"Bread and Roses" is a political slogan as well as the name of an associated poem and song. It originated from a speech given by American women's suffrage activist Helen Todd; a line in that speech about "bread for all, and roses too" inspired the title of the poem Bread and Roses by James Oppenheim. The poem was first published in The American Magazine in December 1911, with the attribution line "Bread for all, and Roses, too'—a slogan of the women in the West."  The poem has been translated into other languages and has been set to music by at least three composers.

The phrase is commonly associated with the textile strike in Lawrence, Massachusetts, between January and March 1912, now often referred to as the "Bread and Roses strike".  The slogan pairing bread and roses, appealing for both fair wages and dignified conditions, found resonance as transcending "the sometimes tedious struggles for marginal economic advances" in the "light of labor struggles as based on striving for dignity and respect", as Robert J. S. Ross wrote in 2013.

History

Women's suffrage

The first mention of the phrase and its meaning appears in The American Magazine in September 1911. In an article by Helen Todd, she describes how a group of women from the Chicago Women's Club, after listening to advice from Senator Robert La Follette, decided to initiate an automobile campaign around the state of Illinois for the right of women to vote in June 1910. The women who made up the first automobile campaign were Catherine McCulloch, a lawyer and justice of the peace; Anna Blount, a physician and surgeon; Kate Hughes, a minister; Helen Todd, a state factory inspector; and Jennie Johnson, a singer.  Each of the speakers was assigned a subject in which they were an expert. McCulloch gave a record of the votes of the representatives and senators to their home constituents. Blount's subject was taxation without representation as concerns women. Hughes gave her speech on the history of the women's suffrage movement. Johnson opened up the speeches with a set of suffrage songs which was intended to focus and quiet the audience for the subsequent speeches. Helen Todd, as a factory inspector, represented the working women and discussed the need for laws concerning wages, work conditions, and hours.

It is in Todd's speech on the condition of the working women that the phrase is first mentioned. A young hired girl expressed to Todd, who was staying with the hired girl's family overnight during the campaign, what she had liked the most about the speeches the night before: "It was that about the women votin' so's everybody would have bread and flowers too." Todd then goes on to explain how the phrase "Bread for all, and Roses too" expresses the soul of the women's movement and explains the meaning of the phrase in her speech.

Women's Trade Union League

Helen Todd, subsequently, became involved in the fall of 1910 with the Chicago garment workers' strike, which was led by the Women's Trade Union League of Chicago. The Women's Trade Union League worked closely with the Chicago Women's Club in organizing the strike, picket lines, speeches, and worker relief activities. Helen Todd and the president of the Women's Trade Union League Margaret Robins made a number of speeches during the strike and manned with the thousands of striking garment workers the picket lines. During the strike, it was later reported that a sign was seen with the slogan "We want bread – and roses, too".

In 1911 Helen Todd went out to California to help lead the suffrage movement in the state and campaign in the state's fall election for proposition 4, which sought women's suffrage. The women's suffrage campaign proved successful, and the right for women to vote passed in the state in November 1911. During the California campaign, the suffragettes carried  banners with several slogans; one was "Bread for all, and Roses, too!"—the same phrase that Helen Todd used in her speech the previous summer.

Oppenheim's poem
The phrase was subsequently picked up by James Oppenheim and incorporated into his poem 'Bread and Roses', which was published in The American Magazine in December 1911, with the attribution line "Bread for all, and Roses, too' – a slogan of the women in the West." After the poem's publication in 1911, the poem was published again in July 1912 in The Survey with the same attribution as in December 1911. It was published again on October 4, 1912, in The Public, a weekly led by Louis F. Post in Chicago, this time with the slogan being attributed to the "Chicago Women Trade Unionists".

Lawrence textile strike

The first publication of Oppenheim's poem in book form was in the 1915 labor anthology, The Cry for Justice: An Anthology of the Literature of Social Protest by Upton Sinclair. This time the poem had the new attribution and rephrased slogan: "In a parade of strikers of Lawrence, Mass., some young girls carried a banner inscribed, 'We want Bread, and Roses too!. The Lawrence textile strike, which lasted from January to March 1912, united dozens of immigrant communities under the leadership of the Industrial Workers of the World, and was led to a large extent by women. The Women's Trade Union League of Boston also became partially involved in the strike, and set up a relief station, which provided food.

The Women's Trade Union League of Boston had, however, only limited involvement in the strike, since it was affiliated with the American Federation of Labor (AFL), which did not endorse the strike. This restraint on involvement in the strike caused a number of Boston League members to resign. One critic of the AFL's failure to endorse the strike stated: "To me, many of the people in the AFL seem to be selfish, reactionary and remote from the struggle for bread and liberty of the unskilled workers..." Although popular telling of the strike includes signs being carried by women reading "We want bread, but we want roses, too!", a number of historians are of the opinion that this account is ahistorical.

Schneiderman's speech

In May 1912, Merle Bosworth gave a speech in Plymouth, Indiana, on women suffrage in which she repeated the discussion of taxation without representation and the meaning of the phrase "Bread and Roses" that Helen Todd and her companions gave in 1910 during their automobile campaign for the women's suffrage. A month later in June 1912 Rose Schneiderman of the Women's Trade Union League of New York discussed the phrase in a speech she gave in Cleveland in support of the Ohio women's campaign for equal suffrage. In her speech, which was partially published in the Women's Trade Union League journal Life and Labor, she stated:

Schneiderman, subsequently, gave a number of speeches in which she repeated her quote about the worker desiring bread and roses. Due to these speeches, Schneiderman's name became intertwined with the phrase bread and roses.  A year after the publication of Oppenheim's poem, the Lawrence textile strike, and Schneiderman's speech, the phrase had spread throughout the country. In July 1913, for instance, during a suffrage parade in Maryland, a float with the theme "Bread for all, and roses, too" participated. The float "bore ... a boat with three children, a boy with a basket of bread and two girls with a basket of roses."

Galen of Pergamon

The source of Helen Todd's inspiration for the phrase "bread and roses" is unknown. However, there is a quote by the Roman physician and philosopher Galen of Pergamon which closely parallels the sentiment and wording of the phrase. Edward Lane, in the notes of his 1838 translation of One Thousand and One Nights, states that, according to 15th-century writer Shems-ed-Deen Moḥammad en-Nowwájee, Galen said, "He who has two cakes of bread, let him dispose of one of them for some flowers of narcissus; for bread is the food of the body, and the narcissus is the food of the soul." The sentiment that the poor were not only lacking in food for the body, but also flowers for the soul was a theme among reformers of the period. In April 1907, Mary MacArthur of the British Women's Trade  Union League visited the Women's Trade Union League of Chicago and gave a speech addressing this theme. Alice Henry of the Chicago League reported that McArthur's message could be summed up by Galen's quote, which she had mentioned more than once, and that although the quote warns against the materialist nature of the industrial situation, it also points in the direction in which the reformers hopes may go. McArthur's version of Galen's quote is:

Poem

Song

Kohlsaat original
The poem "Bread and Roses" has been set to music several times. The earliest version was set to music by Caroline Kohlsaat in 1917. The first performance of Kohlsaat's song was at the River Forest Women's Club where she was the chorus director. Kohlsaat's song eventually drifted to the picket line. By the 1930s, the song was being extensively used by women, while they fed and supported the strikers on the picket line at the manufacturing plants. The song also migrated to the college campus. At some women's colleges, the song became part of their traditional song set.

Women's colleges

Since 1932, the song has been sung by graduating seniors at Mount Holyoke College during the Laurel Parade ceremony, part of the college's graduation tradition.  It is also one of the central songs at Bryn Mawr College, traditionally sung at the College's "Step-Sings". The use of the song at Bryn Mawr College evolved out of the school's first-of-its-kind summer labor education program. In 1921, the school started the Bryn Mawr Summer School for Women Workers; each year, one hundred largely unschooled workers from factories, mills and sweatshops were brought to the school for an eight-week study in humanities and labor solidarity. The program served as a model for others in the labor education movement in the 1920s and 1930s.

Fariña rediscovery
The song gained a larger audience after World War II with its publication in January 1952 in Sing Out!. In 1974 the poem was set a second time to music by Mimi Fariña. This version has been recorded by various artists, including Judy Collins, Ani DiFranco, Utah Phillips, and Josh Lucker, and was performed by a slowly-growing crowd of workers in a moving/critical turning point scene in the 2014 movie "Pride."Pride_(2014_film) John Denver also set it to music in 1988, using a melody different from the more common Mimi Fariña version. It was again set to music in Germany by Renate Fresow, using a translation by the Hannoveraner Weiberquartett, but which is sung mostly with the German translation by Peter Maiwald. Composer Christian Wolff wrote a piano piece entitled "Bread and Roses" (1976) based on the strike song. In 1989/91, Si Kahn wrote a song the refrain of which starts with the song's title: "They all sang 'Bread and Roses.

Translations
The poem has been translated into Russian by Russian poet Kirill Felixovich Medvedev, set to the original Kohlsaat music, and performed by the Moscow-based political activist punk collective Arkadiy Kots (Аркадий Коц), appearing on their 2016 album Music for the working class.

Legacy
Mimi Fariña created the Bread and Roses Benefit Agency in 1974.

The logo for the Democratic Socialists of America, formed in 1982, was inspired by the slogan. "Bread & Roses" is also a name of a national caucus within the organization. They have 4 (out of 16) members of the DSA's National Political Committee.

A quarterly journal produced by the UK section of the Industrial Workers of the World ('Wobblies') is called Bread and Roses.

The 2014 film Pride depicts the members of a Welsh mining community singing "Bread and Roses" at a National Union of Mineworkers lodge during the UK miners' strike (1984–1985).

In 2018, the song was used in a video produced by London-Irish Abortion Rights Campaign to promote the #HomeToVote movement, which encouraged young Irish people living abroad to return home to vote in the Referendum on the Thirty-sixth Amendment of the Irish Constitution.

In 2022 the TV series Riverdale depicted families of construction workers singing "Bread and Roses" to the workers to lift a spell their boss had put on them to break a strike.

The international socialist feminist organization Pan y Rosas is named after the slogan.

Miriam Schneir included it in her anthology, Feminism: The Essential Historical Writings, labelling it as one of the essential works of feminism.

See also

Anna LoPizzo, woman striker killed during the Lawrence textile strike
William M. Wood Co-founder of the American Woolen Company
Sonja Davies, a New Zealand trade unionist, peace campaigner, Member of Parliament, and author of Bread and Roses: Her Story – an autobiography
Bread and Roses, a Ken Loach movie
Bread and circuses
Rose (symbolism)
 List of socialist songs

Bibliography
 Bruce Watson, Bread and Roses: Mills, Migrants, and the Struggle for the American Dream (New York: Viking, 2005), .

References

External links
 Bread & Roses: The Strike Led and Won by Women
Performance of the original Kohlsaat version of the melody

1911 poems
History of Massachusetts
History of the textile industry
Industrial Revolution
Industrial Workers of the World culture
Labor disputes in the United States
Lawrence, Massachusetts
Political catchphrases
Political quotes
Progressive Era in the United States
Works about the labor movement
Works originally published in The American Magazine
Socialist songs

Bread and Roses


Sky Captain and the World of Tomorrow, often shortened to Sky Captain, is a 2004 science fiction action-adventure film written and directed by Kerry Conran in his directorial debut, and produced by Jon Avnet, Sadie Frost, Jude Law and Marsha Oglesby. It stars Jude Law, Gwyneth Paltrow, and Angelina Jolie. It is an example of "Ottensian" (pre-WWII) dieselpunk.

Conran spent four years making a black and white teaser using a bluescreen set up in his living room and a Macintosh IIci. He was able to show it to Avnet, who was so impressed that Avnet spent two years working with him on his screenplay. No major studio was interested, but Avnet convinced Aurelio De Laurentiis to finance Sky Captain without a distribution deal (a worldwide distribution deal would later happen with Paramount Pictures).

Almost 100 digital artists, modelers, animators, and compositors created the multi-layered 2D and 3D backgrounds for the live-action footage, while the entire film was sketched out via hand-drawn storyboards and then recreated as CGI animatics. Ten months prior to shooting the live-action scenes, Conran first shot them with stand-ins in Los Angeles, then converted that footage to animatics so the actors could accurately envision the film.

Sky Captain received positive reviews, particularly for the style of filming that was used; some criticism was directed at the plot and characterization. Despite being a box office flop, generating only $58 million on a $70 million budget, the film has since gained a following and is regarded as a cult classic. It was one of the first major films, along with Casshern, Immortal (both 2004) and Sin City (2005), to be shot entirely on a "digital backlot", blending actors with CG surroundings.

Plot
In a technologically advanced 1939, the zeppelin Hindenburg III moors itself atop the Empire State Building. Aboard the airship is Dr. Jorge Vargas, a scientist who arranges for a package containing two vials to be delivered to Dr. Walter Jennings. Afterwards, Dr. Vargas vanishes.

Polly Perkins, a reporter for The Chronicle, is looking into the disappearances of Vargas and five other renowned scientists. A cryptic message leads her to Radio City Music Hall, against the warnings of her editor, Mr. Paley, where she meets Dr. Jennings during a showing of The Wizard of Oz. He tells her that a Dr. Totenkopf is coming for him next. Suddenly, mysterious giant robots attack the city. The authorities call for "Sky Captain" Joe Sullivan, the city's hero, Perkins' former lover, and the commander of the private air force the Flying Legion. While Joe engages the robots with his modified Curtiss P-40 pursuit fighter, Perkins photographs from the street with little regard for her safety. He eventually manages to disable one robot; the rest leave thereafter. News reports show similar attacks around the globe. The disabled robot is taken back to the Legion's air base so that technology expert Dex can examine it. Polly follows and persuades Joe to reluctantly let her in on the investigation. Her information takes them to the ransacked laboratory of a dying Dr. Jennings, while an assassin escapes. Just before he dies, Jennings gives Polly the two vials and states that they are crucial to Totenkopf's plans. Polly hides the vials and withholds the information from Joe. They return to the Legion's base just before it comes under attack from squadrons of ornithopter drones. Dex tracks the origin of the signal controlling the drones and notes it on a map before his capture.

Joe and Polly find Dex's map and fly to Nepal and then Tibet, where they meet Joe's old friend Kaji. He helps them locate an abandoned mining outpost in the Himalayas. Two guides working for Totenkopf force Polly to turn over the vials, locking the duo in a room full of dynamite. Joe and Polly manage to escape just before the room explodes, knocking them unconscious and destroying most of Polly's film. They wake up together in the mythical Shangri-La. The Tibetan-speaking monks there tell of Totenkopf's enslavement of their people, forcing them to work in the uranium mines. Most were killed by the radiation, but the final survivor provides a clue to where Dr. Totenkopf is hiding.

With insufficient fuel to make it there, they run into a Royal Navy flying aircraft carrier commanded by another of Joe's former flames, Commander Franky Cook. Franky leads the attack on Totenkopf's island lair while Joe and Polly enter through an underwater inlet. Joe and Polly find themselves on an island with dinosaur-like creatures, which Polly hesitates to photograph as she has only two shots left. They find a secret subterranean facility in a mountain, where robots are loading animals, as well as the mysterious vials, onto a large "Noah's Ark" rocket. Joe and Polly are detected but Dex, piloting a flying barge, arrives with three of the missing scientists. They explain that Totenkopf has given up on humanity and seeks to start the world over again: the "World of Tomorrow". The vials are genetic material for a new Adam and Eve; if the rocket reaches space, the afterburners will ignite the atmosphere and kill everyone on Earth.

As the group attempts to enter Dr. Totenkopf's lair, one scientist is electrocuted by the defense system. A hologram of Totenkopf appears, speaking of his hate for humanity and his plans to rebuild it as a new master race. Dex disables the lair's defenses and the group discovers Totenkopf's mummified corpse inside with a scrap of paper clutched in his hand: "forgive me". He died 20 years previously, but his machines have continued his plan. Joe decides to sabotage the rocket from the inside while the others escape. Polly tries to tag along but Joe kisses her and then knocks her out. Polly recovers, following Joe and saving him from Dr. Jennings' assassin, a female robot. Joe and Polly then board the rocket. Before the rocket reaches 100 km, when its second stage is scheduled to fire and thereby incinerate the Earth, Polly pushes an emergency button that ejects all the animals in escape pods. Joe tries to disable the rocket only to be interrupted by the same assassin robot. He jolts the robot with its electric weapon and then uses it on the controls, disabling the rocket. Joe and Polly use the last pod to save themselves as the rocket explodes. Joe and Polly watch the animal pods splash down around their escape pod, while Commander Cook leads a group of flying aircraft carriers towards them. Polly then uses the last shot on her camera to take a picture of Joe rather than the animal pods. Joe notes that she had forgotten to take the lens cap off.

Cast
 Jude Law as Joseph Sullivan/Sky Captain: He commands a private air force known as the Flying Legion. His personal aircraft is a modified Curtiss P-40. In 2002, producer Jon Avnet showed Law the teaser trailer and the actor was very impressed by what he saw. He remembers, "All I got at that early stage was that he'd used pretty advanced and unused technology to create a very retrospective look." Avnet gave him the script to read and some preliminary artwork to look at. Law said "What was clear was also that at the center was a really great cinematic relationship, which you could put into any genre and it would work. You know, the kind of bickering [relationship]. I always like to call it The African Queen meets Buck Rogers." Avnet wanted to work with Law because he knew that the actor had "worked both period, who worked both having theatrical experience, who worked on blue screen, who hadn't hit yet as a major action star." Law had just finished filming Cold Mountain (2003) and was intrigued by switching from on-location filming to filming completely on a soundstage. Sky Captain would be one of three Jude Law films released by Paramount Pictures in 2004, along with the remake of Alfie (2004) and Lemony Snicket's A Series of Unfortunate Events (2004). It also was one of six overall Jude Law films released that year.
 Gwyneth Paltrow as Polly Perkins, reporter for the New York Chronicle. Law believed so much in Conran's movie that he became one of the producers and used his clout to get Paltrow involved. Once she was suggested for the role, Law did not remember "any other name coming up. It just seems that she was perfect. She was as enthusiastic about the script and about the visual references that were sort of put to her, and jumped on board." Paltrow said in an interview, "I thought that this is the time to do a movie like this where it's kind of breaking into new territory and it's not your basic formulaic action-adventure movie."
 Angelina Jolie as Commander Francesca "Franky" Cook, commander of a Royal Navy flying aircraft carrier. Jolie had just arrived from the set of Lara Croft: Tomb Raider – The Cradle of Life (2003) and agreed to work on the movie for three days. Despite her small role, she reportedly had conducted hours of interviews with fighter pilots to absorb their jargon and get a feel for the role.
 Giovanni Ribisi as Dexter "Dex" Dearborn, ace mechanic of the Flying Legion. Ribisi met with Avnet and was not sure he wanted to do the movie; however, after seeing the teaser trailer, he signed on without hesitation.
 Michael Gambon as Mr. Paley, editor of the New York Chronicle newspaper
 Omid Djalili as Kaji, former comrade-in-arms from the Flying Legion
 Bai Ling as The Mysterious Woman, Totenkopf's henchwoman, who is also a gynoid
 Julian Curry as Dr. Jorge Vargas, a missing scientist
 Trevor Baxter as Dr. Walter Jennings, a scientist
 Peter Law as Dr. Kessler, a missing scientist. Peter Law is the father of Jude Law.
 Khan Bonfils as one of the double-agent guides working for Totenkopf (identified in the credits as "Creepy"; the other guide is "Scary")

Laurence Olivier had been deceased for nearly 13 years at the time of filming and was depicted in the film for the role of Dr. Totenkopf, the mysterious mad scientist and supervillain via computer manipulation of video and audio from when he was a young actor. The novelization written by Kevin J. Anderson gives the full names for Dex and Editor Paley as Dexter Dearborn and Morris Paley.

Production

Background
Kerry Conran grew up on films and comic books of the 1930s and 1940s. His parents encouraged him and his brother Kevin to develop their creative sides. He studied at a feeder program for Disney animators at CalArts and became interested in 2-D computer animation. While there, he realized it was possible to apply some of the techniques associated with animation to live-action. Two years later, it seemed apparent to him that Hollywood would never take a chance on an inexperienced, first-time filmmaker, so he decided to make the movie himself.

Influences
Conran was influenced by the designs of Norman Bel Geddes, an industrial designer who did work for the 1933 Chicago World's Fair and designed exhibits for the 1939 New York World's Fair. Geddes also designed an Airliner Number 4 that was to fly from Chicago to London.

Another key influence was Hugh Ferriss, one of the designers for the 1939 New York World's Fair who designed bridges and huge housing complexes. He was an American delineator (one who creates perspective drawings of buildings) and architect. In 1922, skyscraper architect Harvey Wiley Corbett commissioned Ferriss  to draw a series of four step-by-step perspectives demonstrating the architectural consequences of the 1916 Zoning Resolution. These four drawings would later be used in his 1929 book The Metropolis of Tomorrow (Dover Publications, 2005, ).

Regarding the 1939 New York World's Fair itself and its futuristic theme of the World of Tomorrow, Conran noted: "... obviously the title refers to the World Expo and the spirit of that was looking at the future with a sense of optimism and a sense of the whimsical, you know, something that we've lost a lot in our fantasies. We're more cynical, more practical, ... I think what this film attempts to do is to take that enthusiasm and innocence and celebrate it-to not get mired in the practicality that we're fixated upon today."<ref name="Claw, Walter">{{cite news
 | last        = Claw
 | first       = Walter
 | title       = Skys Not the Limit: Kerry Conran on being a pioneer of Tomorrow
 | publisher   = FilmFreaks.net
 | date        = October 3, 2004
 | url         = http://filmfreakcentral.net/notes/kconraninterview.htm
 | access-date = October 20, 2007
 | url-status     = dead
 | archive-url  = https://web.archive.org/web/20070806003221/http://filmfreakcentral.net/notes/kconraninterview.htm
 | archive-date = August 6, 2007
 | df          = mdy-all
}}</ref>

Conran acknowledged his debt to German Expressionism, which was particularly evident in the opening scenes in New York City: "Early German cinema was born of just a completely different aesthetic than what we see nowadays. One of the last things I watched before starting this project was the Dr. Mabuse series that Lang had doneterribly inspirational, the use of art and propaganda even."

Conran summarized his influences: "We tried to approach it almost as though we lived in that era and were just another group of artists trying to make a work out of those pieces and inspirations. We wanted the film to feel like a lost film of that era. If we're a footnote in the history of pulp art and Golden Age comics, that'd be enough, that'd be great. If we even just inspire some people to go back and investigate some of that stuff, we'd have done enough."

Sky Captain has a number of commonalities with Hayao Miyazaki's anime movie Laputa: Castle in the Sky (1986). The sky pirates' focus on primitive mechanics, large airships, and military cultures is similar. Both stories center on an evil madman controlling an island of high technology, and the search for that island. Laputa has the evil madman searching for the island, but Sky Captain has the island as the madman's base from the beginning. Sky Captains message is largely about the film genre, but Laputa has strong anti-war and anti-technology themes, found in most of Miyazaki's work. Both pay homage to the 1941 Superman animated short The Mechanical Monsters.

Teaser trailer
In 1994, Conran began assembling moviemaking tools, including a bluescreen in his living room. He was not interested in working his way through the system and instead wanted to follow the route of independent filmmakers like Steven Soderbergh. Initially, Kerry and his brother had nothing more than "just a vague idea of this guy who flew a plane. We would talk about all the obvious things like Indiana Jones and all the stuff we liked." Conran spent four years making a black and white teaser trailer in the style of an old-fashioned movie serial on his Macintosh IIci personal computer. Once finished, Conran showed it to producer Marsha Oglesby, who was a friend of his brother's wife and she recommended that he let producer Jon Avnet see it. Conran met Avnet and showed him the trailer. Conran told him that he wanted to make it into a movie. They spent two or three days just talking about the tone of the movie.

Pre-production
Avnet and Conran spent two years working on the screenplay, which included numerous genre-related references and homages, and developing a working relationship. Then, the producer took the script and the trailer and began approaching actors. In order to protect Conran's vision, Avnet decided to shoot the movie independently with a lot of his own money. The producer realized that "the very thing that made this film potentially so exciting for me, and I think for an audience, was the personal nature of it and the singularity of the vision, which would never succeed and never survive the development process within a studio."

Avnet convinced Aurelio De Laurentiis to finance the film without a distribution deal (Paramount Pictures would later acquire worldwide distribution rights to the film). Nine months before filming, Avnet had Conran meet the actors and begin rehearsals in an attempt to get the shy filmmaker out of his shell. Avnet set up a custom digital effects studio with a blue screen soundstage in an abandoned building in Van Nuys, California. A group of almost 100 digital artists, modelers, animators, and compositors created multi-layered 2D and 3D backgrounds for the live action footage yet to be filmed.

The entire movie was sketched out via hand-drawn storyboards and then re-created as computer-generated 3D animatics with all of the 2D background photographs digitally painted to resemble the 1939 setting. With the animatics as a guide, grids were created to map camera and actor movements with digital characters standing in for the real actors. The grids were made into actual maps on the blue screen stage floor to help the actors move around invisible scenery.

Ten months before Conran made the movie with his actors, he shot it entirely with stand-ins in Los Angeles and then created the whole movie in animatics so that the actors had an idea of what the film would look like and where to move on the soundstage. To prepare for the film, Conran had his cast watch old movies, such as Lauren Bacall in To Have and Have Not (1944) for Paltrow's performance and The Thin Man (1934) for the relationship between Nick and Nora that was to be echoed in the one between Joe and Polly. Avnet constantly pushed for room in this meticulously designed movie for the kind of freedom the actors needed, like being able to move around on the soundstage.

Principal photography and post-production
Conran and Avnet were able to cut costs considerably by shooting the entire movie in 26 days — far less than the three-to-four month schedules usually allotted to blockbuster films — on high-definition video using a Sony HDW-F900 and working on three blue screens, mainly on Stage 2 (George Lucas Stage) at Elstree Studios in London, England with one notable exception. Conran wrote a scene that was added later in which Polly talks to her editor in his office that was shot on a physical set because there was no time to shoot it on a blue screen soundstage. The footage from the HD camera was run through a switcher and then through a Macintosh computer running Final Cut Pro that allowed the filmmakers to line up the animatics with the live onstage footage. Conran said, "I don't know how we would have made this movie. It's really what allowed us to line up everything, given there was nothing there." After each day of shooting, footage was edited and sent overnight to editors in Los Angeles who added CG and sent it back.

After filming ended, they put together a 24-minute presentation and took it to every studio in June 2003. There was a lot of interest and Avnet selected the studio that gave Conran the most creative control. They needed studio backing to finish the film's ambitious visuals. At one point, the producer remembers that Conran was "working 18 to 20 hours a day for a long period of time. It's 2,000 some odd CG shots done in one year, and we literally had to write code to figure out how to do this stuff!" Most of the post-production work was done on Mac workstations using After Effects for compositing and Final Cut Pro for editing (seven workstations were dedicated to visual effects and production editing). The distinctive look of the film was achieved by running footage through a diffusion filter and then tinting it in black and white before color was blended, balanced and added back in.

Laurence Olivier, who died in 1989, posthumously appears as the villain and mad scientist Dr. Totenkopf. His likeness was produced using digitally manipulated archival BBC footage of the actor and thus adding one more film to his repertoire. A similar technique was used two years later in Superman Returns (2006) with Marlon Brando.

Avnet cultivated a calculated release for the movie by first moving its release date from mid-2004, one week before Spider-Man 2, to September. He courted the Internet press and finally made an appearance at the San Diego Comic-Con with key cast members in an attempt to generate some advance buzz.

Soundtrack

The composer Edward Shearmur wrote the film's orchestral score in the style of Hollywood's golden-age composers, and the film's end-title sequence featured a new recording of the song "Over the Rainbow" sung by the American jazz singer Jane Monheit, which were all featured on Sony Classical's original motion picture soundtrack recording. La-La Land Records released a limited edition 2-disc set in 2017 with the complete score.

Sony Classical track listing
 "The World of Tomorrow" – 1:07
 "The Zeppelin Arrives" – 1:53
 "The Robot Army" – 3:01
 "Calling Sky Captain" – 3:26
 "Back at the Base" – 2:49
 "The Flying Wings Attack" – 6:31
 "An Aquatic Escape" – 2:29
 "Flight to Nepal" – 4:38
 "Treacherous Journey" – 2:22
 "Dynamite" – 2:26
 "Three in a Bed" – 0:57
 "Finding Frankie" – 5:02
 "Manta Squadron" – 6:33
 "h-770-d" – 1:14
 "Flying Lizard" – 1:06
 "Totenkopf's Ark" – 5:01
 "Back to Earth" – 3:14
 "Over the Rainbow" – 3:54

La-La Land Records track listing

Disc 1 (unreleased tracks in bold, tracks with unreleased material in italics)
 The World of Tomorrow 1:09
  The Zeppelin Arrives 1:53
 Telegram 1:36
 Meet Polly 1:33
 The Office 2:16
 The Robot Army 3:02
 Calling Sky Captain 3:23
 After Robots/Meet Dex 2:58
 Back at the Base 2:53
 Hanger-Car/Jennings Lab/Dr. Jennings Is Dead 6:05
 The Flying Wings Attack/Wiggly Robots 8:13
 An Aquatic Escape 2:32
 S.C. Fights the Wigglys/Where's Dex? 2:38
 Flight to Nepal 4:40
 Treacherous Journey 2:23
 Transmitter/Tunnels 3:44
 Dynamite 2:26

Disc 2
 Three in a Bed 1:06
 Monks/New Clothes 2:54
 Finding Frankie 5:05
 What Is That?/Under Attack 3:00
 Manta Squadron 6:34
 H-770-d 1:14
 Flying Lizard 1:08
 Tales of Nanjing 2:17
 Ark/Robot Attack/Outside TK's Office 6:26
 TK's Office 1:19
 . A Plan/Fight 3:54
 Action 5:06
 . Back to Earth 3:20
 Over the Rainbow 3:58
 End Credits Suite 5:13

 Totenkopf's Ark (album version) 5:05
 Gramophone SourceÉtude Op. 10, No. 3, in E major''' 2:35

Reception
Box officeSky Captain and the World of Tomorrow had high box office expectations, opening in first place on its September 17, 2004 release date and grossing  on its opening weekend. However, the film only grossed $37.7 million in North America, below its estimated $70 million budget. It grossed $20.1 million in the rest of the world, making its final worldwide tally $57.9 million. The film is considered a box office flop.

Production designer Kevin Conran, brother of director Kerry Conran, disputed this budget figure in a 2015 interview: "I take great issue with that [budget figure] personally and I'd like someone to show me where all that money went ... I don't support those numbers and I never have. We walked into Jon Avnet's office that first day and he said, 'What do you want for the production?' and we said $3 million. We could have done a version of this film for $3 million. It would have been black-and-white and sans name actors ..."

"But even still, this whole thing was going to be under $20 million. How it went from 20 to 70, you tell me."

Critical reception
On Rotten Tomatoes, the film has an approval rating of 70% based on 221 reviews, with an average rating of 6.8/10. The site's critical consensus states: "Sky Captain and the World of Tomorrow is slim on plot and characterization, but the visuals more than make up for it".
On Metacritic the film has a score of 64 out of 100 based on reviews from 36 critics, indicating "Generally favorable reviews".
Audiences surveyed by CinemaScore gave the film a grade B− on scale of A to F.

The Canadian network Space awarded it the 2005 Spacey Award for Best Science Fiction/Fantasy Film.
Roger Ebert was among those who strongly supported the film, giving it a 4 out of a possible 4 stars and praising it for "its heedless energy and joy, it reminded me of how I felt the first time I saw Raiders of the Lost Ark. It's like a film that escaped from the imagination directly onto the screen, without having to pass through reality along the way".
The film is also one of few to be awarded five out of five stars by IGN FilmForce.
In his review for the Chicago Reader, J.R. Jones wrote, "This debut feature by Kerry Conran is a triumph not only for its technical mastery but for its good taste". Entertainment Weekly gave the film an "A−" rating, saying, "The investment is optimistic and wise; Sky Captain is a gorgeous, funny, and welcome novelty".

Other critics' enthusiasm was somewhat tempered. For instance, Stephen Holden of The New York Times lauded its visuals and its evocation of a bygone era but said that "the monochromatic variations on sepia keep the actors and their adventures at a refined aesthetic distance ... At times the film is hard to see. And as the action accelerates, the wonder of its visual concept starts giving way to sci-fi clichés".USA Today said that the film was "all style over substance, a clever parlor trick but a dull movie".
Stephen Hunter, of The Washington Post, called it "a $70 million novelty item".

Homages
First-time director Conran incorporated many references to classic genre films into his own movie:

The army of giant robots seen in the film – both flying over the city and later various models in Sky Captain's massive warehouse, particularly one designated as number "5" – are a homage to the Paramount Pictures Superman cartoon The Mechanical Monsters (1941), produced by Fleischer Studios. The radio signal tower calling for Sky Captain is a stylized version of the color RKO logo (the film was released after RKO's successor, RKO General, sold off their TV stations as a result of corporate misconduct). The giant robots heat rays use the same sound effects as the Martian flying machines from the 1953 version of The War of the Worlds.

When early in the film newspaper clippings from around the globe are shown, in the Japanese newspaper the iconic silhouette of Godzilla is clearly visible. Similarly, during the New York sequence when Sky Captain deploys a bomb to stop a giant robot, the shape of King Kong can be seen on the Empire State Building in the background.
During the underwater dogfight sequence, a light momentarily displays the wreckage of a ship with the name Venture – the tramp steamer that sailed to Skull Island in the 1933 version of King Kong. The same scene shows what appears to be the wreckage of the RMS Titanic, and an ancient underwater city which seems to be a nod to the legend of Atlantis.

The villain's main logo bears striking similarities to the logo for Crimson Skies, a game universe that some critics noted bears stylistic and plot similarities to the film.

Pulp magazines and comic books
The Flying Legion is a homage to pulp magazine and comic book heroes such as G-8 and his Battle Aces, Captain Midnight, and the Blackhawk squadron. Production designer Kevin Conran, the brother of director Kerry Conran, based the design of the flying humanoid robots, in part, on the helmet worn by the DC Comics superhero Adam Strange and the flight controls for Commando Cody's rocket-pack.

See also
 Crimson Skies Decopunk
 Dieselpunk
 Pulp magazine
 Retro-futurism

References

Further reading
 "Brave New World" Part 1 and 2 - Sky Captain and the World of Tomorrow Special Collector's Edition DVD (Paramount Pictures, 2005)
 "The Art of World of Tomorrow" - Sky Captain and the World of Tomorrow Special Collector's Edition DVD (Paramount Pictures, 2005)
 "Macs help Sky Captain save the day, win converts"  by Brad Cook Mac World (September 30, 2004)
 "A Retro Future" - by Christopher Probst. American Cinematographer. (October 2004)
 "Rhapsody in Bluescreen"  - by Jeff Jensen. Entertainment Weekly. (September 17, 2004)
 "Mr. Invisible and the Secret Mission to Hollywood" by John Hodgman. The New York Times''. (March 14, 2004)

External links

2004 films
2004 directorial debut films
2004 science fiction action films
2004 soundtrack albums
2000s American films
2000s English-language films
2000s science fiction adventure films
Action film soundtracks
Adventure film soundtracks
American alternate history films
American aviation films
American robot films
American science fiction adventure films
Dieselpunk films
Filmauro films
Films about Tibet
Films directed by Kerry Conran
Films scored by Edward Shearmur
Films set in 1939
Films set in Asia
Films set in Nepal
Films set in New York City
Films shot at Elstree Film Studios
Films with archival recordings
Holography in films
Lost world films
Mad scientist films
Paramount Pictures films
Science fiction film soundtracks

Sky Captain and the World of Tomorrow


Marija Musytschuk (; im Westen meist gemäß englischer Transkription als Maria Muzychuk wiedergegeben, deutsch auch Maria Musitschuk; * 21. September 1992 in Stryj) ist eine ukrainische Schachspielerin. Sie ist seit 2007 Großmeister der Frauen (WGM), erhielt 2008 den FIDE-Titel Internationaler Meister (IM) und gewann 2015 den Weltmeistertitel der Frauen, womit sie auch Großmeister (GM) wurde.

Leben

Marija Musytschuk vertrat in ihrer Jugend seit 2001 die Ukraine bei Weltmeisterschaften und Jugendeuropameisterschaften der Mädchen verschiedener Altersklassen, wobei sie neun Medaillen gewann. Im Jahre 2002 wurde sie Europameisterin U10 weiblich. 2008 bei der Juniorinnenweltmeisterschaft in Gaziantep wurde sie Zweite. Im November 2010 war sie 15. in der Weltrangliste der Mädchen.

Ihre ältere Schwester Anna Musytschuk ist ebenfalls Schachspielerin.

Schachkarriere

Erfolge in ihrer Jugend

 2001 – Silber bei der Weltmeisterschaft U10 weiblich in Oropesa del Mar
 2001 – Bronze bei der Europameisterschaft U10 weiblich in Kallithea
 2002 – Gold bei der Europameisterschaft U10 weiblich in Peñíscola
 2004 – Bronze bei der Weltmeisterschaft U12 weiblich in Iraklio
 2005 – Bronze bei der Weltmeisterschaft U14 weiblich in Belfort
 2006 – Silber bei der Weltmeisterschaft U14 weiblich in Batumi
 2006 – Bronze bei der Europameisterschaft U14 weiblich in Herceg Novi
 2007 – Silber bei der Europameisterschaft U16 weiblich in Šibenik
 2008 – Silber bei der Weltmeisterschaft U20 weiblich in Gaziantep

Die Normen sowohl für den WGM-Titel als auch für den IM-Titel erfüllte sie im April 2006 bei der Europameisterschaft der Frauen in Kuşadası und bei der serbischen Mannschaftsmeisterschaft der Frauen 2007. Weitere individuelle Erfolge sind ein zweiter Platz in Lemberg und 2006 die Meisterschaft der Ukraine unter 20 Jahre, Zweite in Breslau 2007 und 2008 die Meisterschaft der Ukraine unter 20 Jahren. Im November 2015 liegt sie in der Weltrangliste der Frauen auf dem fünften Platz und führt die ukrainische Rangliste der Frauen an.

Weltmeisterschaft der Frauen
Im Jahre 2010 kam sie unter die letzten 16 der Frauenweltmeisterschaft, verlor dann gegen die Inderin D. Harika im Playoff nach einem Tiebreak im regulären Match. 2012 erreichte sie ebenfalls das Achtelfinale und schied dort gegen die Chinesin Zhao Xue aus.

Bei der Knock-Out Weltmeisterschaft 2015 in Sotschi erreichte sie erstmals das Finale, nachdem sie sich unter anderem im Viertelfinale gegen die an Nummer 1 gesetzte Turnierfavoritin K. Humpy durchgesetzt hatte. Im Finale besiegte sie die Russin Natalja Pogonina mit 2,5:1,5 und wurde damit Weltmeisterin. Hier die entscheidende zweite Partie.

2. Partie

 Musytschuk–Pogonina 1:0
 Sotschi, 3. April 2015
 Spanische Partie (Geschlossene Verteidigung), C95
 1. e4 e5 2. Sf3 Sc6 3. Lb5 a6 4. La4 Sf6 5. 0–0 b5 6. Lb3 Le7 7. Te1 d6 8. c3 0–0 9. h3 Sb8 10. d4 Sbd7 11. a4 Lb7 12. Sbd2 c5 13. d5 c4 14. Lc2 Sc5 15. Sf1 Te8 16. Sg3 g6 17. Le3 Dc7 18. Sd2 Lf8 19. De2 Sfd7 20. f3 Sb6 21. a5 Sbd7 22. Sh1 Le7 23. g4 Dd8 24. Df2 Lh4 25. Sg3 Tc8 26. Kg2 Sf8 27. Tf1 Lg5 28. f4 exf4 29. Lxf4 Tc7 30. Lxg5 Dxg5 31. Sf3 De7 32. Sd4 De5 33. h4 h6 34. Dd2 Lc8 35. Sc6 Dg7 36. Df4 Td7 37. Tf2 Lb7 38. Sd4 Te5 39. Sf3 Te8 40. g5 h5 41. Sd4 De5 42. Dd2 Tc7 43. Taf1 Tee7 44. Tf6 Ted7 45. T6f4 b4 46. Sf3 Dg7 47. cxb4 Sd3 48. Tf6 Sh7 49. Sd4 Sxf6 50. gxf6 Df8 51. La4 Se5 52. Lxd7 Txd7 53. Sf3 Sg4 54. Sxh5 gxh5 55. Dg5+ Kh8 56. Dxh5+ Sh6 57. Kh2 Dg8 58. Tg1 1:0

Zur Titelverteidigung trat sie im März 2016 in einem Zweikampf über zehn Partien sowie möglichen Tiebreaks gegen Hou Yifan an. Bereits nach der neunten Partie war der Wettkampf mit 6:3 zugunsten von Hou Yifan entschieden. Um ihrer Gegnerin die Vorbereitung zu erschweren, wurden die Partien Musytschuks bei der Landesmeisterschaft der Ukraine 2015, bei der sie mit 4 Punkten aus 11 Partien auf Platz 10 kam, zunächst nicht veröffentlicht.

Nationalmannschaft
Mit der ukrainischen Frauenmannschaft nahm Marija Musytschuk an den Schacholympiaden 2010, 2012 und 2014 teil. Sie erreichte mit der Mannschaft 2012 und 2014 den dritten Platz, in der Einzelwertung erzielte sie 2010 das beste Ergebnis aller Reservespielerinnen und 2012 das zweitbeste Ergebnis am zweiten Brett. Sie nahm außerdem an den Mannschaftsweltmeisterschaften der Frauen 2009, 2011, 2013 und 2015 teil und gewann diese 2013 mit der Mannschaft. 2009 erreichte sie mit der Mannschaft den dritten Platz, in der Einzelwertung erreichte sie 2013 das zweitbeste Ergebnis am dritten Brett und 2015 das drittbeste Ergebnis am zweiten Brett. An Mannschaftseuropameisterschaften der Frauen nahm sie 2011, 2013 und 2015 teil. 2011 erreichte sie das zweitbeste Ergebnis der Reservespielerinnen, 2013 gewann sie mit der Mannschaft und erreichte gleichzeitig das beste Einzelergebnis am dritten Brett, 2015 erreichte sie mit der Mannschaft den zweiten Platz und gewann die Einzelwertung am ersten Brett.

Vereine

Musytschuk gewann die ukrainische Mannschaftsmeisterschaft der Frauen 2007 mit Lwiw.

In der deutschen Frauenbundesliga spielt Marija Musytschuk seit 2009 für die OSG Baden-Baden und gewann mit dieser 2011, 2013, 2015 und 2018 die deutsche Mannschaftsmeisterschaft der Frauen. In der chinesischen Mannschaftsmeisterschaft spielte sie 2013 für Qinhuangdao Evening News und 2017 für Hebei Sports Lottery. Am European Club Cup der Frauen nahm Musytschuk dreimal mit AVS Krasnoturinsk teil und gewann diesen 2011.

Weblinks

 DWZ-Karteikarte von Marija Musytschuk auf Deutscher Schachbund
 Individual Calculations – Muzychuk, Mariya (UKR) bei der FIDE

 Chess Blitz: Mariya Muzychuk – Kosteniuk Video auf YouTube

Einzelnachweise

Schachweltmeister der Frauen
Schachspieler (Ukraine)
Schachspieler (OSG Baden-Baden)
Schachspieler
Ukrainischer Einzelmeister (Schach)
Ukrainer
Geboren 1992
Frau

Marija Musytschuk


Paşaköy, Adana ilinin Yüreğir ilçesine bağlı bir mahalledir.

Tarihçe
Paşa mahallesinde yaşayan insanların ataları, Sudan'dan, çiftçilik yapmaları için Osmanlı döneminde görevli bir paşanın Çukurova bölgesine tayini çıkması sonucunda tarımda ve pamuk yetiştiriciliğinde uzman oldukları için yaklaşık 10 aileyi beraberinde Çukurova bölgesine getirmiştir. Daha önce yerleşimi olmayan toprakları tarıma açıp köy durumuna getirmiş isimlerini de "Asmalı", "Göbeören", "Forlar" Ve son olarak da son köye isim araştırılırken kendilerini getiren paşa düşünülerek ismi "Paşa mahallesi" olarak belirlenmiştir.

Coğrafya
Adana iline 27 km, Yüreğir ilçesine 26 km uzaklıktadır.

Nüfus

Yüreğir'in mahalleleri

Paşaköy, Yüreğir


Eyci and Cody fue un dúo chileno de reggaeton fundada en 2008, integrado por los hermanos Ángel Cortez («Eyci») y Edgard Cortez («Cody»), originarios de Los Andes, Región de Valparaíso, Chile bajo el nombre "Rsi and Cody" hasta junio del 2009, donde Angel (Eyci) adopto dicho nombre bautizandose el dúo ese año como "Eyci and Cody". Su primer disco titulado Te amo con locura fue lanzado el  14 de noviembre de 2011, sus mayores éxitos son sus sencillos «Amémonos a escondidas» y «Te amo con locura». En 2013 presentaron su segundo álbum.

Carrera

2008-2009 (Rsi And Cody)
En el año 2008 el grupo inicia su trayectoria bajo el nombre de Rsi and Cody. En sus inicios el grupo se desenvolvió desarrollando distintos estilos musicales, tales como el pop, las baladas trabajadas con armonía de voces y R&B. El primer sencillo oficial del grupo se tituló como "Tu Mejor Amante" el cual lanzaron en julio de 2008. Ese mismo mes sacaron su segundo sencillo llamado "Pegate" el cual sonó muy fuerte en las radios y discotecas nacionales de Chile. Durante lo que quedaba del 2008 y hasta junio de 2009 sacaron sencillos bajo ese seudónimo hasta que Angel (Rsi) cambia su nombre a "Eyci", con lo cual el nombre del grupo cambia parcialmente y desde ahí se hacen llamar con el seudónimo de "Eyci and Cody"

2009–2011 (Nacimiento y la era dorada de Eyci and Cody)
En 2009, comenzaron a incursionar poco a poco en el reguetón, estilo con el cual lograron ser popularmente conocidos en Chile gracias a un concurso del programa Pegao a las sabanas de Radio Carolina, lanzando la canción «Amémonos a escondidas», lograron ser catalogados como Grupo Revelación 2009/2010 de Reguetón en Chile.

Durante el 2010, y el lanzamiento de una serie de canciones que lograron ser exitosas radialmente, iniciaron una serie de presentaciones en pubs, discoteques y diferentes masivos en el país. Además de comenzar su difusión en televisión promocionando sus sencillos. Esto los llevó a presentarse en la Teletón 2010 y 2011. Tras varios lanzamientos, liberan al mercado el sencillo «Te amo con locura», el cual logró un gran éxito, sin embargo el mayor punto comercial que logró la canción  fue tras la utilización de este tema, como el opening de la teleserie Aquí mando yo de Televisión Nacional de Chile, consiguiendo que la canción se convirtiera en su mayor éxito a la fecha, llegando al número 3 en Chile y permaneciendo por más de ochenta semanas en el Top 100 de las canciones más escuchadas y vendidas en el país. Finalmente el 14 de noviembre de ese año lanzaron su álbum debut llamado Te amo con locura.

2012–2014

A principios de 2012, participaron del Festival de Iquique y lanzaron el sencillo «Ay amor», el primero desprendido del segundo álbum del dúo, consiguiendo una mediana recepción en los medios y radios. En la última semana de junio de 2012, estrenaron dos sencillos promocionales llamados «Pa' conquistarte» y «Here with me», este último es la primera incursión del grupo cantando en idioma inglés, además de mezclar ritmos pop dance con sintetizadores electrónicos.

En 2013 lanzaron el álbum Amantes, del cual destaca el tema «Tu amante» que causó furor en todas las radios juveniles de Chile y luego lanzaron el video oficial de «Zumba tus caderas».

En 2014 el grupo protagonizó y compuso el tema central de la Teletón.

Controversias
En 2017 Edgard Cortez Diaz («Cody»), junto a Kevin Cortez Diaz (hermano del cantante) y Manuel Octavio  fueron acusados y detenidos por asalto a mano armada a un bombero de un servicentro de la  comuna Los Andes, al cual le robaron $85.000.  Fueron atrapados en San Felipe en un salón de Pool llamado "el audaz", carabineros de Chile  dio con el vehículo estacionado y procesaron la detención, encontraron dos pistolas a fogueo junto a ellos. La participación de los tres detenidos en el asalto fue corroborada por imágenes de cámaras de seguridad del servicentro; "donde se confirma además la patente del vehículo en el que se movilizaban." Los tres sujetos fueron formalizados por el delito de Robo con Intimidación consumado; "resolviendo el Tribunal la prisión preventiva para los tres detenidos, tras acoger la solicitud del Ministerio Publico en términos de considerar que ellos configuran un peligro para la seguridad de la sociedad a partir de la conducta desplegada y la penalidad que tiene el delito asignada." El abogado defensor de los imputados, Cristóbal Romero, señaló que apelarán a la prisión preventiva fijada de tres meses para el término de la investigación de la causa.

Discografía

Álbumes de estudio

Sencillos

Sencillos promocionales

Sencillos Rsi And Cody
{| class="wikitable plainrowheaders" style="text-align:center;" border="1"

 Tu mejor amante (2008)
 Pegate (2008)
 Dile a el (2008)
 Porque tu eres así (2008)
 Yo se que quieres reggaeton (2009)
 Lo resolvemos entre sabanas (2009)

Enlaces externos

Grupos de música formados en 2006
Dúos de música de Chile
Dúos de reguetón

Eyci and Cody


Wilberth Alejandro Rejón Huchin (Mérida, Yucatán, 18. maí 1997) er mexíkóskt skáld, menningarstjóri og blaðamaður. Stofnandi alþjóðlegrar ljóðahátíðar í Tecoh, Yucatán, Mexíkó. Sumir af textum hans hafa verið þýddir á arabísku, ítölsku, rúmensku, grísku, frönsku, katalönsku og bengalsku.

Tilvísanir

Mexíkóskir rithöfundar

Alejandro Rejon Huchin


Generalni staleži ili opći staleži (francuski: États généraux) bili su francuski državni staleži koji su postojali od 14. do 18. stoljeća.

Povijest
Generalni staleži razvili su se iz savjetodavnih skupova plemstva i svećenstva, koje su francuski kraljevi sazivali još u ranom srednjem vijeku. Sve veće financijske potrebe dvora i jačanje trgovačkog kapitala doveli su do postupnoga proširenja tih skupova, u koje su ulazili i predstavnici gradova, odnosno trećega staleža (francuski: tiers état). Prvi poznati generalni staleži sazvani su 1302. godine u pariškoj katedrali Notre-Dame, kada je Filip IV. Lijepi tražio potporu staleža u svojem sukobu s papom Bonifacijem VIII. Godine 1308. sazvani su staleži u Toursu kako bi odobrili ukidanje templarskoga reda. Za razvoj državnog staleža bila je značajna godina 1314., kada su Filipa, koji je tražio novac za rat u Flandriji, staleži prisilili da prihvati načelo slobodnog i nužnoga pristanka triju staleža za nametanje novoga poreza. Tada su predstavnici staleža počeli podnositi kralju svoje pismene žalbe i pritužbe (poslije poznate pod nazivom cahiers de doléances). Utjecaj državnog staleža na upravu zemlje rastao je s padom prestiža kraljevske vlasti za Stogodišnjega rata. Za kraljeva zarobljeništva (Ivan II. Dobri, 1356. – 1360.) porasla je uloga trećega staleža pod vodstvom Étiennea Marcela, starješine (prévôt) pariških trgovaca, kojemu se u otporu protiv krune pridružio Robert Le Coq, biskup Laona. Polovicu članstva državnog staleža na zasjedanju u Parizu 1356. godine činili su predstavnici gradova. Kako bi dobio sredstva za nastavak rata protiv Engleza, dauphin Karlo (poslije Karlo V. Mudri) morao je pristati na ograničenje kraljevske vlasti i na koncesije, neobično korjenite za ono doba. Državni su staleži stekli (1356. – 1358.) pravo da se sastaju po vlastitom nahođenju dvaput godišnje; imenovali su i svoje povjerenstvo, koje je stvarno upravljalo zemljom. Suprotnosti između građanstva s jedne i plemstva i visokoga klera s druge strane, a posebno smrt Étiennea Marcela, omogućile su dauphinu Karlu da 1358. godine opozove svoj pristanak na reforme i učvrsti vlast krune. Otada utjecaj državnog staleža na upravu zemlje slabi, a jača kraljevska vlast. U drugoj polovici 15. i u 17. stoljeća generalni staleži sazivaju se sve rjeđe; plemstvo je nastojalo proširiti svoje povlastice, a treći se stalež uzalud žalio na svoje teško stanje i na nasilje aristokracije. Nakon saziva državnog staleža u Parizu 1614. godine nastalo je dugo razdoblje apsolutističke monarhije, pa je dvor povremeno konzultirao samo skupove dostojanstvenika (francuski: Assemblée des notables).

Generalni staleži sazvani su ponovno tek uoči Revolucije, u trenutku financijsko-ekonomske i političke krize ancien régimea. Godine 1788. ministar Jacques Necker dao je trećemu staležu onoliko zastupnika koliko i plemstvu i kleru zajedno. Na temelju izbora, provedenih u cijeloj zemlji, u Versaillesu se 5. svibnja 1789. godine – nakon 175 godina – okupilo 1200 zastupnika u državnim staležima. Pozivajući uzalud predstavnike aristokracije na zajedničko zasjedanje, predstavnici trećega staleža proglasili su se 17. lipnja Narodnom skupštinom (francuski: Assemblée nationale). Kako se većina (149 naprama 137) predstavnika klera pridružila (19. lipnja) trećemu staležu, kralj je naredio da se zasjedanje prekine i dvorana zatvori; zastupnici su tada prešli u dvoranu Jeu de paume, gdje su 20. lipnja prisegnuli da se neće razići sve dok zemlja ne dobije ustav. Taj povijesni čin nepokornosti kralju utjecao je i na dio predstavnika plemstva, koji se također pridružio trećemu staležu, pa su se generalni staleži 9. srpnja 1789. godine proglasili Narodnom ustavotvornom skupštinom (francuski: Assemblée nationale constituante).

Izvori

Vanjske poveznice

Povijest Francuske do 1914.

Generalni staleži


Odile Vouaux, née le  à Saint-Dié-des-Vosges, est une nageuse de  nage libre.

Biographie
Elle débute la natation en 1947 en rejoignant le club nancéien de l'ASPPT. En 1950, elle intègre l'équipe nationale du 4 x 100 m nage libre après avoir été deux fois championne de France cadette en 100 m nage libre et 100 m dos.

Elle participe aux Jeux Olympiques d'Helsinki en 1952, en 4 x 100 m nage libre.

Elle fait partie de la sélection française pour les Jeux Olympiques de Melbourne en 1956, en 100 m nage libre et au relais 4 x 100 m nage libre avec Viviane Gouverneur, Ginette Sendral-Jany et Heda Frost.

Elle arrête la compétition en 1958, l'année où elle épouse Raymond Milley, joueur de water-polo. Elle vit aujourd'hui à Villers-les-Nancy .

Records
Record de France de 50 m nage libre.

Notes et références

Annexes

Bibliographie

Liens externes

 1920-2020: Cent ans de natation - Version intégrale (calameo.com)
 75 ans, comité de Lorraine Natation

Nageuse française
Nageuse aux Jeux olympiques d'été de 1952
Nageuse aux Jeux olympiques d'été de 1956
Naissance en juillet 1934
Naissance à Saint-Dié-des-Vosges

Odile Vouaux


Două lozuri se poate referi la:

 Două lozuri, film românesc din 1957 regizat de Gheorghe Naghi și Aurel Miheleș, ecranizare a schiței "Două loturi" (1901) a lui I.L. Caragiale
 Două lozuri, film românesc din 2016 regizat de Paul Negoescu

Două lozuri


Ming-Na Wen (); født 20. november 1963) er en amerikansk skuespiller. Hun er blevet krediteret med og uden sit familienavn, men de fleste siden slutningen af 1990'erne har været uden det. Hun har været kendt under disse varianter af hendes navn Ming-Na, Ming Na, Ming Na Wen og Ming Wen. Hun er kendt for sin rolle som Agent Melinda May, i Agents of S.H.I.E.L.D.

Eksterne henvisninger

Skuespillere fra USA

Ming-Na Wen


Alaa El-Hamouly  (, El Cairo, 4 de julio de 1930-13 de enero de 1984) fue un futbolista egipcio, se desempeñaba como delantero.

Carrera como jugador

Jugó 11 temporadas en el Zamalek Sporting Club de El Cairo. Concretamente desde la 1950-51, hasta la 1960-61. Con este equipo ganó 1 liga y 5 copas, una de ellas, la de 1958, compartida con el máximo rival de su club, el Al-Ahly. En la temporada 1956-57 fue máximo goleador de la liga egipcia, con 16 goles.

Selección nacional

Con la selección nacional, gana las dos primeras ediciones de la Copa Africana de Naciones, la de 1957 y la de 1959. En total jugó 3 partidos entre las dos ediciones.

Con el equipo de fútbol de Egipto, disputa dos olimpiadas, la de Helsinki en 1952 y la de Roma en 1960. En la de Tokio, Egipto llega a las semifinales y su compañero Rifaat El-Fanageely es elegido mejor defensa de la competición.

Participaciones internacionales

Clubes

Palmarés

Copas nacionales

Copas internacionales

Referencias

Enlaces externos
 Ficha del jugador en Football Database.

Nacidos en El Cairo
Delanteros de fútbol
Futbolistas de la selección de fútbol de Egipto
Futbolistas del Zamalek Sporting Club
One Club Man
Futbolistas en los Juegos Olímpicos de Helsinki 1952
Futbolistas de República Árabe Unida en los Juegos Olímpicos de Roma 1960
Futbolistas de la Copa Africana de Naciones 1957

Alaa El-Hamouly


Verden ka' vente er det fjerde studiealbum af den danske sanger og sangskriver Rasmus Seebach. Det udkom den 6. november 2015 på CD og til download, og udkommer den 16. november på streaming.

Størstedelen af albummet sange er skrevet til Rasmus Seebachs kæreste, heriblandt førstesinglen "Uanset" der handler om jalousi. Om albummets lyd har Seebach udtalt: "Det nye album er mere råt og soulet, hvor det sidste var mere sprælsk. Jeg forsøger hele tiden at skubbe mig selv nye steder hen. Jeg ville aldrig kunne lave et album, hvis jeg fra start følte, at det kunne det samme som det forrige".

Verden ka' vente debuterede på førstepladsen af hitlisten, med 31.600 solgte eksemplarer i den første uge.

Singler
"Uanset" blev udgivet som albummets første single den 11. september 2015. Singlen handler ifølge Seebach om jalousi: "Den har den følelse, som jeg tror, vi alle sammen render rundt med. Specielt folk, som er i et forhold, som virkelig elsker hinanden, kender hinanden. Man kan hurtig blive lidt usikker på hinanden, specielt når man er ude at holde fester, og man ser alting igennem et lidt sløret blik, fordi man har fået lidt at drikke." Musikalsk er sangen inspireret af popmusik fra 80'erne samt nutidig R&B. I starten af sangen høres lyden af et glas der splintres, hvilket ifølge Seeabach er et billede på dramaet i sangen, samt "den lidt 80'er-inspirerede sound, og så alligevel ikke, fordi jeg synes også, det er enormt 2016." "Uanset" blev streamet 122.000 gange på udgivelsesdagen på Spotify i Danmark, hvilket er en rekord. Singlen var den sjette mest spillede danske sang i dansk radio i 2015.

"Farlig" blev udgivet som albummets anden single i februar 2016. Singlen modtog i juli 2016 guld.

Modtagelse

Henning Høgh fra BT gav Verden ka' vente fem ud af seks stjerner. Høgh skrev at Seebach, med inspiration fra Roxette og Abba, har lavet "gennemarbejdede, friske og iørefaldende" sange.

Peter Schollert fra Jyllands Posten gav albummet tre ud af seks stjerner, og skrev at "en ambition om at gøre numrene kompakte, strømlinede og let tilgængelige betyder, at nuancerne, som må have været til stede i indspilningerne, bliver slebet til og gjort anonyme." Anmelderen fremhævede "Flyv fugl" som albummets bedste sang.

Spor
 Alle sange er skrevet af Rasmus Seebach, Nicolai Seebach, og Lars Ankerstjerne, undtaget hvor noteret.
 Alle sange er produceret af Seebach & Seebach og Ankerstjerne, undtaget "Er de gode gamle dage lige nu" produceret af Peter Wallevik, Daniel Davidsen, Seebach & Seebach og Ankerstjerne; og "Lille store verden" produceret af Wallevik og Davidsen, og co-produceret af Seebach & Seebach og Ankerstjerne.

Hitlister og certificeringer

Album

Ugentlige hitlister

Årslister

Certificeringer

Singler

Kilder

Eksterne henvisninger

Rasmus Seebach-album
Album fra 2015

Verden ka' vente


João Paulo de Oliveira (Pojuca, 9 de outubro de  1990), também conhecido como João Pimenta ou João Seu Pimenta, é um humorista baiano. Desde 2021, faz parte do elenco do Porta dos Fundos, além de apresentar espetáculos de stand-up comedy e produzir vídeos para internet.

Biografia
João cresceu na cidade de Pojuca, na Região Metropolitana de Salvador. Ele começou a fazer humor no ano de 2005, quando ingressou em um projeto social da cidade.

Em 2011, criou seu canal do YouTube, o qual hoje possui mais de 846 mil usuários inscritos.

O primeiro personagem criado por João que se tornou famoso foi o "Pé de Pranta", o qual desmitifica o estereótipo dos negros e de moradores de favela.

João Pimenta também ficou muito conhecido pelos vídeos em que ele faz redublagens de produções cinematográficas famosas, como Game of Thrones, e pelos vídeos de receitas culinárias, intitulado "Larica do Ódio".

Em 2020, João foi selecionado em um processo seletivo da produtora Porta dos Fundos e, em 2021, ingressou no elenco principal. A esquete Sudestino, do qual ele participou, foi um grande sucesso em 2021. Ele também integrou o elenco de "5x Comédia", série original da Amazon Prime produzida pelo Porta dos Fundos.

Seu Pimenta também realiza apresentações de stand-up comedy.

Ligações externas

Humoristas da Bahia
Naturais de Pojuca
Pessoas do Porta dos Fundos
Nascidos em 1990
Vlogueiros do Brasil
Vlogueiros do YouTube

João Pimenta