Nazi propaganda and the United Kingdom

The position of Nazi propaganda towards the United Kingdom and its inhabitants changed over time. Prior to 1938, while Hitler tried to court Britain into an alliance, his propaganda praised the British as proficient Aryan imperialists. Later, as the Nazis realised that they would have to fight the United Kingdom, their propaganda vilified the British as oppressive, German-hating plutocrats. During the war, it accused "perfidious Albion" of war crimes, and sought especially to drive a wedge between Britain and France.
History.
Pre-war.
Initially, the aim of Nazi foreign policy was to create an Anglo-German alliance, so before 1938, Nazi propaganda tended to glorify British institutions, and above all the British Empire. Even regarding it, along with France, as "decadent democracies", Joseph Goebbels set out to court them.
Typical of the Nazi admiration for the British Empire were a lengthy series of articles in various German newspapers throughout the mid-1930s praising various aspects of British imperial history, with the clear implication that there were positive parallels to be drawn between British empire-building in the past and German empire-building in the future. The esteem in which the British Empire was held can be gauged by the fact that the lavish adoration heaped upon Britain's empire was not matched by similar coverage of other empires both past and present. An example of this sort of coverage was a long article in the "Berliner Illustrierte Zeitung" newspaper in 1936 extolling the British for "brutally" resolving the Fashoda crisis of 1898 in their favour with no regard for diplomatic niceties. Another example of Nazi anglophilia included a series of widely promoted biographies and historical novels commemorating various prominent "Aryan" figures from British history such as Cromwell, Marlborough, Nelson, Rhodes, Wellington, and Raleigh.
A particular theme of praise was offered for British “ruthlessness” in building and defending their empire, which was held as a model for the Germans to follow. Above all, the British were admired as an “Aryan” people who had with typical “ruthlessness” subjected millions of brown- and black skinned people to their rule, and British rule in India was held up as a model for how the Germans would rule Russia.
Perhaps more importantly for gauging the Nazi regime's pro-British feelings in its early years was the prominence given to "Englandkunde" (English studies) within German schools and the lavish praise offered to British youth organisations as a model within the Hitler Youth.
Change in attitude.
Up to November 1938, the British were depicted as an Aryan people, but afterward, they were denounced as "the Jew among the Aryan peoples" and as plutocrats, fighting for money. This was sometimes modified with the suggestion that it was the ruling class alone that was the problem. Goebbels denounced it as having a few hundred families rule the world without any moral justification, a phrase which had been taken directly from the French Popular Front despite Nazi opposition to Communism.
The change of emphasis was due to Hitler's changed view of Britain from a potential ally to an enemy that would have to be destroyed. This emphasis increased as British resistance went on. Such films as "Der Fuchs von Glenarvon" and "My life for Ireland" did not show quite the crude stereotypes as later films such as "Ohm Krüger" and "Carl Peters".
The instant—and unauthorised—rejection of the peace terms of Hitler's 19 July 1940 speech by Sefton Delmer on the BBC produced a great impact on Germany; Goebbels believed it had to show governmental inspiration, and the German press were instructed to attack the rejection.
Major themes.
British imperialism.
One of the major themes of the anti-British propaganda campaign launched in late 1938 was alleged British human rights abuses, firstly in India, and also when dealing with the Arab uprising in the Palestine Mandate. These were used to illustrate the "hypocrisy" of British criticism of Germany's treatment of its Jewish minority. A postcard dropped over Egypt showed a British soldier with Arabs dangling from his bayonet. The "Parole der Woche"'s weekly wall newspaper jeered at Roosevelt's description of the British as defenders of freedom, showing the torture of Indians and describing other atrocities. A cigarette book recounted various colonial atrocities.
In such films as "Der Fuchs von Glenarvon" and "My life for Ireland", they are depicted as brutal oppressors of the Irish. ("My Life for Ireland", indeed, inspired fears among Germans of inciting Poles to rebellion.) The "Scottish transmitter" spread such propaganda to Scotland and Ireland, about English atrocities in those countries, and the use of Scottish and Irish armies to fight England's battles.
"Ohm Krüger" depicted them as oppressing the Boers. This film depicted the British as seeking gold, symbolic of barreness and evil, in contrast to the Boers who raised crops and animals, reinforced by showing the British as prurient, and having the hero's son be brought to obey Kruger only after his wife has been raped. Whereas Queen Victoria is presented as a harridan addicted to whiskey, Kruger is presented as an inspiring leader.
British capitalism.
Another major theme was the difference between British "plutocracy" and Nazi Germany. German newspapers and newsreels often pictured photos and footage of British unemployed and slums together with unfavourable commentary about the differences in living standards of the working class of Nazi Germany and those of the working class living under British "plutocracy". Germany was represented as an ideal collectivist "Volksgemeinschaft" (People's Community) which put the economic “common interest before the individual interest”, which was contrasted with the supposed savage "Manchestertum" (Manchester capitalism) and individualist society of Britain where it was alleged that the rich had it all while the poor were left to starve. So successful were the anti-capitalist attacks on Britain that reports to Social Democratic émigré Sopade from within Germany reported that the Nazis had made major gains with those German workers who had voted SPD and KPD during the Weimar Republic. German propaganda asserted that the Second World War had been started by Britain to prevent Germany's social revolution from inspiring its own people to discontent. The British declaration of war on Germany in 1939 was represented as an attempt to put an end to German Nazism, which maintained a generous modern welfare state that cared for the most poorest Germans lest British workers living under "Manchesterchtum" started to demand the same sort of welfare state for themselves.
After the British withdrawal from Greece in 1941, the "Parole der Woche"'s weekly wall newspaper showed a World War I British soldier stating that sandbags were not needed, since they had the French soldiers; this time, the paper jeered, the plutocrats had to fight themselves and could not hire others to do so.
The Beveridge Report of 1943 was attacked as a fraud, being worse than what the Germans had achieved even in the nineteenth century and never to be permitted in plutocratic England. The way the plan was to be put off until war was derided, though Goebbels tried to suppress it because Nazi Germany was also deferring social reform until after the war. A "Das Reich" cartoon depicted the upper classes as being forced to it.
Simultaneously, propaganda presented them as tools of the Communists. A German parody stamp, of one depicting King George and Queen Elizabeth, replaced the queen with Stalin and added a hammer and sickle, and stars of David. The "Parole der Woche"'s weekly wall newspaper declared that the United States and Britain had agreed to let Stalin take Europe. Using propaganda to present the Jews as being behind both helped juggle the issues of opposing "plutocracy" and Communism at once.
Anti-German prejudice.
A third major theme of anti-British propaganda was the “irrational” anti-German prejudices said to be held by the British establishment and the claim that Britain was an “old" declining country ruled over by a gerontocracy of extremely elderly men full of envy and hatred of the dynamism of “young" rising countries like Germany. As part of the “young” nation message, major emphasis was given to the youth and the large families of the Nazi leaders, which was contrasted unfavourably with the age and small families of the British leaders, with the not so subtle implication that Germans were much more sexually virile than the British.
Allegations of hypocrisy.
Attacks were made on Britain for the "hypocrisy" for maintaining worldwide empire while seeking to block the Germans from acquiring an empire of their own. The film "Carl Peters", for instance, depicted the title character as being driven from German colonies by British administrators and the weak character of the (pre-Nazi) German government, unwilling to do what was needed to keep and hold an empire. In keeping with the attacks on the British empire, the Treaty of Versailles was depicted as a monstrously unjust peace treaty designed by the British to cripple Germany and allow British hegemony in Europe. In keeping with this theme, German propaganda stressed that Britain had to maintain her hegemony over the centuries had manipulated the other European states into war, and Germany, the “guardian of Europe” was now standing up for all the nations of Europe in putting an end to British “causing trouble on the continent".
Goebbels specifically attacked Britain with its empire objecting to the takeover of Czechoslovakia.
Allegations of war crimes.
Special editions of "Illustrierter Beobachter" denounced Britain and France for starting the war. Claims were made both that France and Britain had started the war, wanting to make it a blockade rather than one that would actually hurt them, and also that they had actually invaded Belgium and the Netherlands, forcing the Germans to forestall them, a discrepancy that did not attract much attention. A cigarette book announced German determination to face down "the war England has forced upon us." Their intent was to prevent the social revolution in Germany from inspiring discontent with the plutocracy in Britain. As France was falling, Goebbels wrote in "Das Reich" of the "missed opportunities" that Britain and France had for peace.
Another common motif was to accuse Britain of attacking in a barbarous manner. Articles on British bombing raids accused them of targeting civilians. After the bombing raid on Cologne, a pamphlet claimed that, in contrast, the Germans did not target civilians. Goebbels took advantage of a 1943 memorial service for the victims of bombing raids to proclaim Allied guilt and German innocence. Despite the encouragement it might give the enemy and that it did not inspire calm, propaganda shifted from playing down raids to playing them up, to inspire hatred of the enemy, and sympathy with neutrals.
Goebbels also warned the German people that, having lied about German atrocities in World War I, Britain would obviously lie again in this war. This theme was continually repeated in warnings against enemy propaganda.
In France.
France was a particular target for anti-British propaganda, to divide the allies. During the war, radio questioned why the British had sent only a few thousand troops, and pamphlets depicted the British soldier as far behind the lines while the French soldier fought. Postcards and pamphlets claimed that British soldiers were enjoying the charms of the French soldiers' wives. This continued after the war, with cartoons, and many posters set out to remind the French of past relations with "perfidious Albion." Mers-el-Kebir was exploited to depict French dying and Churchill as a killer. A widely used propaganda poster urged the "abandoned populations" to have confidence in the German soldier.
This was also used inside Germany. "Das Reich" depicted Britain as seeking to claim French colonies, and observing that it was blockading its former ally.


Give Us Our Skeletons

Give Us Our Skeletons! (Antakaa Meille Luurankomme in Finnish, Oaivveskaldjut in North Sami) is a 1999 documentary film directed by Paul-Anders Simma about Niillas Somby, a Sami man who retraces his family ancestry as he searches for the head of his ancestor, Mons Somby.
Mons Aslaksen Somby and Aslak Jakobsen Hætta were executed by decapitation on 14 October 1854 for murder, following the 1852 Kautokeino rebellion against the local Norwegian government in which two people were murdered. Their heads were claimed by the government for scientific research, and were held as part of a collection of 900 skulls at the Anatomical Institute, in Oslo.
The movie describes three parallel plots; the first is Niillas Somby's story on how he became one of the most celebrated protesters during the Alta Dam Protests between 1979-1981 near Kautokeino, Norway. In the years that followed, he traveled in exile to Canada where he was given sanctuary by the Iroquois First Nation, and later returned to Norway.
The second plot was the disturbing examination of the scientific racism and racial classification movement that was considered an accepted fact by Scandinavian scientists from the early 19th century until the 1950s. This included the plundering of Sami graves for their skeletons and the forced sterilization of the Sami and other peoples in Scandinavia who were viewed as competing with the "noble races", as part of a larger eugenics program.
The third and final plot was Niillas Somby's emotional struggle with bringing Mons Somby's skull home for a proper burial.


Philippe-Auguste Hennequin

Philippe-Auguste Hennequin (Lyon, 10 August 1762 – Leuze-en-Hainaut, near Tournai, 12 May 1833) was a French history painter and portraitist.
A student of the Swede Per Eberhard Cogell (1734–1812) in Lyon, then in Paris a student of David, he then went to Rome thanks to an English patron, but was forced to leave the city due to the anti-French riots of 1793. Under the First French Empire he produced large historical compositions, such as "A Distribution of the Légion d'Honneur at the Boulogne camp" (1806), "A Battle of the Pyramids" (1806) and the 4m by 6m "The Triumph of the French people on 10 August" (1799, won the first prize at the Paris Salon that year but was cut up and split between the museums of Rouen, Angers, Le Mans and Caen in 1820). Under the Bourbon Restoration, he went into self-imposed exile in Belgium, where he was director of the Académie de Tournai, though he later died in poverty. Many of his drawings are held at the Musée des Beaux-Arts de Lyon.


Mistress Nell Gwyn

Mistress Nell Gwyn is the title of the New York edition of an historical novel by the British writer Marjorie Bowen. The book was also published in London with the title "Nell Gwyn: A Decoration". The book was first published in 1926.
The story depicts the life of Nell Gwyn and her rise from an orange seller to the mistress of Charles II of England during the seventeenth century. Bowen states in the preface that very little is known about Nell Gwyn and that what history and tradition do "tell us of Nell Gwyn has been told as a decorative romance, where no liberty has been taken with what we know or believe to be truth." Great affairs have been left out and details of the reign of Charles II are provided only as a background for the figure of the heroine.
Adaptations.
The year of its publication, the novel was adapted for the silent film "Nell Gwyn", a prestige production directed by Herbert Wilcox for which the Hollywood actress Dorothy Gish was brought over to Britain to play Gwyn.
The novel also provided inspiration for "Nell Gwynn" the 1934 sound remake of the film, also directed by Herbert Wilcox.


Heinrich Ludwig Philippi

Heinrich Ludwig Philippi (9 June 1838, Kleve – 16 September 1874, Düsseldorf) was a German history painter; associated with the Düsseldorfer Malerschule. He was primarily known as a watercolorist.
Biography.
His father, was a jurist and member of the Prussian House of Representatives for Elberfeld.
After completing his secondary education in 1857, he took an extended study trip to Berlin, Frankfurt and Dresden, with the intention of becoming an artist. In Dresden, Eduard Bendemann, a professor at the Academy of Fine Arts, to whom he was distantly related, advised him to attend the Kunstakademie Düsseldorf, which he did. While there, he studied with Wilhelm Sohn and Adolph Schroedter. He also studied architecture with Rudolf Wiegmann and art history with Carl Müller (1818-1893).
In 1859, Bendemann was named Director of the Kunstakademie and Philippi became engaged to his daughter Marie. The engagement was short-lived however, as Philippi's father ordered him to break it off, on the grounds that he would not be able to support a wife and family while still a student. His education was also interrupted by a brief period of military service.
He continued his studies in Munich with Carl Theodor von Piloty then, from 1865 to 1866, undertook independent studies in Rome, advised by Anselm Feuerbach. In 1866, he was conscripted for service in the Austro-Prussian War and had to return to Germany. That same year, he was slightly wounded at the Battle of Königgrätz.
In 1868, he married Elisabeth Jordan (1849–1923), niece of the painter Rudolf Jordan. The marriage was childless. His younger brother was the Archive director in Münster and historian, Friedrich Philippi.
Two years later, he again found himself conscripted; this time for the Franco-Prussian War, serving as a Captain in the Landwehr and spending some time at a detention camp. His war experiences aggravated his previously manageable tuberculosis, and he died from it in 1874.


Wanted (video game)

 is a shoot 'em up released by Sega on December 31, 1989 for the Master System. The player controls a sheriff in the American Old West, attempting to eliminate bandits from around the cities in the game. The game requires the Sega Light Phaser controller. Some copies of the game were released with a misprinted cover art that erroneously described "Cloud Master".
Gameplay.
The player assumes the role of a Western sheriff, who engages in gunfights in varied locations throughout the American Old West. The game requires quick reactions, as the player has only a moment to shoot an enemy gunslinger after they appear to avoid being shot and losing a health point. The player may shoot bombs hidden among the level scenery, clearing the screen of enemies and replenishing the player's life. The player must also take care not to shoot innocent civilians, or gunmen who surrender, either of which will result in lost health. The end of each round features a boss battle with a bandit leader.


Bruce Holsinger

Bruce W. Holsinger is an American author, academic and literary scholar, professor of English at the University of Virginia and the author of "A Burnable Book".
He is considered an expert on the use of parchment in medieval English manuscript production, and organised, with bioarchaeologists from the University of York, the research project into uterine vellum which established the precise composition for the material used in for the creation of the earliest bible manuscripts.
"The New York Times" described him as "gamekeeper turned poacher", due to the fact that Holsinger, a professor at the University of Virginia, specialising in medieval English literature, turned to writing fiction based around his academic interests. His first novel was "A Burnable Book" in 2014. This was set in fourteenth-century England during the reign of King Richard II, and has Holsinger's protagonist John Gower—at the instigation of Geoffrey Chaucer—hunt down a supposedly revolutionary book, in which a series of poems predict the deaths of the kings of England. One of the most prominent characters is one "Edgar Rykener"—who is in-universe also called Eleanor—a man who dresses as a woman and has sex for money. This inclusion, says Holsinger, is directly based on the real-life case of John Rykener, which also occurred in 1394, the year Holsinger sets the events of his book.
In February 2018 Holsinger was appointed editor of the University of Virginia's peer reviewed journal, "New Literary History"; he is the third member of staff to take the position since the journal's foundation in 1969. He has written for the "New York Review of Books", "The Washington Post" and op-eds for "The New York Times".


William Bonnar

William Bonnar RSA (1800 - 1853) was a Scottish portrait painter.
Life.
Bonnar was born in Edinburgh in 1800. His father was Thomas Bonnar a house-painter and interior designer of considerable skill. Bonnar showed an early aptitude for drawing, and was apprenticed to one of the leading decorators of the time. When George IV visited Edinburgh in 1822, Bonnar assisted David Roberts in decorating the Assembly Rooms for the grand state ball which was given in honour of the occasion. Shortly afterwards some signboards painted by him attracted the notice of Captain Basil Hall, who sought out and encouraged the young artist. In the year 1824 his picture of 'The Tinkers ' established him as a favourite with the public, and shortly after the formation of the Royal Scottish Academy in 1830 he was elected one of its members.
In 1833 his address is given as Robb's Court, off the Canongate but by 1840 he was living at 113 Princes Street in a house looking over Princes Street Gardens to Edinburgh Castle.
Bonnar died at Edinburgh in 1853 and is buried in St Cuthbert's Kirkyard in Edinburgh. His monument is almost identical to that of his father in Dean Cemetery who had died only a few years earlier, and is therefore presumed to be by David Watson Stevenson. Both his sister Elizabeth and his daughter Elizabeth are buried elsewhere in the graveyard, both in the Kemp grave. William's sister, Elizabeth Bonnar (1808-1889) married George Meikle Kemp. He named his daughter Elizabeth (1826-1879) after his sister.
He left behind him many fine pictures, several of which were engraved by his younger brother, Thomas Bonnar (1810-1873).
Bonnar is often credited with overseeing the completion of the Scott Monument following the untimely death of his brother-in-law, George Meikle Kemp who had designed the monument and was overseeing its completion when he died in an accident. If true, William would be an odd choice, as one of the few non-architects in the family.
Works.
Bonnar has several works within the National Gallery of Scotland.


Stefano Ussi

Stefano Ussi (3 September 1822 - 1901) was an Italian painter, known first for his history paintings, and later for depicting Orientalist, mostly Arabian and Moroccan subjects.
Biography.
He was born in Florence and studied there at the Academy of Fine Arts under Enrico Pollastrini. Among his colleagues there were Pietro Benvenuti and Giuseppe Bezzuoli.
After studying at the Academy, he enrolled volunteer in the first war of independence, during which he was taken prisoner by the Austrian troops. After returning to Florence, he won the Triennale prize for the painting of the "Resurrection of Lazarus" in 1849, and presented works for the following years on historical and literary subjects at the exhibitions of the Florentine Società Promotrice di Belle Arti, which was led by Filippo Palizzi.
Associated with the Macchiaioli group of painters gravitating around the Caffè Michelangiolo, he achieved great success with "The Expulsion of the Duke of Athens" (Florence, Galleria d’Arte Moderna, Palazzo Pitti), exhibited in Florence at the city's first Esposizione Nazionale in 1861 and was awarded a prize in Paris in 1867. This painting represents the expulsion in the 14th century by the Florentines of the tyrannical ruler of Florence, Walter VI, Count of Brienne and former Duke of Athens. An allegorical fresco (after 1343) of the event had been memorialized in the Palazzo Vecchio by Orcagna, who had lived through the events. In Ussi's time, the medieval events took on new patriotic connotations as the Italian Kingdom was being consolidated.
Ussi is considered one of the Orientalist painters of the Ottocento. He visited Egypt in 1869 on the occasion of the opening of the Suez Canal, and returned in 1872 by invitation of the Khedive. Along with his friend, the painter Cesare Biseo, and Edmondo De Amicis, he accompanied and an Italian diplomatic delegation to Morocco in 1875. De Amicis was later to publish the work of the artists. The numerous drawings he made during these travels provided material for him in later years.
The Viceroy of Egypt commissioned a large canvas depicting: "The Feast of the Carpet or Pilgrimage to Mecca". In 1880, in Turin he displayed "La Scorta del governatore Ben Alida ed il giovanetto suo figlio che precedono l'Ambasciata italiana"; "Morrocan Fantasy in honor of the Italian Embassy"; and "The Arab Family in the Desert". In 1881 at Milan, he exhibited "Celebration of Mohammed in Tangier", another orientalist genre painting. He also displayed "Un intermediario d'amore". Among his other works are "Arab Cavalry"; "Fantasia araba attorno all'Ambasciata italiana al Marocco"; "Festa a Fez, data dall'Imperatore del Marocco"; "Araba al fonte"; and "Un Dervish in pompa solenne". His painting of "Donna araba al pozzo" (1880) is displayed in the Museo Borgogna of Vercelli.
He died in Florence.


Self-portrait (Giorgione)

The Self-portrait of Giorgione is a possible self-portrait by the Italian painter Giorgione, now in the Museum of Fine Arts in Budapest. It is not universally accepted as an autograph work but - if it is - it is thought to be based on the c.1509-1510 "Self-portrait as David" now in the Herzog Anton Ulrich Museum.
It was stolen on 5 November 1983. It was recovered in Operation Budapest.


Period television series


Cornelis Schut

Cornelis Schut (13 May 1597 in Antwerp – 29 April 1655 in Antwerp) was a Flemish painter, draughtsman, engraver and tapestry designer who specialized in religious and mythological scenes. Presumed to have trained under Rubens, he treated Counter-Reformation subjects in a High-Baroque style. After a stay in Italy, he worked mainly in Antwerp where he was one of the leading history painters in the first half of the 17th century.
Life.
Cornelis Schut was born in Antwerp as the son of Willem Schut and Suzanna Schernilla. There are no records about his artistic training. He is first mentioned as a pupil of Peter Paul Rubens by the 18th century historian Jacob Campo Weyerman. Although the scientific relevance of Weyerman's sources is questioned, it is still assumed that Schut was a pupil of Rubens since Rubens was exempted from registering his pupils with the Antwerp Guild of St Luke. Because Schut's early works are closer to the style of the leading Antwerp history painter Abraham Janssens, some connection with the workshop of Abraham Janssens may have existed although it does not prove he was Janssens' pupil. Schut became a master of the Antwerp Guild of St Luke in 1618.
Schut left for Italy shortly after 1618. While in Rome, he was a founding member of the Bentvueghels, an association of mainly Dutch and Flemish artists working in Rome. It became customary for the Bentvueghels to adopt an appealing nickname, the so-called 'bent name'. Schut took the nickname "Broodzak" (bread bag).
From 13 January 1627 he worked on frescoes in the villa "Casino Pescatore" located in Frascati, owned by Giorgio Pescatori (aka Pieter de Vischere), a wealthy Italian banker and patron of Flemish descent. He collaborated on this project with the Dutch painter and also Bentvueghels member Tyman Arentsz. Cracht. This commission was instrumental in launching Schut's career in Italy as Pescatori was rich and influential and keen to help his compatriots in Italy. Another important patron in Rome was the aristocratic Italian banker and art collector Vincenzo Giustiniani who commissioned two large religious compositions from him (now in the Abbey of Sainte-Trinité, Caen). This patronage clearly demonstrated the esteem which Schut enjoyed in Rome. He also attracted the attention of the young Poussin then residing in Rome in the residence of the Flemish sculptor François Duquesnoy. Poussin's early works borrowed some motifs from Schut's works made for Vincenzo Giustiniani.
Schut's plans in Rome were disrupted when on 16 September 1627 he was imprisoned for the killing of a fellow artist by the name of Giusto. His jail time was short as on 2 October he was already released thanks to the intervention of the Accademia di San Luca, the association of artists in Rome. He then left Rome and was reported in 1627-28 in Florence. He is known to have designed tapestries for the Arazzeria Medicea, the most important tapestry factory in Italy founded in 1546 in Florence by the Medici grand duke Cosimo I.
His movements after this time are unclear. He resurfaced in September 1631 in Antwerp when he appeared before a notary to draw up marital conditions. On 7 October 1631 Cornelis Schut married Catharina Gheenssins, who was from a well-off family. His wife died on 29 September 1637 leaving the artist with three children of whom two died young. The artist remarried the next year with Anastasia Scelliers with whom he had two sons and two daughters.
Schut enjoyed artistic success upon his return to Antwerp where he produced mainly altarpieces for the local churches. He painted in the High-Baroque style that had become popular in Flanders by that time. In particular his ability to produce ceiling decorations in the monumental Italian style, with its typical illusionistic character, was regarded highly by patrons in his home country. An example of this is his "" in Antwerp Cathedral.
Schut played a prominent role in the decorative project at the occasion of the Royal Entry of the Cardinal-Infante Ferdinand in 1635 in both Antwerp (where Rubens was in charge of the overall artistic design) and Ghent. He collaborated with Gaspard de Crayer, Nicolas Roose, Jan Stadius and Theodoor Rombouts on these projects. The Ghent magistrate commissioned Schut to draw and engrave all the decorations that had been made for the Ghent Royal Entry. Schut supplied more than 100 etchings for this commission.
In 1643 the headmen of the Antwerp civil militia the Gilde of de Jonge Voetboog wrote out a competition for a new altarpiece for the militia's altar in the Antwerp Cathedral. Schut and Thomas Willeboirts Bosschaert were invited to submit for this competition a painting on the subject of the martyrdom of St George. Both works were exhibited and finally a panel of six judges, of which each artist had appointed three, ruled in favour of Schut.
Schut died in Antwerp on 29 April 1655 shortly after the death of his second wife. He was buried on 1 May 1655 in the Saint Willibrord Church in Antwerp in a grave shared with his second wife. The grave and its marble cenotaph are still present in the church.
Schut was the teacher of Ambrosius (II) Gast, Jan Baptist van den Kerckhoven, Philippe Vleughels, Hans Witdoeck and his cousin Cornelis Schut III.
Works.
General.
Schut was a versatile artist who produced oil paintings, frescos, engravings, drawings and tapestry cartoons. He was principally a history painter of religious and mythological subjects.
His early work shows the influence of Abraham Janssens. During his Italian sojourn in Rome during 1624 and Florence in 1627 he adopted elements of the High Baroque style of Pietro da Cortona, Guercino and classical tendencies informed by Domenichino and Guido Reni. This style is characterized among other things by a strong sense of animation and pathos, in which light and color play an important role. Elements of late mannerism are also evident. Schut's style, which is characterized by strong foreshortening, sharp contrasts of light and extreme facial expressions has some affinity with the work of Federico Barocci, who played a major role in the evolution of baroque painting. This is particularly evident in his work in Antwerp starting from c. 1630 (or possibly somewhat earlier) where the style of Barocci is recognizable in the spatial effects, the unstable and emotive poses and the flashing lighting effects. His "Martyrdom of St George" painted in 1643 for the competition with Thomas Willeboirts Bosschaert is close to Barocci's "Martyrdom of St Vitalis". Schut's style hardly changed in his later career, except that his colors became less intense and his brushwork somewhat looser.
Other than in some motifs and compositional arrangements, Schut's work displays little stylistic resemblance to that of Rubens. Schut's skill in interpreting the themes of the Counter-Reformation led to many commissions for altarpieces in churches and monasteries in Antwerp, Brussels, Ghent, Bruges and Cologne.
Schut created some very inventive designs on mythological and allegorical subjects in his cartoons for the "Seven Liberal Arts", a series of tapestries. The series consisted of 8 tapestries, seven dedicated to each of the liberal arts plus one depicting their combined apotheosis. Together, the series can be interpreted as an allegory of war and peace. An example of a tapestry in the series is the "" (Hermitage Museum). In the centre of the upper border of this tapestry is a cartouche with the inscription: Artes Deprifit bellum agvibus sustinatus ("War oppresses the arts which support it"), also designed by Cornelis Schut. The cartoons were woven repeatedly in Bruges between 1655-1675. They were also woven in the Brussels workshops.
Collaborations.
As was common in 17th-century Antwerp, Schut often collaborated with other artists who were specialist painters. He added figures to the compositions of the painter of church interiors Pieter Neefs the Elder. Schut collaborated with flower painters such as Daniel Seghers and Frans Ykens on so-called ‘garland paintings’. Garland paintings are a type of still life invented in Antwerp and whose earliest practitioner was Jan Brueghel the Elder. These paintings typically show a flower garland around a devotional image or portrait. Garland paintings were usually collaborations between a still life and a figure painter. An example of a collaboration between Schut and a flower painter on a garland painting is the composition "" (Staatliches Museum Schwerin) in which the figures in the center were painted by Schut and the flower garland was painted by Frans Ykens.
His compositions were engraved by leading Antwerp engravers including Hans Witdoeck, Wenceslaus Hollar and Lucas Vorsterman although he was an accomplished etcher himself. Cornelis made etchings after his own works. For instance, he made a series of etchings on the theme of the liberal arts which are similar to his designs for cartoons on the same subject. He also created many small, decorative etchings of naked children or putti.
Collections.
Works by Cornelis Schut are in the collections of the Royal Museum of Fine Arts Antwerp, the Metropolitan Museum of Art, New York City and the Art Museum of Estonia, Tallinn.


The Mercenary (film)

The Mercenary (), known in the UK as A Professional Gun, is a 1968 Zapata Western film directed by Sergio Corbucci. The film stars Franco Nero, Jack Palance, Tony Musante, Eduardo Fajardo and Giovanna Ralli, and features a musical score by Ennio Morricone and Bruno Nicolai.
Plot.
On the northern side of the Mexico–United States border, Sergei "Polack" Kowalski, a well-groomed, greedy mercenary, attends a circus performance where he recognizes the show's lead rodeo clown as Paco Roman. During the performance, Kowalski reminisces on how he and Paco fought together as revolutionaries against the Mexican Government.
Prior to the start of their partnership, Paco, a peon working in a silver mine owned by Elias Garcia, rebels against his boss and humiliates him and his two brothers, including Colonel Alfonso Garcia. He is soon captured, but saved from execution by his friends. Meanwhile, Kowalski makes a deal with Elias and his brother to take their silver safely across the border. Curly, Kowalski's flamboyant American rival, sees the three men talking and tracks down the brothers to find out what they hired Kowalski for, after which Curly kills the two.
When Kowalski arrives at the mine to meet the Garcias, he meets Paco and his revolutionaries instead. Colonel Garcia's troops arrive to attack them, and Kowalski agrees to help Paco fight them for money. With the help of Kowalski and his Hotchkiss M1914 machine gun, the revolutionaries drive Colonel Garcia's forces away. Kowalski then leaves, but he is soon ambushed by Curly. Paco's group arrives and kills Curly's men. Although Curly swears revenge, they let him go after stripping him of his clothes. Paco then hires Kowalski to teach him how to lead a revolution.
The revolutionaries travel from town to town robbing money, guns and horses from the army. They also release a prisoner named Columba, who joins the group. Columba at first resents Paco's violent methods and his over-reliance on Kowalski, but both soon begin to respect each other. After Paco stays in one town to protect the people, despite Kowalski telling him that they can not match the army sent to capture them, Kowalski leaves the group again. Paco's group admits defeat and returns to Kowalski. Kowalski doubles his fee, but he and Paco make another deal. After the revolutionaries take over a town by defeating a whole regiment, Paco, realizing the unfairness of the financial burden Kowalski has placed on him and Columba, imprisons Kowalski, confiscates his money, and marries Columba. When Colonel Garcia's army, along with Curly, attack them, Paco realizes he can not manage the situation on his own and decides to set Kowalski free, but finds himself locked up while Kowalski escapes. Columba frees Paco, and the two escape before Curly can find them.
In the present, Kowalski notes that it has been six months since Paco betrayed him. After the performance ends, Curly and his men capture Paco. Kowalski shoots Curly's men and gives him and Paco both a rifle and a bullet, so that the two can have a fair duel. After Paco kills Curly, Kowalski takes him prisoner and heads to the headquarters of the 51st Regiment to collect the reward offered for his head. Columba, witnessing Kowalski's capture of her husband, rides to the 51st's headquarters with two members of Paco's troupe and meets with Colonel Garcia, pretending to betray Paco by telling him where the two are.
When the army troops find the pair, Kowalski also finds himself arrested as there is now an even bigger reward for his head. The two are then sentenced to death by firing squad. However, Columba executes her plan, and holds Garcia at gunpoint while the circus performers create a diversion. Using two machine guns, Paco and Kowalski kill most of Garcia's troops, and they escape with Columba and the performers. The group splits up; Columba and the performers leave to spread the word of Paco's return to Mexico, Paco prepares to lie low before reuniting with Columba, and Kowalski, who has been given a share of his own reward money, prepares to leave Mexico. Kowalski suggests to Paco that they should team up as a mercenary pair, but Paco assures him that his "dream" is in Mexico. As the two friends part ways, Colonel Garcia and four soldiers prepare to ambush and kill Paco. Kowalski cuts them all down with his rifle from a nearby hillside. Before leaving, he yells, "Good luck, Paco! Keep dreaming, but with your eyes open!"
Production.
In 1968, Franco Solinas and Giorgio Arlorio wrote "The Mercenary". Initially, the film was going to be directed by Gillo Pontecorvo.
Release.
"The Mercenary" was released in December 1968. The film was released in the United Kingdom in 1970 as "A Professional Gun" and in the United States as "The Mercenary".


Samurai-Ghost

Samurai-Ghost is a 1992 hack and slash video game released by Namco for the TurboGrafx-16. It is the sequel to "Genpei Tōma Den". It was released on the Wii Virtual Console in North America on October 29, 2007, and in Europe on November 2, 2007.
Gameplay.
As with the previous game, the player controls the resurrected samurai Taira no Kagekiyo, defeating demons and monsters across several levels. Given his undead nature, Kagekiyo has access to supernatural powers such as levitation and the ability to cast energy projectiles.
"Samurai-Ghost" has a similar plot to its predecessor, in that Kagekiyo fights against Minamoto no Yoshitsune, Saitō Musashibō Benkei, and his arch enemy Minamoto no Yoritomo. Kagekiyo now also faces Minamoto no Yoshinaka (also known as Kiso no Yoshinaka), who commits seppuku when defeated.
Reception.
"Samurai-Ghost" was met with mixed reception from critcis. However, fan reception was positive: readers of "PC Engine Fan" voted to give the game a 20.28 out of 30 score, ranking at the number 328 spot in a poll, indicating a popular following.


Self-Portrait on an Easel

Self-Portrait on an Easel is a 1603-1604 oil on panel painting by Annibale Carracci, now displayed in Room 231 of the New Hermitage Building of the Hermitage Museum in Saint Petersburg (inv. GE-148). The portrait from the work was repeated for an autograph self-portrait now in the Uffizi, whilst a 1595 version of the Hermitage work is also in the Uffizi.
It shows a self-portrait of the artist resting on an easel, with a palette hanging from the easel, a dog and a cat behind the easel's legs and a woman's silhouette in front of a window at the top left hand corner. An initial underdrawing for the work is visible to the naked eye, showing that the original intention was for the portrait to occupy the whole panel. A 1603-1605 sketch for the work (Royal Collection, Windsor Castle) shows that option for the work as well as that used in the final version, though the painting made several amendments to the background planned in the second half of the drawing.
The Hermitage Museum's 1958 catalogue dated the work to the 1590s, whilst Denis Mahon argued for around 1595 and others for around 1604. During its loan to Italy in 2006 the Hermitage and Uffizi experts carried out a joint study, comparing the work to the Uffizi self-portrait and arriving at a conclusive date of 1603-1604 (the same as the Windsor drawing).
The work's early history is unclear, though it was inventoried as being in the Crozat collection in 1740, with a misattribution to Tintoretto that was corrected by the time of another inventory in 1755. It was acquired by Catherine II of Russia in 1772, placing it in its present home.


Paths of War

Paths of War () is a 1970 Italian western-comedy film directed by Aldo Grimaldi.
Plot summary.
In 1858 in Italy, in Sicily, Franco and Ciccio defend the Bourbon army to prevent the unification of Italy built by Giuseppe Garibaldi. However, when the troops of Garibaldi defeated the Bourbons, Franco and Ciccio escape, taking refuge in a box, which is delivered in America. In the Far West, Franco and Ciccio find themselves involved in the American War of Independence against the Apache Indians. They, camouflage, disguise themselves first by warlike Americans, and then by Indian holy men, being able to save their skin.


Disasters of the Century

Disasters of the Century is a documentary television series that airs on History Television. The program is produced by Regina, Saskatchewan-based "Partners in Motion".
Each episode documents two different disasters from Canada and around the world, using a mixture of re-enactments, photographs, and interviews with survivors and family members of victims. Some episodes deal with broader topics concerning disaster. For example, "Washed Away" investigates the destruction water can cause by looking at several disasters.
Any Televisions has different Episodes numbering schemes.
Episodes.
Episode List from Partners In Motion 2012 Catalog
NOTE: This series is offered in two formats: 65 half hour episodes and 42 hour-long episodes. As a result, to make the 42 hour-long episodes, 19 of the half-hour shows are used twice. Due to this fact - and the fact that so far an episode list for the half-hour version hasn't been located to date - any extraneous titles have not been able to be matched. What follows is the information we have regarding the hour-long shows, however there may be duplications in the list as it currently shows more than 42 episodes, as well as some titles that haven't been matched to anything listed. Any additional additions or corrections are most welcome.


Eine deutsche Revolution

Eine deutsche Revolution is a 1982 West German drama film directed by Helmut Herbst. It was entered into the 32nd Berlin International Film Festival.
Cast.
"In alphabetical order"


Baron Trenck

Baron Trenck is a comic opera in three acts loosely based on the life of Baron Franz von der Trenck. The original German-language work was composed by Felix Albini to a libretto by Alfred Maria Willner and Robert Bodanzky and premiered at the Stadttheater in Leipzig in 1908. The English version, adapted by Frederick Franklin Schrader and Henry Blossom, ran for just 43 performances at the Strand Theatre in London in 1911. It starred Walter Passmore, Walter Hyde and Caroline Hatchard.
Production.
Based on a 1908 German work of the same name first performed at the Stadttheater in Leipzig, "Baron Trenck" ran at the Whitney Theatre (Novello Theatre|Strand Theatre) from 22 April 22nd to 3 June 1911. The original score was by Felix Albini with additional music by Alfred G. Robyn to a book and lyrics by Alfred Maria Willner and Robert Bodanzky. The English version was adapted by Frederick Franklin Schrader and Henry Blossom, while the Director and choreographer was Al Holbrook and the Musical Director was Antonio de Novellis.
When Fred Whitney took over the lease of the Waldorf/Strand Theatre he chose to rename it the Whitney, opening his first season with "Baron Trenck". The opening night audience were not enthusiastic with some booing during the third act at what "The Stage" called the "weak, heavy and uninteresting" book. However, "The Stage" praised the music and the general performance with "The Times" writing that Walter Hyde performed "heroically". Caroline Hatchard was "a bewitching Countess Lydia, at her wit's end over the constant dallying of her rapscallion lover, Trenck ... she acts interestingly, but her voice, admirably and so easily used by turns for comedy, tenderness and passion, would win its way anywhere."
Various cut and alterations were made in an attempt to improve the show but despite these it ran for just 43 performances. The Broadway production opened at the Casino Theatre in New York from 11 March to 13 April 1912 where it did even less well – running for just 40 performances.
Synopsis.
The story is loosely based on the life of Baron Franz von der Trenck. The comic opera is set in Austria in 1743 during the reign of Marie Therese of Austria. Two of Baron Trenck's tenants, Nikola and Mariza, have avoided the Baron's seigniorial rights (in this sanitized version the Baron has the right to kiss the bride), by getting married without his permission. Meanwhile, the Baron saves Countess Lydia from being kidnapped by Alla Wunja and his band of marauding Haiduks. Wanting a kiss as his reward the Countess flees on horseback, assisted by Nikola and Mariza.
All later meet at the Empress's chateau, where Lydia, who secretly loves the Baron, is coerced by her Aunt Cornelia into accepting the marriage proposal of the elderly French Ambassador, the Marquis de Bouillaibaise. In a sudden twist the show ends with Countess Lydia and Baron Trenck joined together.
Songs.
The songs included:
Act 1: A Farmyard in Slavonia
Act 2: The Empress Maria Theresa's Chateau, near Vienna
Act 3: A Room in Cornelia's Villa in Vienna
Other songs included:


Gaspar Jacob van Opstal the Younger

Gaspar Jacob van Opstal the Younger or Jasper Jacob van Opstal the Younger (christened on 2 July 1654 in Antwerp – buried on 12 January 1717 in Antwerp), was a Flemish painter active in Antwerp and Italy in the second half of the 17th century and the early 18th century. He is known for his mythological and biblical scenes and portraits. He is regarded as one of the capable followers of Rubens' grand style.
Life.
Gaspar Jacob van Opstal the Younger was born in Antwerp as the natural son of the painter son of Gaspar-Jacob the Elder and Joanna Robatto. He was baptized on 2 July 1654 in the . His parents married on 23 June 1661 and had two daughters afterwards. Gaspar the Younger started his training with his father who himself had trained with Simon de Vos. He was registered at Antwerp's Guild of Saint Luke as a 'wijnmeester' (i.e. the son of a master) in the guild year 1676–1677.
He married Anna Maria Hofmans on 27 February 1681. The couple did not have children. He was for many years from 1698 until his death, a dean of the Guild. He bought off the obligation to perform the duties of the dean because he was very busy with his work. He paid the favour by paying money, offering wine and painting a , the mayor of Antwerp and headman of the painter's chamber of the Guild.
He was very sought after as a teacher as evidenced by the fact that throughout his career he had a total of 35 pupils registered at the Guild. This also points to a large workshop. His pupils included Josephus Franciscus Brouwne, Frans Casteels (III), Cornelis van Dalen, Jan Baptist van Doren, Jan Carel Henry, Cornelis Joseph d'Heur, Adriaen van Os, Jacques Ignatius de Roore, Philip van de Santvoort, Philippus le Tombe and Karel Wuchters.
The Marshall of Villeroy commissioned from him a copy of the deposition of the Cross by Rubens in 1704. The city administration ordered a portrait of King Charles III in 1707.
He was buried on 12 January 1717 in the Cathedral of Antwerp. His wife died on 17 March 1721. She left a large estate of which Karel Wuchters, her godson and nephew and pupil of her husband, inherited 500 guilders.
Work.
Gaspar Jacob van Opstal is known for his paintings of portraits and biblical scenes. His father had been a copyist of the works of Rubens and had instilled in Gaspar an admiration for that Flemish artist which influenced his style and subject matter. He was known as a good colorist and had a free brush technique. He drew his figures very accurately and was able to depict their emotional state very well.


Side Show (musical)

Side Show is a musical by Bill Russell (book and lyrics) and Henry Krieger (music) based on the lives of Daisy and Violet Hilton, conjoined twins who became famous stage performers in the 1930s.
The musical opened October 16, 1997, on Broadway; Robert Longbottom directed and choreographed, and the cast starred Emily Skinner as Daisy and Alice Ripley as Violet. Despite receiving some positive reviews, the show closed after 91 performances. A Broadway revival opened in November 2014, and closed after 56 performances.
Synopsis.
Act I.
The Boss, the ringmaster of a sideshow, introduces the exhibits: the bearded lady, a geek, the Cannibal King, the seraglio of a Hashemite sheik, and, lastly, his star attraction, the Siamese twins ("Come Look at the Freaks"). Buddy Foster, an aspiring musician, brings Terry Connor, a talent scout for the Orpheum Circuit, to see the Siamese twins, persuading him to enter the show all the way. Coerced ominously in by the Boss, Buddy thinks he could help them create an act and convinces Terry to meet them. The two men interrupt a birthday party for the girls ("Happy Birthday To You And To You").
Terry asks their names and they respond, "I'm Daisy" and "I'm Violet". He then asks them their dreams ("Like Everyone Else"); Violet, the gentler of the two, wants a life of a husband and home; Daisy, on the other hand, seeks fame and fortune. Terry tells them he wants to help their dreams come true ("You Deserve a Better Life"). After the Boss rudely refuses Terry's offer to be cut in on the twins' potential vaudeville career ("Crazy, Deaf and Blind"), Terry devises a scheme whereby Buddy will teach the girls a song. Jake, who plays the Cannibal King in the sideshow and is the twins' friend and protector, begs them to consider what they're getting into and the whole sideshow family adds its opinion ("The Devil You Know").
Two weeks later, Terry returns to see the twins perform and Buddy tells him how the personal dynamics with the girls are getting sticky ("More Than We Bargained For"). Before their secret late-night performance, the twins confess to each other how infatuated they are with the two men who've come into their lives ("Feelings You've Got to Hide").
The Hilton Sisters' secret debut is a great success ("When I'm By Your Side"). But the Boss discovers the subterfuge and physically threatens the twins when they tell him they're leaving the sideshow. Jake comes to their rescue and the other attractions threaten to leave also, causing the Boss to back down. Daisy, Violet and Jake, whom Terry has invited to help backstage on the twins' tour, bid farewell to their sideshow family ("Say Goodbye to the Freak Show").
It's time for the twins' first public performance, and Terry invites a group of reporters together before the show ("Overnight Sensation"). Before their vaudeville debut, the twins argue about their different ways of expressing interest in men ("Leave Me Alone"). Onstage they sing "We Share Everything" in a production number featuring them as queens of ancient Egypt.
After the twins' performing triumph, Terry and Buddy shower them with kisses. Hostile reporters ask tough questions about the girls' love life ("The Interview"). Terry and Buddy deny any romantic inclinations, leaving the twins to wonder if they will ever find romantic fulfillment ("Who Will Love Me as I Am?").
Act II.
The second act opens with the Hilton Sisters at the height of their success - a Follies-style production number ("Rare Songbirds on Display"). Daisy's dream of stardom has come true but Violet seems no closer to her dream of finding a husband.
At a fancy New Year's Eve party, Buddy tries to cheer up Violet and ends up proposing marriage ("New Year's Day"). Afterwards, Terry imagines what it would be like to be alone with Daisy ("Private Conversation").
In an onstage number ("One Plus One Equals Three"), Buddy, Violet and Daisy issue an upbeat invitation to their wedding. But backstage both Daisy and Buddy separately express doubts as to how the arrangement will work. Jake overhears Buddy and, in an effort to save Violet from seemingly imminent heartbreak, confesses that he has loved her for years ("You Should Be Loved").
The night before Violet and Buddy's wedding as the grand finale of the Texas Centennial, Daisy is feeling left out. To appease her, Terry suggests going where they could be more-or-less alone together ("Tunnel of Love").
The big day arrives. Hawkers sell tickets and souvenirs ("Beautiful Day for a Wedding"). But in the dressing area, complications arise. Jake announces he is leaving. Buddy confesses he's not strong enough to marry Violet. Daisy offers a solution which will ensure a movie contract dependent on the wedding publicity ("Marry Me, Terry"). Terry cannot bring himself to publicly acknowledge what he feels for Daisy. She dismisses him and insists that Violet and Buddy go through with the ceremony, which will at least benefit everyone's career. Left alone, the twins find solace in each other ("I Will Never Leave You"). As the wedding proceeds, they reprise "Come Look at the Freaks" with full understanding and acceptance of who they are and what they are doing.
Production history.
Original production.
"Side Show" opened on Broadway on October 16, 1997 at the Richard Rodgers Theatre. Robert Longbottom directed and choreographed, the sets were by Robin Wagner, costumes by Gregg Barnes and lighting by Brian MacDevitt. The cast starred Emily Skinner as Daisy Hilton and Alice Ripley as Violet Hilton. Despite receiving some positive reviews, the show closed on January 3, 1998 after 31 previews and 91 regular performances. Original producers were Manny Azenberg and Wayne Rogers (after his appearances on "M*A*S*H" and "House Calls").
Original Broadway cast.
Also featured was J. Robert Spencer.
It was nominated for four Tony Awards in 1998. Although "Side Show" won none of these awards, it was the first and only time that two actresses were co-nominated for Best Actress in a Musical as a team. At the Tony Awards ceremony, the two stars performed the show's most popular number, "I Will Never Leave You". Ripley and Skinner later released two albums of duets ("Duets" and "Unsuspecting Hearts"), as well as a live recording of their 2006 reunion concert ("Skinner/Ripley: Raw at Town Hall").
Regional theatre productions.
In 1998, TheatreWorks near San Francisco produced the regional premiere of "Side Show" at the Mountain View Center for the Performing Arts. The production was a critical and popular success, receiving the Garland Award (Los Angeles) and various Dean Goodman Critics Choice Awards (San Francisco). The production afforded TheatreWorks its largest first day of ticket sales on their records for a single production. Subsequently, 2 extra performances were added to meet the demand. The production was directed by Robert Kelley and Bick Goss (Goss also choreographed). Kristin Behrendt, who had been a standby for (and performed) the role of Violet in the original Broadway cast, played the role of Daisy. The cast also included Debra Wiseman ("Bullets Over Broadway," "The Scarlet Pimpernel") as Violet, AJ Vincent ("The Will Rogers Follies") as Terry (Dean Goodman Critics Choice Award Best Actor in a Musical), Pierce Peter Brandt ("Les Miserables," "Martin Guerre") as Buddy, and Stephonne Smith ("The Scarlet Pimpernel") as Jake.
The show then had several successful regional productions throughout the country, including in 1999 in Denver, Colorado, by the Physically Handicapped Actors & Musical Artists League. While many were initially uncomfortable with the idea of disabled actors portraying "side show freaks", the production was well received and was presented with several awards, including the Denver Mayor's Award for Excellence in the Arts.
In 2001, Signature Theatre Company's production starred Amy Goldberger (Daisy), Sherri Edelen (Violet), Will Gartshore (Buddy Foster) Matt Bogart (Terry Connor), Eric Jordan Young (Jake), and Michael Sharp (The Boss).
An abridged version of "Side Show" was presented at the Kennedy Center in Washington D.C. October 2–5, 2008 as part of their "" production. Jenn Colella and Lisa Brescia played Daisy and Violet, respectively, Bobby Steggert played Buddy, and Max von Essen played Terry.
Revised version; Broadway revival.
A revised version of the musical ran at the La Jolla Playhouse in La Jolla, California, in late 2013. Bill Condon directed, with Erin Davie as Violet and Emily Padgett as Daisy. The show has a "darker approach" and "incorporates new songs as well as additional biographical details of the Hilton twins' life and historical figures of the era." Several new songs were added. In Act 1, Terry sings "Very Well Connected" to try to convince the twins that he can get them booked on the Orpheum Circuit. Buddy teaches the girls a song called "Typical Girls Next Door". During a backstory flashback, British physicians sing "Cut Them Apart" while the girls sing "I Will Never Leave You" for the first time. Harry Houdini teaches the girls to tune out all distractions around them in order to get some private time ("All in the Mind"). When the girls are being brought to the US, Sir sings "Come See a New Land" (Come Look at the Freaks reworked). The twins' first big performance is a new song, "Ready to Play." Act 2 opens with a new number, "Stuck With You", featuring the twins, Buddy, and a boy with whom Buddy seems to be having a relationship. This is followed by "Leave Me Alone", moved to Act 2. "New Year's Day" was reworked and added to "New Year's Eve". "Tunnel of Love" was reworked as "A Great Wedding Show." Several other songs from the original were cut: "You Deserve a Better Life", "Crazy, Deaf and Blind", "More Than We Bargained For", "When I'm By Your Side", "Overnight Sensation", "We Share Everything", "Rare Songbirds on Display", and "Beautiful Day for a Wedding".
The production next played at the Kennedy Center in June and July 2014. with choreography by Anthony Van Laast, scenic design by David Rockwell, costumes by Paul Tazewell, lighting by Jules Fisher and Peggy Eisenhauer and sound by Kai Harada. The cast starred Davie and Padgett and also featured Matthew Hydzik as Buddy Foster, Robert Joy as Sir, Ryan Silverman as Terry Connor and David St. Louis as Jake.
The production began previews on Broadway at the St. James Theatre on October 28, 2014, opening officially on November 17, with the same cast. Despite very positive reviews, the revival did not catch on with audiences and closed on January 4, 2015 after only seven weeks.
London.
The musical made its UK premiere in 2016 at the Southwark Playhouse in London for a limited run, running from October 21, 2016 to December 3, 2016. Directed by Hannah Chissick, the cast featured Louise Dearman (Daisy) and Laura Pitt-Pulford (Violet), with Dominic Hodson as Buddy Foster.
University Productions.
The first collegiate production of the reworked version of Side Show was produced as an immersive theatrical experience by USC School of Dramatic Arts in October, 2016 and featured real twins. Daisy was played by Selene Julia Klasner and Violet by Carson Klasner.


Six (TV series)

Six (stylized as SIX) is an American military drama television series. The series was ordered by the History channel with an eight-episode initial order. The first two episodes were directed by Lesli Linka Glatter. "Six" premiered on January 18, 2017.
"Six" was renewed for a second season of 10 episodes on February 23, 2017, which premiered on May 28, 2018, with the second new episode airing during its regular timeslot on May 30, 2018. On June 29, History announced they had cancelled the series after two seasons.
Premise.
The series chronicles the operations and daily lives of operators who are part of the U.S. Naval Special Warfare Development Group (DEVGRU), more commonly known as SEAL Team Six, which is one of the U.S. Armed Forces' primary counter-terrorism units.
Episodes.
Season 2 (2018).
The History Channel aired an hour-long special entitled "Mission Debrief" on May 23, 2018, as a recap of season 1.
Production.
Joe Manganiello was originally cast as Rip Taggart but left the series in April 2016 "due to a 'manageable' preexisting health issue". About a week after Manganiello's departure, Walton Goggins was cast as his replacement. All of the already done shoots with Manganiello's character, nearly two full episodes, had to be re-shot. Also Christopher Backus had been cast, but left the project to be on the series "Roadies" before the series started shooting.
Season two, which consists of 10 episodes, was produced by a new production company, Six 2 North Productions Inc. Kimberly Peirce and Colin Bucksey are directors, with George Perkins the executive producer. Season two began filming on July 17, 2017, in Metro Vancouver, around Pemberton, and throughout British Columbia, and completed filming on November 23, 2017.
Reception.
"Six" has earned positive reviews from critics. On the review aggregator website Rotten Tomatoes, the series has an approval rating of 62% based on 13 reviews, with an average rating of 6.1/10. The website's critical consensus reads, ""Six's" well-crafted action and engaging characters are intriguing in spite of the show's trite premise and familiar narrative." Metacritic, which uses a weighted average, assigned a score of 54 out of 100 based on 14 critics, indicating "mixed or average reviews".


I Missed Flight 93

I Missed Flight 93 is a documentary about people who missed United Flight 93, one of the hijacked flights as part of the September 11 attacks in 2001, for various reasons. It originally aired on the History Channel around early 2006. The documentary focuses on three people who, through a twist of fate, missed the flight. The first interview was Frank Robertazzi, a businessman, the second was Daniel Belardinelli, a painter, and the third was Heather Ogle, a flight surgeon.


Watch Me (Scandal)

"Watch Me" is the first episode of the seventh season of the American political thriller television series "Scandal", and the 107th episode overall. Written by series creator and showrunner Shonda Rhimes and directed by Jann Turner, it premiered on the American Broadcasting Company (ABC) on October 5, 2017. This episode was watched by 5.52 million viewers.
Plot.
Local news announce Luna Vargas' death, which was considered a heart attack; Cyrus Beene's (Jeff Perry) new position as Vice President; and President Mellie Grant's (Bellamy Young) first joint session at the Congress, during which she promised a bill to free education. Senator Michaels (David Bickford) is interviewed by Curtis Pryce (Jay Hernandez) and tells him he does not stands for the bill. However, Olivia Pope (Kerry Washington), President Grant's Chief of Staff, blackmails Senator Michaels with an envelope containing a lot of prejudicial info on him in exchange of his positive response during the bill election. Shortly after, Pope enters the Oval Office to tell Grant and Beene about Michaels' "help," and convinces Beene to talk with other senators. Olivia is interviewed by Pryce about the bill, and the two end up arguing about meritocracy and racism.
Meanwhile, at the office of Quinn Perkins & Associates, Abby Whelan (Darby Stanchfield), Charlie (George Newbern) and Quinn Perkins (Katie Lowes) try to rip out of David Rosen (Joshua Malina) someone he knows who is in crisis so that QPA could work. A woman desperately enters the office looking for help and Quinn and Abby rushes to talk with her. The woman, named Madeline Stewart (Tina Huang), tells her father travelled overseas and, during the previous two nights, he wasn't calling her, which triggered suspicious. At night, Olivia and Jake Ballard (Scott Foley) discuss about their uncommitted affair. The next morning, Ballard investigates Joshua Stewart (Andrew Tinpo Lee), Madeline's missing father, and discovers he is a CIA agent who helps the Nation several times as an undercover, so his vanishing is something to worry about. Jake suggests they kill him in order to prevent any type of betray since he could've been caught by terrorist and such.
Cyrus meets with Senator Diane Greenwald (Bess Armstrong) to talk about the Vargas bill, and she reveals that she opposes to the bill because it should be a Democratic rather than a Republican product, as well as prompting Cyrus to look forward to a future where he is President, and not Pope and Grant's doormat. Quinn omits to Madeline the fact that her father is a spy, and Huck (Guillermo Díaz) thinks ahead and visits Olivia, already knowing that she and Jake planned Joshua's death, and states that his daughter will need a body to bury. However, the next morning, President Grant summits Jake in the Oval to ask him about Joshua's rescue, which was planned by Olivia, much to Jake's dismay. President Grant has a reunion with Ambassador Marachi (Shaun Toub) in which she regards American assets being kept in Bashman.
Production.
This episode was directed by Jann Turner and written by "Scandal" creator and showrunner Shonda Rhimes. ABC renewed the series for a seventh and final season on February 10, 2017. The season began airing on October 5, 2017, with this episode, and will consist of 18 episodes, adding the total episode count of the show to 124 episodes. Cast member George Newbern was upgraded to a series regular after being a recurring cast member for the past six seasons and made his first appearance as a regular actor in this episode, portraying former B613 assassin Charlie. The table read for the episode started on July 19, 2017. Filming commenced on August 2, 2017, and wrapped on the following day. A promo containing scenes from "Scandal" and other ShondaLand productions, which also featured Taylor Swift's song "Look What You Made Me Do", was released on September 11, 2017. This episode features the songs "Fight the Power" by American hip hop group Public Enemy and "It Takes Two" by Rob Base & DJ E-Z Rock. Score for this episode was developed by Chad Fischer.
Reception.
Ratings.
"Watch Me" premiered on ABC on October 5, 2017. During its airing, the installment was watched by 5.52 million Americans, acquiring a 1.4/5 Nielsen rating/share on the 18–49 demographic. These values had an increase in front of the previous episode and a decrease regarding the sixth-season premiere, earlier 2017. This episode is rated TV-14.
Reviews.
Reviewers overall commented on the fact that this episode is the last season premiere. Kendall Williams of "Den of Geek" gave the premiere a 3.5 out of 5 stars rating, labelling it as "predictable." Billy Nilles of "E! News" praised the episode, commenting, "As the season opener proved, [Olivia is] exactly where she's always wanted to be—though perhaps not exactly with who she wanted to be with." Ashley Ray-Harris of "The A.V. Club" lauded the episode, giving it a A letter rating and saying it was "one of the show’s best premieres and it sets the stage for an intriguing season with our favorite characters." Justin Kirkland of "EW.com" repeatedly mourned over the show's ending and praised the premiere. Andrea Reiher of "Refinery29" gave the episode a mixed review but praised Kerry Washingston's performance as Olivia Pope and the show's new directions. Joshua Alston of "Vulture" had a positive response, giving the episode a 4 out of 5 stars rating. Paul Dailly of "TVFanatic" has a mixed opinion, giving the installment a 3.8 out of 5 stars rating, saying it was "decent," adding, "It had the characters in some crazy situations, but as far as premieres go, this was the quietest one in quite some time."


Madam Secretary (season 5)

The fifth season of "Madam Secretary" an American political drama television series, originally aired in the United States on CBS from October 7, 2018, through April 21, 2019. This season was produced by CBS Television Studios, with Barbara Hall and Lori McCreary serving as showrunner and executive producer, respectively. "Madam Secretary" was renewed for a fifth season on April 18, 2018. In May 2019, "Madam Secretary" was renewed for a sixth and final season.
Episodes.
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Production.
"Madam Secretary" was renewed for a fifth season on April 18, 2018. On May 9, 2019, it was renewed for a sixth season. On May 15, it was revealed the sixth season, to consist of 10 episodes, would be the series' last.
Broadcast.
Season five of "Madam Secretary" premiered on October 7, 2018.


The Golden House of Samarkand

The Golden House of Samarkand is a graphic novel, episode of Corto Maltese's adventures, a Maltese sailor. He lives a long journey from the Mediterranean Sea to the heart of Asia, between December 1921 and September 1922. This story was written and drawn by the Italian comic book creator Hugo Pratt. This is the twenty sixth story and eighth album in the serie. It was published for the first time between 1967 and 1969, in Sergente Kirk magazine...
Synopsis.
Rhodes.
Sitting at the foot of a column, Corto still has his head full of images from his previous treasure hunting in Venice, dreaming of St Mark's Basilica. But in this month of December 1921, a new hunt opened up to him. Indeed, he is now in Rhodes (island of Rhodes, Greece), near a column with a deer, to solve another riddle of his friend Baron Corvo. It speaks of the poet Lord Byron's memoir, hidden by Edward John Trelawny on the Kawakly mosque, under the moon. Thus, the sailor discreetly climbs the dome of the mosque and removes the crescent moon adorning the top. In a hidey-hole, among the scorpions, he finds the precious documents. It notably include a letter from Trelawny. He speaks of a legendary treasure hidden by Alexander the Great somewhere in the Afghan mountains, as shown on an attached map.
But Corto is quickly overtaken by reality when Italian troops spot his night walk. As he tries to escape them, he is called by a mysterious man who leads him to a secret meeting. The sailor is confused by the participants with a man named Timur Chevket, a leader of a Turanist movement, who is as alike as two peas in a pod. To preserve his life, hi decides to pull the wool over their eyes. Commander Bahiar recounts recent events: General Enver Pasha, ousted by Mustafa Kemal Atatürk (now president of Turkey), wants to regain his place. To reach this goal, he broke with the Bolsheviks and joined the anti-communist Muslims. His aim is to creating a great state unifying the Turkish peoples, from Turkey to western China. Bahiar gives an appointment to Chevket/Corto in Adana (in Cilicia, Turkey) and, together, they will go to Turkestan. The sailor is forced to agree and, after the meeting, shows a clean pair of heels. But he is notwithstanding caught by the Italian troops, who lead him to the Carabinieri captain, Antonio Sorrentino. Corto has already met him in Venice in the story "The Angel in the Window to the Orient" (in the volume "Celtic Tales").
Finally, he goes to the house of his Greek friend Cassandra, who lodges him. She uses her skills in tasseography to guess his future in Greek Coffee grounds:he will experience dangerous and sad events. In his room, while carefully studying the documents, he receives his Turkish friend Ibahiyah. This one gives him information about Chevket and a Saladin's insignia to be accepted by the Dervishes of Adana.
Turkey.
Two days later, Cassandra's brother Narcissus leads Corto across the Levantine Sea (the easternmost part of the Mediterranean Sea) aboard his sailboat. After having suffered a meltem, they berth in disaster on the Turkish coasts, near Tarsus. Inland, they surprise two Europeans actors attacked by Kurds deserters. Once they get rid of these, the Maltese interacts with the artists. The man, a British disguised as John Bull, will die quickly of a syncope caused by these distressing events. The woman, dressed as Marianne, immediately fall for Corto. But suddenly, the Kurds come back and threaten them. Finally, Corto gets away with promising their leader Reshid a part of the treasure he is looking for and arranges to meet him in Van (Turkey).
At this era, the country has suffered the consequences of the World War I: the Ottoman Empire, which is almost dead, was dismembered by the 1920 Treaty of Sèvres. The region where Corto is located, although part of Turkish territory, is under the domination of French troops. This explains why he met French soldiers there. Also, Mustafa Kemal Atatürk notably relied on helping the Kurds in his political ambitions. In return, he promised them an independent state. But, after the creation of Turkey, he denied them. The State of Kurdistan does not appear in the Treaty of Lausanne of 1923, negotiated by it with European powers to replace that of Sèvres.
Corto therefore arrives in Adana in January 1922. There he is introduced to the Mevlevi Order school, whose members are executing a danse: they are the famous 'whirling dervishes'. Later, the Maltese discusses with their Imam, who hosts him. He explains that he wants to free his friend, the Russian sailor Rasputin, from the "Golden House of Samarkand". It's a horrible prison, which is located somewhere in Central Asia. It is watched by fierce guards who relentlessly torture and kill their prisoners. The vultures and braziers then remove the remains of the victims. This place is so called because it is only possible to escape through the golden dreams caused by the swirls of hashish. But during this time, Armenians nationalists spy on them: confusing Corto with Chevket, they attack the place to avenge the Armenian Genocide, caused by the Turks. The Imam is dead, but the sailor survives.
While walking through the streets of this city, he meets a girl who recites a quatrain by Omar Khayyam (Persian poet of the 11th - 12th century). So, he gives her a pomegranate. Seeing this act of generosity, a mysterious veiled woman laughs at him and tries to scare him by hurting him. He recognizes in her an old acquaintance ... Later, he sees Marianne again, who leads him to a shadow play, where a show "Karagöz and Hacivat" is represented. During the play, Corto sees a puppet resembling Rasputin, which calls him. So he goes backstage and meets the woman, who is also looking for the treasure. All at once, he's knocked out and stripped. A dream follows where he finds himself in Paradise and where Rasputin drives him ... to Pandora, an old love (in the center of the story "The Ballad of the Salty Sea").
He wakes up in a truck roading to Van, surrounded by Kurdish soldiers, in a convoy led by Bahiar. He arrives in this town bordering the Lake Van in March. There he meets an old imam, Zorah, who agrees to help him cross Azerbaijan. But he wants to give him an eleven-year-old Armenian who survived the massacre of her parents. He asked him to take her to his family in Russian Armenia, before recommending that he trust Kısmet (destiny). Then, he shows him his co-religionists who are followers of Yazidism. The youngest of the priests invokes the circle and the young peacock (Melek Taus, head of the seven angels in charge for watching over the world). Then, he calls Shaitan, whom Corto has already met in Africa under the name of Samael (in the story "More Romeos, More Juliets", published in the volume "The Ethiopian"). This character predicts the future of Corto, speaking of a tree with strange fruits.
Next, Corto must meet Reshid near the Semiramis wall. But Zorah shows him that he was hanged in a tree with his accomplices: these are the strange fruits mentioned by Shaitan. Later, a car awaits the Maltese, with Marianne and the mysterious woman inside. The latter is none other than Venexiana Stevenson, an old Corto's enemy. She tells him that Bahiar and the other Turkish nationalists now know his true identity (thanks to the papers found on him) and, moreover, she revealed to them his quest for the treasure. As for the little Armenian, she is taken hostage by the commander, in exchange for the treasure. The later executes Zorah. Corto, who does not know it, leaves with the two women.
Persia.
He recommends that the driver cross the border with Persia, which would be the safest for them. This man, an adept of Isma'ilism (a branch of Shia Islam), leads them to the area of the Alamut Castle. The sailor takes the opportunity to tell the legend linked to this place, that of the Hashshashin. These Saracens once formed a sect of the Nizari Isma'ilism current, having their lair in this castle. Under the influence of hashish, they massacred those whom their leader (the "Old Man of the Mountain") asked them to kill. Their name, translated into Assassins, is the origin of the term "assassin". The Maltese continues his account, claiming that the existence of this terrible sect is confirmed by the testimonies of various people. They are for example Gerhardus, "vice dominus" of Strasbourg sent by Frédéric Barbarossa in 1170, as well as Arnold of Lübeck. But this legend is best known thanks to Marco Polo, who mentions it in 1273 in his "Book of the Marvels of the World". The castle has since been destroyed by the Mongols.
But Corto discovers that this order has not disappeared: the pilot is indeed a member. Thus, the latter leads them to the other Hashshashins, to go to the cult's new lair, "New Alamut". Approaching it, members believe it is occupied, possibly by a Persian Cossack Brigade ruled by Reza Shah, and get scared. Corto goes on reconnaissance with a member named Abbas: there is no one there. Despite this, the Hashshashins have already fled. Thus, the three travelers remain on site to sleep. Corto explains his plans for the rest of his trip. He wants to cross the Caspian Sea in order to free his friend. Next, he plans to search for the treasure in the legendary Kafiristan (present-day Nuristan Province in Afghanistan). Hearing this, Venexiana recalls "The Man Who Would Be King", Rudyard Kipling's famous 1888 novella which takes place in this region.
During this time in Turkestan, in the lair of Enver Pasha, Rasputin is introduced to Chevket. The Russian confuses him with Corto, but the leader brutally disabuses him. Thus, Chevket is intrigued by this mysterious man who looks so much like him and whom he hears a lot about. Rasputin explains Corto's character to him, his sense of friendship: he is so noble that he borders on stupidity. This explains why he is able to brave a thousand dangers to save his friend. Afterwards, Chevket offers Rasputin to accept a military post in exchange for his freedom, having all the required qualities. This is why he changes sides to preserve his life, becoming an army instructor at the rank of Qaid.
In "New Alamut", suddenly, the Red Army attacks the fortress. Soldiers escort then until a Soviet customs office. As they are threatened with being shot, Corto asks to call an old friend by phone to ask him to save them. He is none other than Joseph Djougachvili, recently appointedGeneral Secretary of the Communist Party of the Soviet Union, since April 1922. A few years later he will become the dictator of the Soviet Union, under the name of Joseph Stalin. Finally, all three are released by the commissioner and can continue their adventures. The latter suggests that they embark in Baku (in current Azerbaijan) for Krasnovodsk (current Türkmenbaşy, Turkmenistan), across the Caspian Sea.
Central Asia.
Meanwhile, the Qaid Rasputin is introduced to his men by Chevket. He also gave him the Armenian hostage. But the girl is impertinent towards this new soldier. Angry, Rasputin wants to punish her and corners her near a chasm. Having no choice, she throws a stone at him, which makes him fall into the ravine. Ten days later, his head wrapped in a bandage, Rasputin comes out of his coma. Marianne is at his bedside. Corto is also there: he teaches him new events. The traitor Chevket has left with the young prisoner,whom he wants to use her for bartering for the treasure. He will wait for Corto near the Kofarnihon river.
Without warning, Armenian soldiers attack the fortress, as snow is falling on the Darvoz Range. Trapped, Enver Pasha then attempts a desperate exit to attack them. Delighted to kill their persecutor, they strafe him. This August 4, 1922, he finally succumbs to their bullets. Meanwhile, Rasputin and Corto are attached to cannons by the Pasha's soldiers in order to be killed. But they are saved by Venexiana. Later, when all the soldiers are gone, friends Corto and Rasputin dance together to celebrate their saved lives. Then, she confesses that she is pregnant and that she cannot continue the journey. So, she returns to Europe, accompanied by Marianne, happy to be useful to someone.
Hindu Kush.
Therefore, the two sailors go to the appointment. They trudge through snowstorms with their mules. Arrived on September 5, 1922, they discreetly spy Chevket and his men. Corto is afraid of meet his double, something he considers a sign of misfortune. So Rasputin himself removes the problem with his weapon and frees the girl. Then they poach Chevket's men to help them find the treasure hiding place. Corto explains that it is somewhere in an area where various geopolitical interests collide. This is the Great Game that Rudyard Kipling talks about in his novel Kim. In addition, he tells them the legend about this treasure. Cyrus II the Great, founder of the Persian Empire, presented an enormous treasure to Tomyris, queen of the Amazons, whom he wanted to marry. But she preferred to cut off his head, to then keep his treasure. Centuries later, Alexander the Great, king of Macedon, defeated the great king of Persia Darius III. He then had the treasure delivered to him, which he melted and molded in the form of a large golden ball symbolizing the sun. He then asked to hide it in the hollow of a mountain, in Hindu Kush. According to the precious documents, the treasure is found more precisely between Kafiristan and Badakhshan, in Afghanistan.
After researching, they find the entrance to a cave, guarded by a statue of Ahriman, a demonic spirit of Zoroastrianism. From then on, animated by his greed, Rasputin prevents Chevket's men from following them. So, he only continues with Corto and the girl inside the cave. All of a sudden, an earthquake collapses stones that block the entrance. Further on, lighting a match, they discover a fabulous and enormous golden ball. But the wind extinguishes the match. And when they light another one ... the treasure is gone! Mad with rage, Rasputin accuses the Armenian of having seized the treasure. But she says she hasn't seen him. What happened? A trick played by teasers demons? A collective hallucination? Or did the treasure just disappear during the earthquake?
Out of spite, they exit by another path and fall ... on lost men of the Royal Gurkha Rifles. These inform them that they are in the British Raj: this cave communicates on both sides of the border. Soldiers offer to follow them to Chitral (in present-day Pakistan). From there, Corto leaves for Bombay (in present-day India), then drives the young girl to Venice, so that she can live with the Armenian community that resides there. They reach their destination in November 1922. In a future adventure in Argentina (in the episode Tango), Corto will explain to a friend that Rasputin is during this time the host of a Maharaja.
Characters.
This episode brings up many characters, some of whom will reappear or be mentioned in later episodes:
Analysis.
Historical searches.
In Buenos Aires (Argentina), Pratt met Armenians who told him about Enver Pasha. They told him about one of the hypotheses about his death, which he reused in his comic. Speaking of this subject, Pratt wanted to use this "fascinating character" in a story, after his friend the French essayist Jean Mabire explained to him that he was going to write a book about him. Thus, the comic book creator has gathered the necessary documentation. Interestingly, Pratt has used Mabire's book "Ungern, le Baron fou" (1973) on Roman von Ungern-Sternberg in a previous story, Corto Maltese in Siberia.
Rasputin, main character of this story.
In this story, Rasputin steals the limelight from Corto. In fact, that is him the main character and the Maltese mostly makes this trip to save him, more than to find the treasure. Many scenes take place even without Corto! It is therefore fully the opportunity to develop the personality of the Russian and his links with his friend. Corto defines his character by explaining to Abbas that no one knows better than him to destroy anything that could take a sentimental turn. Likewise, Corto will explain to the girl that Rasputin is a villain, but he doesn't know it.
Pratt explains that the difference between Corto and Rasputin is that one is immoral and the other is amoral. He also says that they are complementary. Ras harshly brings Corto back to reality, when he lets himself be carried away by his romanticism. Moreover, the Russian has no qualms to killing a dangerous man, while the Maltese only rarely resolves to it. Speaking to Chevket, then Enver Pasha, Rasputin defines himself as a thief, whose nationality is money. He fights for the military as long as they pay them. He thus plays his own role.
Tributes.
The program "Le dessous des cartes" produced an episode on the Corto's journey, diffused on the Franco-German channel Arte


Re Enzo (opera)

Re Enzo ("King Enzo") is an opera in three acts by Ottorino Respighi to a libretto by Alberto Donini (a student friend of Respighi). "Re Enzo" premiered on 12 March 1905 at the in Bologna. The singers were amateurs selected in the world of the Bolognese students; among them, Rosina Giovannoni Zacchi as Lauretta and Ernesto Lavarello as Leonzio. Following the will of the composer, there was a single performance, which obtained a good success.
"Re Enzo" is organized as an operetta, with a succession of musical pieces and dialogues.
In modern times, "Re Enzo" was revived in September 2004 at the Teatro Comunale di Bologna, with Cristiano Cremonini (Re Enzo), Yoon Bin Jung (Lauretta), Filomena Pericoli (Isabella), Giuseppe di Paola (Podestà) and Maurizio Amadori (Gigione). The performance, conducted by Luigi Pagliarini, was presented as a collaboration between various institutions of the city of Bologna (Conservatory, Academy of Arts and University).
Instrumentation.
"Re Enzo" is scored for the following instruments:
2 piccolos, oboes, clarinets, bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, triangle, bells, cymbals, bass drum, harp, strings.
On stage: band, trumpets, harps, mandolins.
Synopsis.
The story is centered around the figure of Re Enzo, King of Sardinia, captured by the army of Bologna during the battle of Fossalta and held prisoner in the palace later named after him. All women of the city, due to his extreme beauty, fall in love with Enzo and would like to free him. This brings about a conflict with their husbands.


Liberty or Death (video game)

Liberty or Death is a turn-based strategy video game for NEC PC-9801, MS-DOS, Super NES and Sega Genesis released by Koei in 1993. "Liberty or Death" is part of Koei's "Historical Simulation Series".
Gameplay.
The player can choose to control any of six Commanders-in-Chief (C-in-C), three each on the American Continental Army or British Army sides, during the American Revolutionary War.
For either side, the general objective is to eliminate all enemy troops throughout the Colonies by defeating them in battle. The strategies used to accomplish this change are based on which side you have chosen to play: the American side needs to hold out against the British and slowly gather its strength, while the British need to fortify their existing positions and quickly move against the Americans.
The gameplay focuses mainly on the military aspects of the conflict, but relationships with civilian, and particularly political, entities are of vital importance as their approval determines the budget for military spending, and in the worst-case scenario, they can vote for your ouster as C-in-C. Very historically accurate, the game faithfully reproduces the strategic situation of the war as well as many historical figures in great detail.
This game is known among players for its thoroughly researched historical detail, great complexity, level of difficulty, and the immense amount of time it takes to complete one game (similar to the experience of other Koei games). One could easily spend upwards of 250 hours on one game and might still be defeated in the end. The user interface showed many improvements over previous Koei games, including mouse support. The game can be played in one-player mode, two-player mode, or with two computer-generated players.
Beginning the game.
The player begins by selecting which side to play, the British or the American, and then must select which Commander in Chief will represent their side. The choices are George Washington, Artemas Ward, or Charles Lee for the Americans, and Thomas Gage, Sir Henry Clinton, or William Howe for the British. (In the console versions, players cannot choose their Commander in Chief. George Washington and Thomas Gage are leaders of their respective sides.) Each turn lasts half of a month, for a total of 24 turns per year. The Continental Congress or British Parliament (depending on your side) meets quarterly to set the budget for military spending over the next three months, and the player chooses to allocate the funds between the navy, the districts he controls, to pay debt and salaries, and various other concerns. He can also set general strategy with his naval forces that are not in his direct control.
In each month, the player manages the military affairs for each district (as do any commanders they have authorized to do so on their own, as well as the enemy and his commanders). There is a number of actions that the player can take in each district he has, including purchasing materials, bribing enemy generals, holding parades to gain popular support, and training his troops, among many other options.
An interesting facet of "Liberty or Death" is that there are also Patriot and Loyalist militia regiments and German mercenary regiments, organized and paid for by the Americans and British, respectively, which will fight and collect resources on their own, unless they are recruited. These groups will continue to run the districts they are in and can attack and annex adjacent districts if they choose to. If a regular commander for their side moves into the district, these militia units will place themselves under his authority if he is of equal or higher rank, swelling his ranks.
Battles.
The strategy phase exists to set up the tactical battles, which take place on hex-grid battlefields, with each hex representing a terrain type, some of which also show seasonal changes. Allied troops in districts adjoining the one where a battle is taking place can be asked to join the fray as well. Commanders place their armies on the field depending on which district they have entered from (and the navy can be used to transport troops into battle as well if there is coastal access to the district). Then the troops can be maneuvered around the battlefield and finally into combat.
There is a variety of unit types with different abilities, both in battle and in moving across the various types of terrain. Infantry is a basic ground unit, while guerrilla units can move through terrain impassable to others, and use surprise attacks; cavalry requires open terrain, but their shock charges can be devastating to foot troops; engineers are cannon-using artillery that also can create and destroy bridges. In coastal districts, naval barrages can also be brought to bear. Defenders have to protect their forts and towns from the enemy while attackers have to try to either take the cities and forts or eliminate the opposing troops before running out of men or materiel themselves.
Historical qualities.
"Liberty or Death" represents many historical figures associated with the Revolution, including political leaders like Lord North, William Pitt the Younger, Patrick Henry (whose famous speech gives the game its name) and John Adams.
The C-in-C choices noted above are historically accurate: each of the choices on the British side were actually Commanders-in-Chief of the British forces in America during the Revolutionary War, but while the choices on the American side were potential choices for C-in-C for the Continental Army, only Washington ever held the post during the war.
Beyond the C-in-Cs, nearly every British and Loyalist leader involved in the war appears, including John Burgoyne, Charles Cornwallis, Guy Carleton, Thomas Gage, Thomas Graves, Henry Hamilton, Banastre Tarleton, and William Tryon. The American side is equally well represented with Horatio Gates, Richard Montgomery, Nathanael Greene, Henry Knox, Francis Marion, Daniel Morgan and Anthony Wayne appearing in the game.
The game also places the war into the broader context of world events, so in addition to the principals in the conflict, other nations appear in the game with appropriate political interests and concerns including France, the Netherlands, and Spain. In addition, mercenaries employed by the British such as the Hessians, and the many other European officers Benjamin Franklin and Silas Deane convinced to join the fighting on the American side, such as Kościuszko, Lafayette, Pułaski and von Steuben are also portrayed.
Reception.
Reviewing the Super NES version, Andromeda of "GamePro" praised the historical accuracy but was reluctant to recommend the game due to the excessive minutia of the gameplay, concluding, "Despite the more familiar history, "Liberty or Death" is still probably foreign fare for most gamers. The huge amount of detail makes these absorbing simulations an acquired taste." "Electronic Gaming Monthly"s team of five critics gave it a relatively modest score of 6.6 out of 10, but the review by Mike Weigand (who gave it a 7 out of 10) was thoroughly laudatory, commenting that "Koei is becoming the master of the historical strategy games."
"GamePro"s Bro Buzz declared the Genesis version to be "exactly like the SNES version", but was more critical of the game than Andromeda, commenting that "you must be content with studying changing numbers rather than watching exciting graphics or listening to satisfying sounds."