outside CD format. Filmed over 4 nights in December 2005 and January 2006.
• Christy Moore's Come All You Dreamers - Live At Barrowland (2009) - Filmed in Barrowland in Glasgow featuring Declan Sinnott.

References[link]

External links[link]

• Christy Moore's home page
• Review of a Christy Moore concert in Nottingham November 2007
• Review of a Christy Moore concert in Dublin in 2001
• Christy Moore The Early Years
• 4711ers.org '4711' is a term Christy coined which refers to his online fanbase.

This article relies largely or entirely upon a single source. Please help improve this article by introducing citations to additional sources. Discussion about the problems with the sole source used may be found on the talk page. (December 2011)

Francis John (Frank) Tovey, also by his stage name as Fad Gadget (8 September 1956 – 3 April 2002), was a British avant-garde electronic musician and vocalist. He was a proponent of both New Wave and early Industrial music.

As Fad Gadget, his music was characterized by a use of synthesizers in conjunction with sounds of found objects, including drills and electric razors. His bleak, sarcastic, and darkly humorous lyrics, often layered in meaning and discussing subjects such as machinery, building construction, human sexuality, and physical violence, were sung in a droning, often expressionless voice.

Biography[link]

Early years[link]

Tovey was born in 1956 in the UK. At school Tovey tried to learn many different musical instruments. He realised he did not have the coordination to be able to play any of them really well.^[1] He drifted away from the idea of playing music, and began getting involved in other art forms instead.^[1] He later studied visual arts and mime^[1] at Leeds Metropolitan University, known as Leeds Polytechnic at the time. He felt the need to give his mime act some sort of musical accompaniment so he went back to the idea of recording music.^[1] The initial musical pieces were formed of sound manipulation using tape recorders.^[1] Tovey began experimenting using an old Grundig tape recorder.^[1] He disconnected the erase head from the playback head and installed a simple switch between the two. This gave him control over what sounds could be erased or kept.^[1] He spent a lot of time building up sound collages using this method.^[1] After finishing full time education Tovey began working at various day jobs and around the mid seventies managed to set up his own home studio.^[1] At the time he was living in London, in a small house. The only space where he could set up his studio was in a cupboard. The initial equipment he used consisted mainly of his Grundig tape recorder. At this time he was using no musical instrument at all.^[1] The first keyboard instrument he owned was a Crumar Compac electric piano.^[1] He also bought a Korg Minipops drum machine from a home organ shop.^[1] He eventually decided to purchase a Korg synthesiser. He thought that due to his lack of musical ability he would be able to create some impressive sounds.^[1] After the purchase of this equipment he began writing music seriously; it was at this time he sent a demo tape of "Back to Nature" to Daniel Miller, who had just released his first single as The Normal.^[1]

Signing to Mute Records[link]

Tovey signed as Fad Gadget to Daniel Miller's Mute Records. He was the first artist to sign to Mute.^[2] "Back to Nature" was recorded as the second Mute Records release at RMS Studio in London. At the time RMS was an eight track studio.^[1] Tovey had no real experience of recording within a studio environment, so he left most of the decision making to Daniel Miller. Most of the recorded instruments on "Back to Nature" belonged to Tovey, although he used equipment belonging to Miller as well; this included an ARP 2600 synthesiser.^[1] "Back to Nature" was a great success for Mute Records so a follow-up record was produced; the follow-up was titled "Ricky's Hand".^[1] The recording included Tovey’s wife, Barbara, singing a vocal part near the end of the recording; the vocal part is then mixed with a synthesiser part into the outro of the song.^[1] Tovey then went on to record an album for Mute Records. Fireside Favourites was recorded at Blackwing Studios in London. He decided to record the album without Daniel Miller’s assistance.^[1] Tovey felt it very important that he made all the decisions about recording the album himself.^[1] Tovey also felt the ideas and concepts behind his live performances were just as important. He was gaining a reputation for being an exciting, original live act within the electronic music scene. He used visual gimmicks such as playing instruments with his head, usually ending up in personal injury. His live appearances progressed to dressing in stage costumes, reflecting back to his days studying visual arts.^[1] Tovey recorded two more albums for Mute Records at Blackwing Studios which was using more complex recording equipment. Incontinent and Under the Flag showed a progressive change in Tovey’s music; due both to the technological advances and his own growing knowledge of recording techniques.^[1] It was during the recording of Under the Flag that he began using the Roland MC-4 Microcomposer.^[1] This made it easy for Tovey to create a more controlled style of music. This style was carried on with the recording of the album Gag.^[1]

Recording in Berlin[link]

The recording of Gag was a turning point in Tovey’s recording career. It would be the first time he used a band of musicians to record an album, before he had recorded most of the musical parts himself.^[1] It would also see a major change in the recording location from London to Hansa Tonstudio in Berlin.^[1] He had wanted a break from the way he had been recording in London.^[1] The acoustic spaces in the German studio had excited Tovey. He was also excited about the recording equipment that was installed at Hansa at that time, including the computer controlled mixing desk.^[1] He found the new recording practices refreshing, having other people collaborating in the writing and recording process. Some of these collaborators included the viola player, Joni Sackett, and keyboard player, David Simmonds.^[1] The recordings included many acoustic instruments, which veered away from the electronic instruments which had been used on previous recording sessions.^[1] Tovey had used synthesisers when they were not fashionable to use – he had now moved away from electronic instrumentation when it was the current trend with other recording artists.^[1] During the recording of Gag the German industrial band, Einstürzende Neubauten, were also recording at Hansa and had been the support act for Fad Gadget at a gig at "The Loft" venue in Berlin. Frank liked their use of Industrial equipment and found objects something he had encouraged Nick Cash drummer and percussionist since first album to do. Frank Tovey heard a large printing press nearby which had a distinctive rhythm and got Gareth Jones the co-producer/engineer to record it, this was looped and became the basis for "Collapsing New People" with Cash drumming along and keeping the swing of the machine. Tovey then thought it would be good to ask Neubauten if they would add some of their percussion noise to the mix, however he thought there was enough going on in the track and their contribution was used on the B.Side "Spoil The Child" and on the 12" mix of the song. Neubauten’s percussion was overdubbed over the already recorded backing tracks.^[1] The percussion tracks proved difficult to mix at the final stage, but Tovey was pleased with the final result. The track "Collapsing New People" was released as a single by Mute Records. Incidentally, Einstürzende Neubauten translated means collapsing new buildings.^[1] After recording the album Gag, Tovey began recording under his real name – Frank Tovey. He carried on moving toward acoustic instruments and in 1984 had decided he may want to record on his own again.^[1]

Fad Gadget was known for his confrontational live performances, which included Tovey covering himself in tar and feathers, leaping into the audience, and playing instruments with his head. Tovey was particularly infamous for spreading his naked body in shaving cream onstage, an image of which is depicted on the cover of The Best of Fad Gadget. Sounds magazine described him as "...the bumbling but talented Dr Who of electro-pop".^[3]

Recording as Frank Tovey[link]

He recorded several LPs of more experimental work under the name Frank Tovey, beginning with Easy Listening for the Hard of Hearing, a collaboration with Boyd Rice recorded in 1981.^[2]

In 1989, he changed musical tactics in his criticism of industrialization, recording a mostly acoustic album of protest and labor songs Tyranny and the Hired Hand including such standards as "Sixteen Tons." He then tried his hand at writing similar material, recorded two more albums with a backing band named The Pyros.^[2] After touring in 1993, Tovey withdrew from the music business.

Final years[link]

In 2001, Tovey resurrected his old pseudonym to support his former colleagues and Mute label-mates, Depeche Mode, on their Exciter tour. He continued to perform live, and was working on a new album at the time of his death.^[2] Tovey suffered from heart problems since his childhood, and died of a heart attack on 3 April 2002 at the age of 45. He left a wife, a daughter (Morgan) and a son (Joseph).^[2]

Discography[link]

Albums[link]

As Fad Gadget[link]

• Fireside Favourites (1980)
• Incontinent (1981)
• Under the Flag (1982)
• Gag (1984)
• The Best of Fad Gadget (2001)

As Frank Tovey[link]

• Easy Listening for the Hard of Hearing (1984) (with Boyd Rice)
• Snakes and Ladders (1986)
• The Fad Gadget Singles (1986)
• Civilian (1988)
• Tyranny & the Hired Hand (1989)
• Grand Union (1991)
• Worried Men in Second Hand Suits (1992)
• Fad Gadget by Frank Tovey (2006)

Singles[link]

As Fad Gadget[link]

As Mkultra[link]

• "Immobilise" (1986)

As Frank Tovey[link]

• "Luxury" (1985)
• "Luddite Joe" (1986)
• "Bridge St. Shuffle" (1988)
• "Sam Hall" (1989)
• "The Liberty Tree" (1991)
• "All That Is Mine" (1992)

Footnotes[link]

External links[link]

• Official Fad Gadget Site
• Frank Tovey Fan Site