This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This article may be too long to read and navigate comfortably. When this tag was added, its readable prose size was 17,000 words. Consider splitting content into sub-articles, condensing it, or adding subheadings. Please discuss this issue on the article's talk page.(February 2019)
He-Man and the accompanying Masters of the Universe franchise would make their debut in 1982 with Mattel's release of the original "Masters of the Universe" 5.5-inch action-figure toy line. Masters of the Universe, often abbreviated as MOTU, would begin its mythos through the minicomics that accompanied the toys throughout the 1980s. These initial mini comics were soon followed by several children's books and issues of DC Comics. However, the Masters of the Universe franchise would become best known through Filmation's groundbreaking He-Man and the Masters of the Universe animated series.[4] Debuting in the fall of 1983, the Filmation series ran 130 episodes over two seasons until November 1985.[5]
Since its inception, Masters of the Universe has usually placed its focus on the two primary characters, the blond muscular He-Man, "the most powerful man in the Universe," and his nemesis, the evil skull-faced, blue-skinned sorcerer Skeletor and their many moral-themed encounters on the planet Eternia.[6][7][8] Set in a hybrid world of sword and sorcery and technological sci-fi, He-Man battles with Skeletor to prevent him from conquering Eternia and discovering the secrets of Castle Grayskull—a mysterious ancient fortress with a skull-shaped facade, containing great power and magic.[9] As with many toy franchises that have been transferred to several different media, there are a number of story differences between the various versions of Masters of the Universe. In most continuities from the Filmation series onward, He-Man is the secret identity of Prince Adam, the son of King Randor and Queen Marlena, the ruling royal family of Eternia.[10][11] Adam becomes He-Man by holding aloft his magic Power Sword and uttering the words "By the power of Grayskull…" and serves as the protector of good on Eternia.[12] He is first given this ability by the Sorceress of Castle Grayskull, a powerful magic user and mystic guardian of the castle, who in many depictions is able to transform herself into the falcon Zoar.[13][14] Upon Adam's transformation into He-Man, his cowardly green pet tiger Cringer becomes the mighty Battle Cat, a giant armored feline that He-Man often rides into battle.[15]
He-Man's most prominent allies include Man-At-Arms,[16] a wise loyal veteran soldier and inventor; and his adopted daughter Teela, a spirited and skillful female warrior, often portrayed as captain of the Eternian Royal Guard and a potential love interest of He-Man/Prince Adam.[17] The childlike Trollan magician Orko also often features as one of He-Man's closest allies;[18] as does Stratos, a flying bird-man from the kingdom of Avion;[19]Ram-Man, a stout dimwitted warrior with springlike legs and a large helmet that encloses his head and upper torso;[20] and Man-E-Faces, an actor with face-changing abilities.[21]
Skeletor is originally described as an evil being from another dimension and in some later MOTU lore as a disfigured and vengeful relative of the royal family, known as Keldor.[22][23] From his lair on Snake Mountain, Skeletor would assemble his "Evil Warriors" to assist in his various schemes to conquer Eternia. These core minions usually include Beast Man, an orange-furred, apelike master of beasts;[24]Mer-Man, an aquatic fishlike ocean warlord;[25]Evil-Lyn, a powerful sorceress and one of Skeletor's most feared and competent associates;[26]Trap Jaw, an iron-jawed criminal with a mechanical arm that can be fitted by a various assortment of weapons;[27] and Tri-Klops, a mercenary swordsman with a rotating three-eyed visor.[28]
The series overall would feature a wide and ever-expanding cast of heroic and villainous characters added to the toy line, the Filmation cartoon, and other media; with the franchise far outshining prior expectations, continuing to grow through 1983 and 1984.[4] The release of the animated cartoon movie He-Man and She-Ra: The Secret of the Sword in the spring of 1985 introduced He-Man's twin sister She-Ra (with her secret alter ego Princess Adora)[29] and the arch-villain Hordak (leader of the Evil Horde and the former master of Skeletor) on the planet Etheria.[30] Stemming from the animated movie, Filmation went on to produce 93 episodes of the series She-Ra: Princess of Power, which ran until the end of 1987, along with the He-Man & She-Ra: Christmas Special.[31] Other main characters of the She-Ra series would include Swift Wind, winged unicorn and alter ego of She-Ra's trusty steed Spirit;[32]Light Hope, mystical living beam of light and mentor to She-Ra;[33] and her Great Rebellion allies Glimmer, magically inclined onetime leader of the rebellion;[34]Bow, skilled archer and the main male protagonist of the series;[35]Kowl, Bow's owllike, rainbow-eared companion;[36]Madame Razz, absent-minded witch with her sarcastic sentient Broom;[37][38] and Queen Angella, Glimmer's mother and angel-winged queen of the Bright Moon;[39] along with Hordak's spell-casting witch Shadow Weaver;[40] shape-shifting spy Imp;[41] bumbling bug-eyed henchman Mantenna;[42] Force Squad captain Catra;[43] evil scientist Modulok;[44] beastly warrior Grizzlor;[45] energy-draining Leech;[46] and thuggish henchwoman Scorpia.[47]
Various children's books, magazines, comics, read-along records/cassette tapes, and other merchandise were also released worldwide around this time, with much of the content based primarily on the Filmation He-Man and She-Ra series. The live-action film Masters of the Universe was released in 1987 by Cannon Films, starring Dolph Lundgren and Frank Langella.[48] The later 1980s mini comics, Marvel comics series, and UK magazine comics continued the adventures of He-Man and She-Ra past the end of the two Filmation series.[49][50][51] However, popularity had waned by the end of 1987 and a planned continuation of the original toy line under the heading of "The Powers of Grayskull" (set in ancient Eternia, featuring the villain King Hiss and He-Man's ancestor He-Ro) was started, but eventually scrapped.[52][53]
He-Man would be brought back in 1989 in an entirely new and space-based cartoon series and toy line known as "The New Adventures of He-Man." Only He-Man and Skeletor would return as major characters to join the battle between Galactic Guardians and Space Mutants on the planet Primus. Jetlag Productions would go on to produce 65 episodes of the New Adventures cartoon, with a few mini comics and adventure magazines also created for this new series. Ultimately, though, the series would not be as successful and the entire franchise would go on a hiatus for more than a decade.[54]
After some success with a "Commemorative Series" rerelease of the classic action figures in 2000, Mattel relaunched the toy line with all-new action figures, playsets, and vehicles, sculpted by Four Horsemen Studios in 2002.[55][56] As part of the relaunch, a modern updated animated series was also created by Mike Young Productions, lasting for 39 episodes; featuring He-Man and his ensemble of heroic warriors, now called the "Masters of the Universe," battling Skeletor's minions and, later, King Hiss, the ancient and evil lord of the Snake Men.[52] Characters such as Mekaneck, heroic warrior with a mechanical extending neck;[57]Buzz-Off, heroic beelike flying Andreenid warrior;[58]Clawful, large villainous crab-like henchman;[59]Whiplash, evil reptilian Caligar with a deadly tail; Stinkor, foul-smelling mutated Paleezean; and many others would gain more prominent backstories during this series.[60] Several volumes of comic books were also produced to go along with the series by Image Comics and MVCreations. Although popular with longtime fans and collectors (with mini-statue figures being released by NECA until 2007), the new series failed to catch on with a larger audience and was canceled in 2004.[61]
From 2008 to 2020, a new assortment of Masters of the Universe action figures has been released under the banner of "Masters of the Universe Classics." Primarily geared toward the collector's market, the series made up an entirely new story in "Classics bios" and used various elements from previous Masters of the Universe lore, many times changing those elements to suit the new story, with characters from all previous incarnations (and also featured a continuation of the original mini comics line). DC Comics would soon follow suit and relaunch a new grittier, contemporary version of the Masters of the Universe franchise, releasing various new comic book series from 2012 until 2020; featuring crossovers with the DC Comics Universe, ThunderCats, and a new origin for She-Ra, culminating in Hordak's conquest of Eternia.[62]
In 2020, Mattel released a new line of 5.5" scale action figures, vehicles and playsets under the Masters of the Universe Origins line.[63]
Mattel began development of He-Man and the Masters of the Universe in the late 1970s with Conan the Barbarian–inspired concepts from Roger Sweet, Mark Taylor, Donald F. Glut, and several other contributors.[4] The catalyst for the creation of He-Man began in 1976, when Mattel's CEO Ray Wagner declined a request to produce a toy line of action figures based on the characters from the George Lucas film Star Wars, with the film's toy rights being acquired by Kenner instead.[65][66][note 1] Upon the commercial success of the film trilogy and all related merchandise during the next few years, Mattel attempted to launch several unsuccessful toy lines, none of which captured the public's imagination or made a significant dent in the toy market.[65][note 2]
In the race to design the next hit action figure, Roger Sweet, a lead designer working for Mattel's Preliminary Design Department throughout much of the 1970s and 1980s, according to his book Mastering the Universe: He-Man and the Rise and Fall of a Billion-Dollar Idea, was the first to conceptualize the idea of He-Man.[65][66] However, this is not officially acknowledged by Mattel, and authorship of the He-Man character has been subject to debate.[67][68][note 3] According to various former Mattel designers, Roger Sweet drew inspiration for the designs of his first He-Man prototypes from fantasy drawings of Mattel packaging designer Mark Taylor, which included a drawing of a He-Man-like character called Torak.[4][69][70]
Roger Sweet presented the He-Man concept to Ray Wagner at the Mattel Product Conference, in the form of three large three-dimensional plaster prototype models, which Sweet dubbed the "He-Man Trio." These prototypes were molded from extensively modified Big Jim action figures (Battle Cat would also be adapted from a tiger in the Big Jim toy line).[71][72] The He-Man Trio models were an axe-wielding barbarian, a tank-headed soldier, and a spaceman with a Boba Fett–like helmet.[65] Out of the three concepts, the barbarian version of He-Man was chosen to be the basis of the toy line (this original trio-prototype idea was released around 30 years later as the figure Vykron, and the barbarian concept on its own as Vikor, in the "Masters of the Universe Classics" line).[73]
"The only way I was going to have a chance to sell this [to Wagner] was to make three 3D models—big ones. I glued a Big Jim figure [from another Mattel toy line] into a battle action pose and I added a lot of clay to his body. I then had plaster casts made. These three prototypes, which I presented in late 1980, brought He-Man into existence. I simply explained that this was a powerful figure that could be taken anywhere and dropped into any context because he had a generic name: He-Man!"[note 4][65]
Originally set under the working title "Lords of Power," the name "Masters of the Universe" came into being when it was suggested that the former name of the toy line was too religious in nature.[74] The roster of characters would soon expand past the main hero, He-Man, and Mark Taylor would draw inspiration for the series main villain, Skeletor, from his 1971 sketch entitled The King of Styx, along with early renderings of his characters Demo-Man and D-Man.[7] Taylor would create preliminary designs for several other original characters as well, with additional ideas or direction from Mark Ellis and Paul Cleveland, among others, but the premise behind the toy line had not yet been fully established.[4][75] The backstory of He-Man was first conceptualized for special mini-comic books that Mattel marketing director Mark Ellis promised distributors would accompany the toys.[71] Mattel had DC Comics mock up a comic book, with the earliest storybooks written by Donald F. Glut.[76][77][78] With major distributor Toys "R" Us concerned that "five-year-olds don't read", Mark Ellis then first proposed the idea of an animated TV special. This would eventually lead to a meeting with Filmation head Lou Scheimer and the creation of the He-Man and the Masters of the Universe animated series.[71]
Earlier in 1980, the rights-holders of Conan the Barbarian had been negotiating the character's toy rights with Mattel and they entered into an agreement the following year regarding characters from the 1982 Conan movie. However, with Mattel introducing the Masters of the Universe toy line in 1982, the rights-holders sued Mattel claiming the character was an infringement on the character of Conan.[79] Mattel eventually won the lawsuit and after legal agreements were dissolved, it was stated that the toy line was never intended for the Conan film.[80][81] However, some Conan influence can be seen, as Roger Sweet has claimed to have drawn some inspiration from the paintings of Frank Frazetta, a fantasy artist with many works depicting Conan the Barbarian, when creating He-Man.[66]
Original action figures and mini comics (1981–1982)[edit]
The "Masters of the Universe" toy line was created by Mattel in 1981, and first released to stores in 1982 as 5½-inch action figures (as opposed to the 3¾-inch size used by Kenner'sStar Wars and Hasbro's G.I. Joe: A Real American Hero lines).[4] The two main characters, He-Man ("the most powerful man in the universe")[82] and his arch-enemy Skeletor ("evil lord of destruction")[83] were the first released in action figure form, along with other core characters of the series: Man-At-Arms ("heroic master of weapons"), Beast Man ("Skeletor's savage henchman"), and Battle Cat ("He-Man's fighting tiger").[84][85][86]
Later on that year, the first wave of action figures in 1982 would also include Teela ("heroic warrior goddess"), Mer-Man ("evil ocean warlord"), Stratos ("heroic winged warrior"), and Zodac ("the cosmic enforcer").[87][88][89][90] The Teela action figure was originally proposed as representing both the Sorceress character (when wearing the figure's "snake armor") and the Teela character (when without the "snake armor"), as Mattel believed there would not be enough demand for two female action figures in the initial wave.[17] Alongside the first wave of figures were the Battle Ram ("mobile launcher") and Wind Raider ("assault lander") vehicles and the playset Castle Grayskull ("fortress of power and mystery").[91]
Christina María Aguilera was born on December 18, 1980, in New York City, to Shelly Loraine (née Fidler) and Fausto Wagner Xavier Aguilera.[3] Her father is an Ecuadorian emigrant from Guayaquil while her mother has German, Irish, Welsh, and Dutch ancestry.[4][5] Fausto Aguilera was a United States Army sergeant, and Shelly Loraine was a violinist in the American Youth Symphony before becoming a Spanish translator.[6][7]
In 1986, the family returned to the United States, and settled in Pennsylvania, where they welcomed her younger sister, Rachel, in 1986.[12] Aguilera has spoken out about her father's physically and emotionally abusive behavior.[13] She noted that this is what made her turn to music, noting that, "growing up in an unstable environment and whatnot, music was my only real escape".[14] In 1987, Shelly filed to divorce Fausto and moved with Aguilera and Rachel to her mother's home in Rochester, a suburb of Pittsburgh.[15] She later married James Kearns with whom she had a son named Michael.[16] In 2012, following decades of estrangement, Aguilera expressed interest in reconciling with her biological father.[17]
Aguilera moving to her grandmother's home allowed her to explore her grandmother's records, which featured mostly soul and blues singers and increased her interest in music.[18] She also began to practice singing in public and competing in talent contests.[19] Following numerous contests, she earned reputation in her neighborhood as the "little girl with a big voice" and received widespread attention from local television and radio programs.[20][21]
In 1991, Aguilera auditioned for a position on The All-New Mickey Mouse Club (MMC), aired on the Disney Channel. She ran against 400 candidates, and while she made the shortlist she was ultimately rejected for not meeting the minimum age requirement.[25] One year later, in 1992, Aguilera received a call from one of the show's producers asking if she was still interested in becoming a "Mouseketeer". She once again competed for a spot (this time, against 15,000 candidates) and was selected to join the variety program the following year.[26] Her fellow cast members included Ryan Gosling, Keri Russell, Britney Spears, and Justin Timberlake.[27] During the show recordings—which included Aguilera performing musical numbers and comedy sketches—she moved with her family to Orlando, Florida.[28] In 1994, it was reported the series would not return for a new season.[29]
Aiming to begin a music career, Aguilera moved to Japan in 1997. She was selected to record a duet with Japanese singer Keizo Nakanishi, with whom she performed in concert shows around the country.[30] Their song, "All I Wanna Do", was released as a single but failed to reach commercial success.[20] In June 1997, Aguilera went on to Romania to represent the United States in a singers contest during the Golden Stag Festival, but she failed to win over the audience.[31]
Seeking a recording contract, Aguilera recorded numerous demo tapes directed to record labels, including Walt Disney Records, for which she sent a cover of "Run to You" by Whitney Houston.[32] She eventually was chosen to record "Reflection", the theme song from the animated film Mulan (1998), which reached number 15 on the Billboard Adult Contemporary chart.[33] Following the attention she received with "Reflection", Aguilera caught the ear of Ron Fair, the A&R executive from RCA Records, who consequently signed Aguilera to the label.[8] In late 1998, she began to record her debut studio album into which producers reportedly invested over $1 million worth of writers, producers and vocal lessons.[8]
In May 1999, Aguilera released "Genie in a Bottle", the lead single off her long-awaited debut album, which topped the Billboard Hot 100 for five consecutive weeks and became the second best-selling single of 1999.[34] The song became an international success, increasing Aguilera's popularity worldwide, topping the charts in over 20 countries.[35] The single also attracted the attention of conservatives including celebrities such as Debbie Gibson that spoke out against its lyrical content, and was eventually considered "too provocative" to be sung by a teen idol.[36][37] Due to the criticism, Radio Disney replaced the song with a censored version.[38] The song was nominated for a Grammy Award for Best Female Pop Vocal Performance.[39]
Aguilera's self-titled debut album, Christina Aguilera, was released on August 24, 1999, to critical praise, debuting at number one on the Billboard 200.[40] It catapulted Aguilera into fame globally and sold over ten million copies in its first year.[41] It was later certified eight times platinum by the Recording Industry Association of America (RIAA),[42] and it has sold over 17 million copies worldwide.[43][44] Originally, Aguilera's desire was to create material directly inspired by R&B and soul, but the label opted for a more teen pop production due the genre's high financial return in the late 1990s.[45] At the 42nd Annual Grammy Awards, Aguilera won the Best New Artist category for which Time credited the award for "[helping] certify her credentials as a real singer".[46]
I was completely blown away, shocked, overwhelmed and thrilled. I didn't expect it. I've dreamed of that since I was eight years old. I was rambling off the top of my head, my knees were shaking and I'm still floating on air because of it!
In October 2000, Aguilera also released her third studio album, My Kind of Christmas, her first Christmas album, which reached number one on the US Top Holiday Albums chart.[60][61] The album received generally polarized reviews at the time but has since gone on to retrospectively receive praise.[62] Aguilera starred in a holiday special, My Reflection, which aired on December 3, 2000, on ABC.[63] Aguilera's commercial success saw her being named the 2000 Top Female Pop Act by Billboard.[64] The same year, she also filed a fiduciary duty against manager Steve Kurtz for "improper, undue, and inappropriate influence over her professional activities".[65] She eventually hired Irving Azoff to manage her career, aiming for control of her career and image.[65]
In August 2001, Warlock Records released Just Be Free, a demo album recorded by Aguilera between 1994 and 1995 while she was looking for a recording deal following the end of The All-New Mickey Mouse Club (MMC).[74] She filed a suit against the label and the album's producers aiming to stop the release of the album; however, both parties came to a confidential settlement to release the album, in which Aguilera lent out her name, likeness, and image for an unspecified amount of damages.[75]
With a new management, Aguilera started moving away from her teen pop niche and began working on a new project.[76] She cultivated a new image by adopting the alter ego Xtina, dyeing her hair black, and sporting several tattoos and body piercings.[77] Aguilera's new persona was widely criticized by media outlets.[78][79][80] In September 2002, she released the controversial song, "Dirrty", which garnered mixed reviews and peaked as number 48 on Billboard Hot 100.[45] The song's accompanying music video generated controversy for depicting overtly sexual fetishes,[81] and attracted the attention of conservative organizations and moralists who sought to have the video banned on MTV.[82] The video also sparked protests in Thailand and was eventually banned on the country's local television.[83][84] "Dirrty" topped the charts in the UK and Ireland,[85] and has gone on to become a cult classic.[86]
The desert oasis city of Jubbah in Saudi Arabia as photographed from space.
In ecology, an oasis (/oʊˈeɪsɪs/; pl.: oases/oʊˈeɪsiːz/) is a fertile area of a desert or semi-desert environment[1] that sustains plant life and provides habitat for animals. Surface water and land may be present, or water may only be accessible from wells or underground channels created by humans. In geography, an oasis may be a current or past rest stop on a transportation route, or less-than-verdant location that nonetheless provides access to underground water through deep wells created and maintained by humans.
The word oasis came into English from Latin: oasis, from Ancient Greek: ὄασις, óasis, which in turn is a direct borrowing from Demotic Egyptian. The word for oasis in the latter-attested Coptic language (the descendant of Demotic Egyptian) is wahe or ouahe which means a "dwelling place".[2] Oasis in Arabic is wāḥa (Arabic: واحة).
Oases develop in "hydrologically favored" locations that have attributes such as a high water table, seasonal lakes, or blockaded wadis.[3] Oases are made when sources of freshwater, such as underground rivers or aquifers, irrigate the surface naturally or via man-made wells.[4] The presence of water on the surface or underground is necessary and the local or regional management of this essential resource is strategic, but not sufficient to create such areas: continuous human work and know-how (a technical and social culture) are essential to maintain such ecosystems.[5][6] Some of the possible human contributions to maintaining an oasis include digging and maintaining wells, digging and maintaining canals, and continuously removing opportunistic plants that threaten to gorge themselves on water and fertility needed to maintain human and animal food supplies.[7] Stereotypically, an oasis has a "central pool of open water surrounded by a ring of water-dependent shrubs and trees…which are in turn encircled by an outlying transition zone to desert plants."[8]
Rain showers provide subterranean water to sustain natural oases, such as the Tuat. Substrata of impermeable rock and stone can trap water and retain it in pockets, or on long faulting subsurface ridges or volcanic dikes water can collect and percolate to the surface. Any incidence of water is then used by migrating birds, which also pass seeds with their droppings which will grow at the water's edge forming an oasis. It can also be used to plant crops.
Oases in the Middle East and North Africa cover about 1,000,000 hectares (10,000 km2), however, they support the livelihood of about 10 million inhabitants.[9] The stark ratio of oasis to desert land in the world means that the oasis ecosystem is "relatively minute, rare and precious."[8]
There are 90 “major oases” within the Sahara Desert.[4] Some of their fertility may derive from irrigation systems called foggaras, khettaras, lkhttarts, or a variety of other regional names.[10][11]
In some oases systems, there is "a geometrical system of raised channels that release controlled amounts of the water into individual plots, soaking the soil."[11]
Irrigation canal within the Figuig Oasis in eastern Morocco
Oases often have human histories that are measured in millennia. Archeological digs at Ein Gedi in the Dead Sea Valley have found evidence of settlement dating to 6,000 BC.[12]Al-Ahsa on the Arabian Peninsula shows evidence of human residence dating to the Neolithic.[13]
Anthropologically, the oasis is "an area of sedentary life, which associates the city [medina] or village [ksar] with its surrounding feeding source, the palm grove, within a relational and circulatory nomadic system."[14]
The location of oases has been of critical importance for trade and transportation routes in desert areas; caravans must travel via oases so that supplies of water and food can be replenished. Thus, political or military control of an oasis has in many cases meant control of trade on a particular route. For example, the oases of Awjila, Ghadames and Kufra, situated in modern-day Libya, have at various times been vital to both north–south and east–west trade in the Sahara Desert. The location of oases also informed the Darb El Arba'īn trade route from Sudan to Egypt, as well as the caravan route from the Niger River to Tangier, Morocco.[8] The Silk Road "traced its course from water hole to water hole, relying on oasis communities such as Turpan in China and Samarkand in Uzbekistan."[8]
According to the United Nations, "Oases are at the very heart of the overall development of peri-Saharan countries due to their geographical location and the fact they are preferred migration routes in times of famine or insecurity in the region."[10]
Oases in Oman, on the Arabian Peninsula near the Persian Gulf, vary somewhat from the Saharan form. While still located in an arid or semi-arid zone with a date palm overstory, these oases are usually located below plateaus and "watered either by springs or by aflaj, tunnel systems dug into the ground or carved into the rock to tap underground aquifers." This rainwater harvesting system "never developed a serious salinity problem."[9]
In the drylands of southwestern North America, there is a habitat form called Palm Oasis (alternately Palm Series or Oasis Scrub Woodland) that has the native California fan palm as the overstory species.[15] These Palm Oases can be found in California, Arizona, Baja California, and Sonora.[15]
People who live in an oasis must manage land and water use carefully. The most important plant in an oasis is the date palm (Phoenix dactylifera L.), which forms the upper layer. These palm trees provide shade for smaller understory trees like apricots, dates, figs, olives, and peach trees, which form the middle layer. Market-garden vegetables, some cereals (such as sorghum, barley, millet, and wheat), and/or mixed animal fodder, are grown in the bottom layer where there is more moisture.[16] The oasis is integrated into its desert environment through an often close association with nomadic transhumant livestock farming (very often pastoral and sedentary populations are clearly distinguished). The fertility of the oasis soil is restored by "cyclic organic inputs of animal origin."[14] In summary, an oasis palm grove is a highly anthropized and irrigated area that supports a traditionally intensive and polyculture-based agriculture.[1]
Responding to environmental constraints, the three strata create what is called the "oasis effect".[1] The three layers and all their interaction points create a variety of combinations of "horizontal wind speed, relative air temperature and relative air humidity."[9] The plantings—through a virtuous cycle of wind reduction, increased shade and evapotranspiration—create a microclimate favorable to crops; "measurements taken in different oases have showed that the potential evapotranspiration of the areas was reduced by 30 to 50 percent within the oasis."[14]
The keystone date palm trees are "a main income source and staple food for local populations in many countries in which they are cultivated, and have played significant roles in the economy, society, and environment of those countries."[17] Challenges for date palm oasis polycultures include "low rainfall, high temperatures, water resources often high in salt content, and high incidence of pests."[18]
The oases consist of almost unbroken forests of date palms, divided up into many gardens that are separated by mud walls and intersected by innumerable irrigation and drainage ditches… In the shade of the palms are grown many other kinds of fruit trees—oranges, olives, figs, apricots, peaches, pomegranates, and jujubes—interlaced with large grape vines that often hang in festoons from the palm trunks. Beneath the trees are small plots of garden vegetables, barley, and alfalfa. Neither date palms nor other trees are planted with any regularity, and the growth is often so dense that the garden resembles a tropical jungle. Very beautiful are these gardens in the spring, when the apricot and peach trees are in blossom here and there among the palms and the figs and vines are putting forth their leaves. In autumn, when the dates are ripening, the color effects, especially when the tops of the palms are lit up by the last rays of the setting sun, are something that once seen can never be forgotten. The great clusters of fruit, displaying every tint from bright yellow, through orange, vermilion, and maroon, to plum purple and chestnut brown, with their brilliant yellow or rich orange ivory-like stalks, contrast superbly with the dull bluish or gray green of the feathery crowns of foliage. It is small wonder that a whole folklore of poetic legends and proverbs has grown up around the date palm in the regions where it flourishes.
— Kearney, Thomas H. (1906-09-06). Bulletin: Date Varieties and Date Culture in Tunis.
Many historic oases have struggled with drought and inadequate maintenance.
According to a United Nations report on the future of oases in the Sahara and Sahel, "Increasingly... oases are subject to various pressures, heavily influenced by the effects of climate change, decreasing groundwater levels and a gradual loss of cultural heritage due to a fading historical memory concerning traditional water management techniques. These natural pressures are compounded by demographic pressures and the introduction of modern water pumping techniques that can disrupt traditional resource management schemes, particularly in the North Saharan oases."[10]
For example, five historic oases in the Western Desert of Egypt (Kharga, Dakhla, Farafra, Baharyia, and Siwa) once had "flowing spring and wells" but due to the decline of groundwater heads because of overuse for land reclamation projects those water sources are no more and the oases suffer as a result.[19]
Morocco has lost two-thirds of its oasis habitat over the last 100 years due to heat, drought, and water scarcity.[11] The Ferkla Oases in Morocco once drew on water from the Ferkla, Sat and Tangarfa Rivers but they are now dry but for a few days a year.[11]
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