San Proper

San Proper is an electronic music producer and DJ based in Amsterdam. His work is characterized by a diverse mix of different genres, and has been released on the record labels Rush Hour, Perlon, and Dekmantel.

Beginnings

San Proper grew up in Amsterdam playing in many bands, with guitar as his primary instrument. In 1995, he founded The Mindmenders, a six-person band that fuzed influences from R&B, Funk, and Hip Hop. After gaining considerable popularity and even winning the prestigious De Grote prijs van Nederlan (Grand Prize of the Netherlands), Proper left the group to pursue his a solo career. After leaving The Mindmenders, Proper started DJing in clubs in Amsterdam and experimenting with analogue equipment to create his own music. His unpredictable DJ sets, as well as eccentric presence, built a strong local following in the early 2000s.

Rush Hour, Perlon, and Animal LP

After becoming friendly with members of local independent record label Rush Hour Recordings, he began his Proper A’dam Family Series for the label in 2007 to showcase up and coming talent from his home city. The first of five in the series, a collaboration with Awanto 3, caught the attention of Ricardo Villalobos and Zip of the label Perlon, who asked him to remix “Electonic Water” for Villalobos' LP Vasco. After signing to the label, San Proper released Keep It Raw in 2009.

Tincture (heraldry)

In heraldry, tinctures are the colours used to emblazon a coat of arms. These can be divided into several categories including light tinctures called metals, dark tinctures called colours, nonstandard colours called stains, patterns called furs, and "proper". A charge described as proper (also sometimes termed "natural") is coloured as it would be found in nature.

Use of tinctures

One of the few fundamental rules of heraldry is that metals must not be placed upon other metals and colours must not be placed upon other colours, while furs and proper can sometimes be placed upon either or both. This is referred to as the rule of tincture.

Nonstandard colours called stains were introduced in the late Middle Ages, but have largely been shunned as contrary to the heraldic spirit of bold images and bright, contrasting colours. A peculiar fad of the Renaissance sought to couple each tincture with an associated planet, gemstone, flower, astrological sign, etc., but this practice was soon abandoned and is now regarded as wildly divergent from the science of heraldry. The 19th century saw the rise of "landscape heraldry" and extensive use of charges tinctured "proper", especially in augmentations (and more often in German heraldry than English), but this practice too has been deprecated as essentially unheraldic.

Proper (liturgy)

The proper (Latin: proprium) is a part of the Christian liturgy that varies according to the date, either representing an observance within the liturgical year, or of a particular saint or significant event. The term is used in contrast to the ordinary, which is that part of the liturgy that is reasonably constant, or at least selected without regard to date, or to the common, which contains those parts of the liturgy that are common to an entire category of saints, such as apostles or martyrs.

Propers may include hymns and prayers in the canonical hours and in the Eucharist.

West

The proper of the mass, strictly speaking, consists of the Introit, Gradual, Alleluia or Tract, Sequence, Offertory, and Communion - in other words, all the variable portions of a mass which are spoken or sung by the choir or the people. These are sometimes called the "minor propers" to distinguish them from the collect, secret, postcommunion, and readings - in other words, all the variable portions of a mass which are spoken or sung by the priest or other attendants, such as a lector or deacon. In Roman Catholic and Anglo-Catholic practice, there is a moveable portion of the service that, strictly speaking, does not form part of the proper known as the Accentus. Portions of the Accentus are often referred to as part of the "proper" if they satisfy the criteria of changing by date (such as the Preface and Epistle).

Proper (album)

Proper is a studio album by the Chicago based singer-songwriter Evan Thomas Weiss, known as Into It. Over It.

Track listing

All music composed by Into It. Over It..

Personnel

References

Japanese honorifics

The Japanese language uses a broad array of honorific suffixes for addressing or referring to people. These honorifics attach to the end of people's names, as in Aman-san where the honorific -san was attached to the name Aman. These honorifics are often gender-neutral, but some imply a more feminine context (such as -chan) while others imply a more masculine one (such as -kun).

These honorifics are often used along with other forms of Japanese honorific speech, keigo, such as that used in conjugating verbs.

Usage

Although honorifics are not part of the basic grammar of the Japanese language, they are a fundamental part of the sociolinguistics of Japanese, and proper use is essential to proficient and appropriate speech. Significantly, referring to oneself using an honorific, or dropping an honorific when it is required, is a serious faux pas, in either case coming across as clumsy or arrogant.

They can be applied to either the first or last name depending on which is given. In situations where both the first and last names are spoken, the suffix is attached to whichever comes last in the word order.

SAN

San or SAN may refer to:

Places

People

Arts

San (letter)

]........ΑΝΤΑΣ:ΧΑ.[
]....ΚΕΑΣ:ΑΝΓΑΡΙΟΣ[
]...ΑΥϜΙΟΣ:ΣΟΚΛΕΣ:[
].ΤΙΔΑΣ:ΑΜΥΝΤΑΣ[
]ΤΟΙ ΜΑΛΕϘΟ:ΚΑΙ.[

San (Ϻ) was an archaic letter of the Greek alphabet. Its shape was similar to modern M, or to a modern Greek Sigma (Σ) turned sideways, and it was used as an alternative to Sigma to denote the sound /s/. Unlike Sigma, whose position in the alphabet is between Rho and Tau, San appeared between Pi and Qoppa in alphabetic order. In addition to denoting this separate archaic character, the name "San" was also used as an alternative name to denote the standard letter Sigma.

Historical use

Sigma and San

The existence of the two competing letters Sigma and San is traditionally believed to have been due to confusion during the adoption of the Greek alphabet from the Phoenician script, because Phoenician had more sibilant (s-like) sounds than Greek had. According to one theory, the distribution of the sibilant letters in Greek is due to pair-wise confusion between the sounds and alphabet positions of the four Phoenician sibilant signs: Greek Sigma got its shape and alphabetic position from Phoenician Šin (), but its name and sound value from Phoenician Samekh. Conversely, Greek Xi (Ξ) got its shape and position from Samekh (), but its name and sound value from Šin. The same kind of pair-wise exchange happened between Phoenician Zayin and Tsade: Greek Zeta has the shape and position of Zayin () but the name and sound value of Tsade, and conversely Greek San has the approximate shape and position of Tsade () but may originally have had the sound value of Zayin, i.e. voiced [z]. However, since voiced [z] and voiceless [s] were not distinct phonemes in Greek, Sigma and San came to be used in essentially the same function.