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9713_1	Both defending singles champions lost in the quarterfinals, the first time in the open era. Novak Djokovic was the three-time defending champion in the men's singles, but failed to defend his title, losing to eventual champion Wawrinka. Two-time defending champion Victoria Azarenka also failed to defend her title in the women's singles, losing to Agnieszka Radwańska. In addition, the men's doubles defending champions Bob & Mike Bryan also failed to defend their title, while Errani and Vinci managed to retain their title. As in previous years, this tournament's title sponsor was Kia. Tournament The 2014 Australian Open was the 102nd edition of the tournament and was held at Melbourne Park in Melbourne, Victoria, Australia.
9713_2	The tournament was run by the International Tennis Federation (ITF) and was part of the 2014 ATP World Tour and the 2014 WTA Tour calendars under the Grand Slam category. The tournament consisted of both men's and women's singles and doubles draws as well as a mixed doubles event. There were singles and doubles events for both boys and girls (players under 18), which is part of the Grade A category of tournaments, and also singles, doubles and quad events for men's and women's wheelchair tennis players as part of the NEC tour under the Grand Slam category. The tournament was played on hard courts and took place over a series of 16 courts, including the three main showcourts: Rod Laver Arena, Hisense Arena and Margaret Court Arena. The latter was undergoing refurbishment, as part of the Melbourne Park Redevelopment project.
9713_3	Broadcast In Australia, all matches were broadcast live by the Seven Network. The majority of matches were shown on the network's primary channel Channel Seven, however during news programming nationwide and most night matches in Perth, coverage shifted to 7Two. Coverage was presented by Johanna Griggs, Jim Wilson, Matt White, Hamish McLachlan and Basil Zempilas, with commentary from Bruce McAvaney, Jim Courier, Sam Smith, Todd Woodbridge, John Newcombe, Rennae Stubbs, Henri Leconte and John Fitzgerald. Lleyton Hewitt, who was competing in the tournament, would become a commentator if he is knocked out. Some outside court matches were shown on Fox Sports on Foxtel. Point and prize money distribution Point distribution Below is a series of tables for each of the competitions showing the ranking points on offer for each event. Senior points Wheelchair points Junior points
9713_4	Prize money The Australian Open total prize money for 2014 was increased by three million Australian dollars to tournament record A$33,000,000. 1Qualifiers prize money is also the Round of 128 prize money. *per team Singles players 2014 Australian Open – Men's Singles 2014 Australian Open – Women's Singles Day-by-day summaries Champions Seniors Men's singles Stan Wawrinka defeated Rafael Nadal, 6–3, 6–2, 3–6, 6–3 • It was Wawrinka's 1st career Major title. Women's singles Li Na defeated Dominika Cibulková, 7–6(7–3), 6–0 • It was Li's 2nd and last career Major title and her 1st and only title in Australian Open. Men's doubles Łukasz Kubot / Robert Lindstedt defeated Eric Butorac / Raven Klaasen, 6–3, 6–3 • It was Kubot and Lindstedt's 1st career Major doubles title. Women's doubles
9713_5	Sara Errani / Roberta Vinci defeated Ekaterina Makarova / Elena Vesnina, 6–4, 3–6, 7–5 • It was Errani and Vinci's 4th career Major doubles title and their 2nd respective title in Australian Open. Mixed doubles Kristina Mladenovic / Daniel Nestor defeated Sania Mirza / Horia Tecău, 6–3, 6–2 • It was Nestor's 8th career Major mixed doubles title and his 4th title in Australian Open. • It was Mladenovic's 3rd career Major mixed doubles title and her 1st title in Australian Open. Juniors Boys' singles Alexander Zverev defeated Stefan Kozlov, 6–3, 6–0 Girls' singles Elizaveta Kulichkova defeated Jana Fett, 6–2, 6–1 Boys' doubles Lucas Miedler / Bradley Mousley defeated Quentin Halys / Johan Sébastien Tatlot, 6–4, 6–3 Girls' doubles Anhelina Kalinina / Elizaveta Kulichkova defeated Katie Boulter / Ivana Jorović, 6–4, 6–2 Legends Legends' Men doubles Todd Woodbridge / Mark Woodforde defeated Jonas Björkman / Thomas Enqvist, 4–6, 6–2, [13–11]
9713_6	Legends Women's doubles Nicole Bradtke / Rennae StubbsWheelchair events Wheelchair men's singles Shingo Kunieda defeated Gustavo Fernández, 6–0, 6–1 Wheelchair women's singles Sabine Ellerbrock defeated Yui Kamiji, 3–6, 6–4, 6–2 Wheelchair Quad singles David Wagner defeated Lucas Sithole, 3–6, 7–5, 6–3 Wheelchair men's doubles Stéphane Houdet / Shingo Kunieda defeated Gordon Reid / Maikel Scheffers, 6–3, 6–3 Wheelchair women's doubles Yui Kamiji / Jordanne Whiley defeated Marjolein Buis / Jiske Griffioen, 6–2, 6–7, 6–2 Wheelchair Quad doubles Andrew Lapthorne / David Wagner' defeated Dylan Alcott / Lucas Sithole, 6–4, 6–4 Singles seeds The following are the seeded players and notable players who withdrew from the event. Seeding are arranged according to ATP and WTA rankings on 6 January 2014, while ranking and points before'' are as of 13 January 2014. Men's Singles
9713_7	† The player did not qualify for the tournament in 2013. Accordingly, points for his 18th best result are deducted instead. The following players would have been seeded, but they withdrew before the event. Women's Singles The following player would have been seeded, but not entered before the event. Main draw wildcard entries Men's singles James Duckworth Sam Groth Steve Johnson Thanasi Kokkinakis Nick Kyrgios Lucas Pouille Jordan Thompson Wu Di Women's singles Ashleigh Barty Casey Dellacqua Jarmila Gajdošová Pauline Parmentier Olivia Rogowska Storm Sanders Tang Haochen Sachia Vickery Men's doubles Yuki Bhambri / Michael Venus Alex Bolt / Andrew Whittington James Duckworth / Matthew Ebden Chris Guccione / Thanasi Kokkinakis Lleyton Hewitt / Patrick Rafter Benjamin Mitchell / Jordan Thompson Matt Reid / Luke Saville
9713_8	Women's doubles Monique Adamczak / Olivia Rogowska Naiktha Bains / Olivia Tjandramulia Jelena Dokić / Storm Sanders Azra Hadzic / Jessica Moore Han Xinyun / Miki Miyamura Tammi Patterson / Arina Rodionova Sally Peers / Viktorija Rajicic Mixed doubles Eugenie Bouchard / Sam Groth Jarmila Gajdošová / Matthew Ebden Arina Rodionova / Nick Kyrgios Olivia Rogowska / John-Patrick Smith Storm Sanders / Chris Guccione Ajla Tomljanović / James Duckworth Donna Vekić / Thanasi Kokkinakis Main draw qualifier entries Men's singles Damir Džumhur Dominic Thiem David Guez Denis Kudla Dušan Lajović Zhang Ze Michael Berrer Frank Dancevic Wayne Odesnik Thomaz Bellucci Vincent Millot Jimmy Wang Rhyne Williams Ričardas Berankis Blaž Rola Peter Gojowczyk Lucky losers Martin Kližan Stéphane Robert Women's singles
9713_9	Belinda Bencic Carina Witthöft Ana Konjuh Zarina Diyas Katarzyna Piter Alla Kudryavtseva Heather Watson Lucie Hradecká Kateřina Siniaková Duan Yingying Irina-Camelia Begu Anna Tatishvili Lucky loser Irina Falconi Protected ranking The following players were accepted directly into the main draw using a protected ranking: Women's Singles Chan Yung-jan (PR 88) Vera Zvonareva (PR 15) Withdrawals The following players were accepted directly into the main tournament, but withdrew with injuries, suspensions or personal reasons. Men's Singles Nicolás Almagro → replaced by Martin Kližan Brian Baker → replaced by Michaël Llodra Philipp Kohlschreiber → replaced by Stéphane Robert Jürgen Melzer → replaced by Jan-Lennard Struff Janko Tipsarević → replaced by Jan Hájek Viktor Troicki → replaced by Go Soeda Jürgen Zopp → replaced by Blaž Kavčič
9713_10	Women's Singles Jamie Hampton → replaced by Irina Falconi Maria Kirilenko → replaced by Petra Martić Iveta Melzer → replaced by Yulia Putintseva Romina Oprandi → replaced by Tadeja Majerič Nadia Petrova → replaced by Tsvetana Pironkova Urszula Radwańska → replaced by Mirjana Lučić-Baroni María Teresa Torró Flor → replaced by Alison Van Uytvanck References External links Australian Open official website 2014 2014 in tennis 2014 ATP World Tour 2014 WTA Tour 2014 in Australian tennis 2010s in Melbourne Australian Open
9714_0	National Empowerment Television (NET), later known as America's Voice and, later still, The Renaissance Network, was a cable TV network designed to rapidly mobilize politically conservative individuals for grassroots lobbying on behalf of the movement's policy aims. It was created by Paul Weyrich, a veteran strategist for the paleoconservative movement. At its peak, NET claimed to reach more than 11 million homes, on selected cable systems or, in some markets, low-powered television stations. It accompanied the contemporaneous explosion of the popularity of talk radio, practically all of which was dedicated to propagating conservative political positions on numerous issues, in the U.S. during the 1990s. History
9714_1	Weyrich had long believed that the mainstream news and entertainment media exhibited a liberal bias, opposed structurally, as well as in terms of content, to what figures in the conservative movement defined as traditional American culture and government. In an attempt to help counter the perceived phenomenon, he mobilized groups and donors who were equally concerned by the supposed lack of journalistic integrity and disgusted by dismissals of said concerns by established broadcasters and publishers. Coordinated by Weyrich's Free Congress Foundation (FCF), the activists and donors launched a Washington, D.C.-based satellite television network called National Empowerment Television (NET). Its logo featured a square of nine dots, referring to a puzzle that cannot be solved without drawing lines "outside the box." NET went on air for the first time on December 6, 1993.
9714_2	Academics and representatives of the mainstream media roundly criticized NET, namely because of its drastic departure from the mainstream 20th-century paradigm of disinterested reportage in favor of what they viewed as blatant propaganda. For instance, the Columbia Journalism Review observed in 1994 that it spurned "broadcast journalism's caveat against partisan news programming.... One-third of the programs on NET are produced by 'associate broadcasters' -- organizations handpicked by Weyrich to share NET's airtime. Among the dozen associate broadcasters on NET are Accuracy in Media, the National Rifle Association, and the American Life League, an anti-abortion group. Though these programs can look like 'Discovery Channel' documentaries, they are in fact unrestrained, unfiltered, political infomercials."
9714_3	The CJR analysis referred to FCF's attempt to circumvent mainstream media opposition by using associate broadcasters (i.e., organizations not legally related to FCF), local broadcasting channels for television syndication, and other non-traditional means of marketing. Thus, NET was able to become a broader resource for the U.S. social and economic conservative movements. Many organizations that had been traditionally shunned by major broadcasters and advertisers bought airtime on the channel in a manner similar to televangelists on religious local stations and networks, including the Christian Coalition, the Cato Institute, Accuracy in Media, and others.
9714_4	Nevertheless, the network had interests in a broad base of issues, including some topics not normally associated with American conservatism. For instance, under the management of Weyrich, NET was involved discussing – on programs entitled American on Track and The New Electric Railway Journal (affiliated with a print magazine of the same name) – public and mass transit issues, including local rail and interstate mass transit and the deleterious effects of automotive-oriented planning on the American environment, economy, and urban quality of life. There were also programs and segments on family, community, and social issues that featured writers, local community activists and representatives, and academic leaders. Other programs focused on issues important to FCF activity: Endangered Liberties discussed privacy issues; Legal Notebook emphasized judicial nominations and court trends, and Next Revolution covered activities within social conservatism. The most popular program was
9714_5	Direct Line with Weyrich, in which the host interviewed lawmakers and other prominent figures live and permitted the public to call in directly with questions and comments, with Weyrich delivering commentary in the final segment. Additionally, the channel had programming on culinary and etiquette issues, and even occasional segments devoted to wines and music.
9714_6	In all of its programming, the management team under Weyrich sought a highly professionalized approach to both its advocacy and journalistic programming. Consequently, the channel featured high production values and cost a great deal. The FCF claimed that various ideologically liberal organizations and individuals and industry competitors pressured many advertising firms to withdraw or withhold support. The result was that revenue could not meet operating costs, and in response to donor and investor pressure for a clearer focus, FCF dropped all programs not directly related to public policy and conservative activism and rebranded the channel as NET: The Conservative NewsTalk Network, with the initials NET no longer standing for anything, and the nine-dot logo replaced with one evoking the U.S. Capitol dome. It also began news reports and updates (akin to the likes of CNN, albeit keeping its ideological principles at the forefront), and a full-fledged investigative journalism
9714_7	program. However, the high cost of this strategy, perceived obstacles for entering the marketplace, and other factors combined to bring NET down by 1997.
9714_8	As part of its audience mobilization strategy, NET invited viewers to participate in eight hours of live call-in television each day. Programs included: The Progress Report, hosted by then-House Minority Whip Newt Gingrich and Heather Higgins. Capitol Watch, hosted by Burton Pines and Council Nedd II. Direct Line, with Weyrich. Borderline, a forum for discussion of restrictionist views on immigration policy. The Cato Forum, which provided the Cato Institute, an established libertarian think tank, with an ongoing opportunity to promote its beliefs concerning the illegitimacy of taxes and government regulation. Legal Notebook, providing discussion and perspectives by legal analysts on crime in America. Straight Talk, produced in conjunction with the Family Research Council. On Target, produced in conjunction with the National Rifle Association. Science Under Siege, co-produced with the Competitive Enterprise Institute. NET and Philip Morris
9714_9	A number of detractors of NET have consistently referred to its support by Philip Morris. In a 1993 internal strategy paper, the company discussed options for increasing NET's adverse coverage of Bill Clinton's proposal to finance an expanded public health care system with increased taxes on tobacco. "Generate additional publicity by having NET dedicate a news crew and programming to the health care issue as well as other challenges to the industry. Regarding health care, the crew could cover the town hall meeting sponsored by Citizens for a Sound Economy (CSE) and broadcast the highlights nationally", the memo suggested. "With respect to other issues, NET could produce their [sic] own version of a 60 Minutes show demonstrating the industry's side of controversial issues such as FDA/nicotine and the EPA's risk assessment on ETS. Finally, NET could sponsor public opinion surveys in key congressional districts on the health care issue and broadcast the results," the memo stated.
9714_10	While the company was hoping to get NET to assist in advancing its corporate agenda, Morris was willing to return the favor to NET. "Philip Morris could increase the impact of NET's coverage by assisting the network in getting additional cable companies to carry their broadcasts", the memo stated. Funding was an option too. "Since NET is a TV network, we could fund these activities via product advertisements from the food and beer business", the memo suggested.
9714_11	Despite the potential for controversy, the company's funding of NET was extremely minor. A March 1994 internal strategy document revealed that it spent only $200,000 to help fund NET. One proposed miniseries would 'focus on debunking the myths of the Clinton plan and the use of excises to fund such a plan, and to investigate more market-driven alternatives". Morris planned another miniseries critiquing the proposed Clinton health care plan, as a part of a broad-based effort by health care providers and businesses of all types to stop the nationalization of American health care. NET and donor intervention and controversy
9714_12	NET was also a broader resource for U.S. social and economic conservatism. Many organizations bought the rights to air programs on the channel. This was part of NET's strategy of flouting the conventional media of the time. However, the strategy had flaws, as each associate added more oversight on NET's finances and programming segmentation, thereby inadvertently diluting the focus of NET. For instance, Philip Morris was hopeful NET could prove to be a powerful campaign tool. "If the health care miniseries goes well, the possibilities of working with NET to present our side of the story are virtually limitless (VNR's, district by district canvassing, etc.) … but will require a substantial amount of increased support", the internal report noted. Although Morris decided against such a strategy, the report delineated the potential hazards of relying mostly on outside organizations for programming.
9714_13	Nevertheless, Weyrich and others remained steadfast in their programming orientation and optimism. In a proposal sent to potential sponsors, NET boasted that in its first nine months the network had "confirmed the validity of its motivating premise: that public affairs broadcasting based upon solid American principles and values has appeal beyond the hearty but thin ranks of policy wonks by making discussion of public affairs exciting and compelling, by igniting viewers' passions, by bringing elected officials onto live programs to be grilled by caller [sic] around the country, and by hosting programs not with TV personalities but with veteran Washington hands familiar with how the nation's capital works". Additionally, the network began inviting opposing viewpoints on a number of programs, in order to increase viewer interest. According to the proposal, one of the changes NET had made to its programs had been by "increasing conflict: Champions and opponents of measures
9714_14	increasingly face each other on the shows". This was in keeping with the popularity of mainstream political programs such as CNN's Crossfire and PBS' The McLaughlin Group, both of which featured debate-style arguing, as well as a close ally of Weyrich in paleoconservative circles, Pat Buchanan.
9714_15	Another supporter was the then-Speaker of the House of Representatives, Newt Gingrich, who hosted his own weekly program, Progress Report with Newt Gingrich. The program was paid for by Gingrich's Progress and Freedom Foundation and was reported to cost $140,000. Gingrich also helped out by hosting a February 1995 $50,000 plate fundraising dinner to build up NET's coffers. In the ensuing controversy over Gingrich's role as a fundraiser for a conservative media organization, Weyrich rebuffed criticisms, defending his sponsor. "The fact is that but for the efforts of people like the speaker, NET would not continue", Weyrich wrote in a column in The Washington Times, itself another media vehicle for conservative ideology in the U.S.
9714_16	According to NET's proposal, its first-year budget was $5.6 million with $1 million to be raised from eight 'associate producers' with advertising scheduled to bring in only $365,000 and on-air fundraising another $262,000. NET hoped any shortfall would be eliminated by grants and pledges from unspecified sources. In 1995, Weyrich wrote to its associate broadcasters to inform them that from April 1, National Empowerment Television "will now be referred to as NET-Political NewsTalk Network". "It seems that the name National Empowerment Television often led to some misconceptions about what we do. As we actively pursue new affiliates, we now hope to be more readily identifiable as a public policy organization", he explained. In practice, though, the "PNTN" sub-branding was very rarely used, and "NET" continued to be used on air and by providers carrying the network to identify it. High costs bring changes
9714_17	Although NET was launched with a budget of $10 million, it bled money. In 1995 alone, Weyrich transferred $2 million in assets to the project. Despite the initial support of its original associate broadcasters, it was only enough to cover the operating costs on a continuing basis. Further, the apprehension of most big business corporations against sponsoring programs left the network isolated. When it failed to get financial support on a continuing basis, FCF split off NET as a private business and sought private funds. FCF planned a new strategy to make NET a self-sustaining, even profitable, commercial enterprise, rather than a money-losing tool of outreach. However, the FCF blamed the hostility of other large media and agitation by liberal groups for refusal of support from major advertising firms. Without enough revenue to cover its costs, the corporate board forced Weyrich to stop new segment programming and focus on retooling the network for a relaunch.
9714_18	In a decision he later came to regret bitterly, Weyrich, under pressure from the associate broadcasters, turned over day-to-day operation of the channel to Robert Sutton, an industry veteran who had been successful with other startups. It relaunched in the spring of 1997 as a for-profit TV channel called "America's Voice", with another $20 million in seed money. However, Sutton came from the ranks of mainstream media and refused to agree with Weyrich and others' ideological analysis that the television industry was failing to meet the demands of conservative and traditionalist viewers. A power struggle ensued, with Sutton persuading the network's board to force out Weyrich in a hostile takeover.
9714_19	With Weyrich gone, under Sutton, the channel abandoned its conservative identity, marketing itself merely as a non-ideological forum for the public to make its views known to policymakers, akin to the call-in programs on C-SPAN. However, the network retained four conservative programs funded by the FCF and a few remaining supporters, but it had to pay to retain them. Finally, further pressure from advertisers and larger broadcasters allegedly forced even those to be removed. With much of its original viewership alienated, and also with the rise of Fox News Channel as a popular and far-better-funded source of conservative opinion on cable television, financial support under Sutton collapsed, and Dish Network dropped it. Eventually, America's Voice was sold, becoming "The Renaissance Network" (TRN), airing on a few broadcast stations, mainly UHF and low-power channels. Facing ruin, TRN brought back FCF content, but it was not enough to save the operation. Legacy
9714_20	Even without the financial and administrative issues that led to its demise, the future viability of NET would likely have been poor in any case, due to its orientation toward then-minority elements within conservatism such as right-wing populism, hard-core libertarianism, isolationist foreign policy, protectionist economics, and borderline anti-Semitism and racism. Instead, Fox News focused on then-mainstream issues, reflecting fusionist general ideology, neoliberal economics (not referring to political liberalism per se), and neoconservative foreign policy, a consensus that marked the Republican Party's governing philosophy at that time. In sharp contrast to the failed NET/America's Voice/TRN, Fox News went on to eventually become the highest-rated cable network devoted to public affairs.
9714_21	In an irony, though, in response to the accession of Donald Trump to the U.S. presidency in 2017 and his celebrity among Republican voters and intellectual and institutional leaders of the American political Right, Fox News began to incorporate paleoconservative and even alt-right perspectives, which eventually became the network's primary vantage point by the late 2010s, in both its reporting and talk programming, perhaps vindicating, posthumously, Weyrich's original vision for NET. Aftermath FCF has also experimented with radio broadcasting, airing weekly recorded programs on the Liberty Works Radio Network and other outlets. Today, the FCF offers interviews, soundbites, and commentary readings on its website FCF News on Demand. In 2000, America's Voice was purchased by E-Cine, a Dallas-based multimedia company, which briefly returned Weyrich to the airwaves before succumbing to bankruptcy later that year.
9714_22	A similarly conservative-formatted over-the-top/satellite TV network called America's Voice News (no relation to the original America's Voice network) appeared in 2018. It has since changed its name to Real America's Voice. References External links
9714_23	Thomas Goetz, "I'm Not a Reporter (https://www.cjr.org/year/94/5/gop.asp)," Columbia Journalism Review, September/October 1994. New project (http://legacy.library.ucsf.edu/tid/blz55e00), Bates No 2046662829, April 1993 (estimated), page 3. Philip Morris, "Tobacco strategy (http://legacy.library.ucsf.edu/tid/dtv34e00)", Bates No 2022887066, March 1994. Paul Weyrich, letter to Dr Thomas Borelli Philip Morris (http://legacy.library.ucsf.edu/tid/bsw87d00), Bates No 2046563261, September 20, 1994. National Empowerment Television, "Changing the Picture (http://legacy.library.ucsf.edu/tid/xsw87d00)", Bates No 2046563238, September 1994, page 1. Alan Bash, Calling into question deals that give Gingrich airtime (http://legacy.library.ucsf.edu/tid/stw87d00)", Bates No 2046563211, USA Today, February 28, 1995, page 3D. Paul Weyrich, "My $50,000 dinner with Newt (http://legacy.library.ucsf.edu/tid/atw87d00)", Bates No 2046563214, The Washington Times, February 10, 1995.
9714_24	National Empowerment Television, "Changing the Picture (http://legacy.library.ucsf.edu/tid/xsw87d00)", Bates No 2046563239, September 1994, page 12. Paul Weyrich, "letter to Steven Parrish (http://legacy.library.ucsf.edu/tid/ctw87d00)", Bates No 2046563217, January 16, 1995. Paul M. Weyrich, "Letter to Dr Thomas Borelli (http://legacy.library.ucsf.edu/tid/euw87d00)", Bates No 2045633155, April 12, 1995. Diana J. Weyrich, "letter to Dr Thomas Borelli (http://legacy.library.ucsf.edu/tid/otw87d00)", Bates No 2046563181, May 18, 1995. https://web.archive.org/web/20050418080555/http://www.mediatransparency.org/recipients/free_congress.htm Lawrence Morahan, "Conservative Icon Weyrich Warns 'Moral Minority' Still Dwindling (https://web.archive.org/web/20061003010917/http://www.conservativenews.org/Politics/archive/200201/POL20020114b.html)," Conservative News Service, January 14, 2002. National Empowerment Television at SourceWatch
9714_25	Defunct television networks in the United States Political organizations based in the United States Television channels and stations established in 1993 1993 establishments in the United States Television channels and stations disestablished in 2000 2000 disestablishments in the United States Conservative media in the United States Paleoconservatism
9715_0	Jesus Christ Superstar is a sung-through rock opera with music by Andrew Lloyd Webber and lyrics by Tim Rice. Loosely based on the Gospels' accounts of the Passion, the work interprets the psychology of Jesus and other characters, with much of the plot centered on Judas, who is dissatisfied with the direction in which Jesus is steering his disciples. Contemporary attitudes, sensibilities and slang pervade the rock opera's lyrics, and ironic allusions to modern life are scattered throughout the depiction of political events. Stage and film productions accordingly contain many intentional anachronisms. Initially unable to get backing for a stage production, the composers released it as a concept album, the success of which led to the show's Broadway on-stage debut in 1971. By 1980, the musical had grossed more than worldwide. Running for over eight years in London between 1972 and 1980, it held the record for longest-running West End musical before it was overtaken by Cats in 1989.
9715_1	Plot Act I Judas Iscariot, one of the Twelve Apostles, worries that the followers of Jesus are getting out of control and may be seen as a threat by the Roman Empire, who might harshly suppress them ("Heaven on Their Minds").
9715_2	The other apostles anticipate going to Jerusalem with Jesus and ask him about his plans, but Jesus tells them not to worry about the future ("What's the Buzz"). Mary Magdalene tries to help Jesus relax. Judas tells Jesus that he should not associate with Mary, because a relationship with a sex-worker could be seen as inconsistent with his own teachings and be used against him ("Strange Thing Mystifying"). Jesus tells Judas that he should not judge others unless he is without sin. Jesus then reproaches the apostles and complains that none of them truly cares about him. Mary Magdalene tries to reassure Jesus while anointing him with oil ("Everything's Alright"). Judas angrily says that the money spent on oil should have been used to help the poor. Jesus answers that they do not have the resources to end poverty, and that they should be glad for what comforts they have.
9715_3	Meanwhile, Caiaphas, the High Priest of Israel, assembles the Pharisees and priests. Like Judas they fear that Jesus's followers will be seen as a threat by the Romans, and that many Jews might suffer the consequences. Caiaphas concludes that for the greater good, Jesus must be killed ("This Jesus Must Die"). As Jesus and his followers arrive exultantly in Jerusalem, they are confronted by Caiaphas, who demands that Jesus disperse the crowd. Jesus instead greets the happy crowd ("Hosanna"). Then Simon the Zealot suggests that Jesus lead his mob in a war against Rome and gain absolute power. Jesus rejects this, stating that none of his followers understand what true power is ("Simon Zealotes/Poor Jerusalem").
9715_4	Pontius Pilate, the governor of Judea, has a dream in which he meets a Galilean and then receives the blame for the man's violent death at the hands of a mob ("Pilate's Dream"). Jesus arrives at the Temple and finds that it is being used as a marketplace; angered by this, he drives everyone out ("The Temple"). A group of lepers ask Jesus to heal them. Their number increases, and overwhelmed, Jesus rejects them. Mary Magdalene sings him to sleep ("Everything's Alright (Reprise)"). While he sleeps, Mary acknowledges that she is in love with him, and it frightens her ("I Don't Know How to Love Him"). Conflicted, Judas seeks out the Pharisees and proposes helping them arrest Jesus, believing that Jesus is out of control and that Jesus himself would approve of his action. In exchange for his help, Judas is offered thirty pieces of silver. Judas initially refuses, then accepts when Caiaphas suggests that he can use the money to help the poor ("Damned for All Time/Blood Money"). Act II
9715_5	Jesus shares a Passover meal with his disciples, where they get drunk and pay little attention to him. He remarks that "for all you care" the wine they are drinking could be his blood and the bread his body. He asks them to remember him, then frustrated by their lack of understanding, he predicts that Peter will deny him three times that night, and that another one of them will betray him. Judas admits that he is the one who will betray Jesus and, saying that he does not understand why Jesus did not plan things better, leaves ("The Last Supper"). The remaining apostles fall asleep, and Jesus retreats to the Garden of Gethsemane to pray ("Gethsemane (I Only Want to Say)"). He tells God his doubts about whether his mission has had any success, and angrily demands to know why he should continue and suffer the horrible death that awaits him. Receiving no answer, he realises that he cannot defy God's will, and surrenders to God.
9715_6	Judas arrives with Roman soldiers and identifies Jesus by kissing him on the cheek ("The Arrest"). When Jesus is brought to trial before the Sanhedrin, Caiaphas demands to know if he calls himself the Son of God, and Jesus responds merely "That's what you say". Annas says that this is sufficient evidence and Caiaphas sends him to Pilate. Meanwhile, Peter is confronted by three people, to whom he denies that he knows Jesus ("Peter's Denial"). Mary observes that Jesus had predicted this.
9715_7	Pilate asks Jesus if he is the King of the Jews. Jesus again answers "That's what you say". Since Jesus is from Galilee, Pilate says that he is not under his jurisdiction and sends him to King Herod ("Pilate and Christ"). The flamboyant King Herod asks Jesus to prove his divinity by performing miracles ("King Herod's Song"), but Jesus ignores him. Herod angrily sends him back to Pilate. Mary Magdalene, Peter, and the apostles remember when they first began following Jesus, and wish that they could return to a time of peace ("Could We Start Again, Please?"). Judas is horrified at Jesus' harsh treatment. He expresses regret to the Pharisees, fearing that he will forever be remembered as a traitor. Caiaphas and Annas assure him that he has done the right thing. Judas throws down the money he was given and storms out. He curses God for manipulating him, and commits suicide ("Judas's Death").
9715_8	At Jesus's trial, Pilate attempts to interrogate Jesus, but is cut off by a bloodthirsty mob which demands that Jesus be crucified. He tells the mob that Jesus has committed no crime and does not deserve to die, but to satisfy the mob he will have Jesus flogged ("Trial Before Pilate"). Pilate pleads with Jesus to defend himself, but Jesus says weakly that everything has been determined by God. The crowd still calls for Jesus's death and finally Pilate reluctantly agrees to crucify Jesus. As Jesus awaits crucifixion, the spirit of Judas returns and questions why Jesus chose to arrive in the manner and time that he did, and if it was all part of a divine plan ("Superstar"). Jesus is crucified, recites his final words and dies ("The Crucifixion"). Jesus' body is taken down from the cross and then buried into a near cave to the mountain where he died ("John Nineteen: Forty-One"). Principal roles Musical numbers
9715_9	Act One "Overture" – Orchestra "Heaven on Their Minds" – Judas "What's the Buzz/Strange Thing, Mystifying" – Jesus, Judas, Mary and Apostles "Everything's Alright" – Mary, Judas, Jesus, Women and Apostles "This Jesus Must Die" – Caiaphas, Annas and High Priests "Hosanna" – Jesus, Caiaphas and Company "Simon Zealotes/Poor Jerusalem" - Simon, Jesus and Company "Pilate's Dream" – Pilate "The Temple" – Jesus and Lepers "Everything's Alright (Reprise)" – Mary and Jesus "I Don't Know How to Love Him" – Mary "Damned for All Time/Blood Money" - Judas, Caiaphas, Annas and Choir
9715_10	Act Two "The Last Supper" – Jesus, Judas and Apostles "Gethsemane (I Only Want to Say)" – Jesus "The Arrest" – Judas, Jesus, Peter, Apostles, Caiaphas, Annas and Ensemble "Peter's Denial" – Maid by the Fire, Peter, Soldier, Old Man and Mary "Pilate and Christ" – Pilate, Jesus, Annas and Ensemble "King Herod's Song" – Herod "Could We Start Again Please?" – Mary, Peter and Ensemble "Judas' Death" – Judas, Caiaphas, Annas and Ensemble "Trial Before Pilate" – Pilate, Jesus, Caiaphas and Ensemble "Superstar" – Judas, Soul Sisters and Angels "The Crucifixion" – Jesus and Ensemble "John Nineteen: Forty-One" – Orchestra Production
9715_11	The songs were written and conceived as an album musical, before the musical was created and staged. On the original album, the part of Jesus was sung by Ian Gillan, with Murray Head as Judas, Michael d'Abo as King Herod, Yvonne Elliman as Mary Magdalene, and Barry Dennen as Pilate. In July 1971, the first authorised American concert of the rock opera took place in front of an audience of 13,000 people at Pittsburgh, Pennsylvania's Civic Arena with Jeff Fenholt singing the role of Jesus, Carl Anderson as Judas and Elliman repeating as Mary Magdalene.
9715_12	In August 1971, MCA Records executive David Skepner reported that MCA had been investigating and shutting down 21 unauthorised productions in the US to protect the rights of London-based Leeds Music who owned the musical. The biggest violations Skepner found were a theatre troupe from Toronto that had crossed the US–Canada border to perform with the Detroit Symphony Orchestra, with only a few hours prior announcement, and another big production mounted by the Las Vegas Hilton. Other American cities with unauthorised productions included Washington D.C., Boston, Kansas City, Baltimore, San Francisco, Cincinnati, Richmond, Louisville, Cleveland, St. Louis, Memphis, Atlanta, Columbus, Troy, Philadelphia, Los Angeles, New Orleans, Brooklyn in New York City and Hollywood, Florida. Court injunctions were obtained in each of these cities to close the shows. Producer Robert Stigwood, who was assembling an authorised touring company, called these unsanctioned groups "outright pirates",
9715_13	stressing that he would continue to protect his rights by "relentlessly" pursuing legal action.
9715_14	Original Broadway production The musical opened on Broadway on 12 October 1971, directed by Tom O'Horgan, at the Mark Hellinger Theatre. It starred Jeff Fenholt as Jesus, Ben Vereen as Judas and Bob Bingham as Caiaphas. Dennen and Elliman played the roles that they had sung on the album. Paul Ainsley was Herod. Carl Anderson replaced Vereen when he fell ill, and the two performers later took turns playing the role. The show closed on 30 June 1973 after 711 performances. The production received mixed reviews; the bold casting of African-Americans as Judas was lauded, but reviewer Clive Barnes from The New York Times said, "the real disappointment was not in the music ... but in the conception." The show was nominated for five Tony Awards, including Best Score, but won none. Lloyd Webber won a Drama Desk Award as "Most Promising Composer", and Vereen won a Theatre World Award.
9715_15	Controversy The Broadway show and subsequent productions have been condemned by a few religious groups. Tim Rice was quoted as saying "It happens that we don't see Christ as God but simply the right man at the right time at the right place." Some Christians considered such comments to be blasphemous, the character of Judas too sympathetic and some of his criticisms of Jesus offensive. The musical's lack of allusion to the resurrection of Jesus has resulted in criticism similar to that of fellow musical Godspell, which also did not clearly depict the resurrection.
9715_16	At the same time, some Jews claimed that it bolstered the antisemitic belief that the Jews were responsible for Jesus's death by showing most of the villains as Jewish (Caiaphas and the other priests, Herod) and showing the crowd in Jerusalem calling for the crucifixion. The musical was also banned in South Africa for being "irreligious". A 1972 production of the rock opera was banned in the Hungarian People's Republic for "distribution of religious propaganda". Other 1970s and 1980s productions
9715_17	Superstar opened at the Palace Theatre in London in 1972, starring Paul Nicholas as Jesus, Stephen Tate as Judas and Dana Gillespie as Mary Magdalene. It was directed by Australian Jim Sharman. This production was much more successful than the original production on Broadway, running for eight years and becoming the United Kingdom's longest-running musical at the time. Dmitri Shostakovich attended this production in London just before his death. He regretted that he could not have composed something like it; he lauded especially a rock band underpinning full symphonic strings, brass and woodwind.
9715_18	One of the earliest foreign productions was a five-day run in Sweden at Scandinavium in Gothenburg, opening on 18 February 1972 and playing to 74,000 people (a record at the time). Starring as Mary Magdalene was Agnetha Fältskog. On 16 March 1972 an oratorio version was performed at Memorial Drive Park in Adelaide, South Australia as part of the Adelaide Festival of the Arts. This was followed in May by the first full Australian production, at the Capitol Theatre, Sydney, later moving to the Palais Theatre in Melbourne. Sharman again directed, and the cast included Trevor White as Jesus, Jon English as Judas, and Michele Fawdon (1972–1973) and Marcia Hines (1973–1974) as Mary Magdalene. Hines was the first black woman to play the role. Other cast members included Reg Livermore, John Paul Young, Stevie Wright and Rory O'Donoghue as well as Graham Russell and Russell Hitchcock who met during the production and subsequently formed the band Air Supply. The production ran until February
9715_19	1974. In June 1972 the show opened in Belgrade, Yugoslavia, in Atelje 212 theatre, in adaptation by Jovan Ćirilov. The role of Jesus Christ was played by Korni Grupa vocalist Zlatko Pejaković, the role of Mary Magdalene by Azra Halinović and the role of Pontius Pilate by Branko Milićević. The premiere was directly broadcast by Radio Television of Belgrade. Bora Đorđević and Srđan Marjanović, at the time little known musicians, also participated as members of the choir. The production was praised by the Yugoslav public.
9715_20	In 1973, the show opened in Paris at the Théâtre de Chaillot in a French adaptation by Pierre Delanoë. The title role was sung by Daniel Beretta, and Mary Magdalena was Anne-Marie David. The critics were unimpressed, and the production stopped after 30 performances. In the same year, Noel Pearson produced the show at the Gaiety Theatre, Dublin, Republic of Ireland, with Luke Kelly giving a critically acclaimed performance as King Herod. In 1974, first Spanish-language production ran in Mexico with the title "Jesucristo Super Estrella". Julissa played Mary Magdalen. One year later, the musical was released for the second time in a Spanish-speaking country. It was released in Spain under the title "Jesucristo Superstar" and directed by the Spanish singer and songwriter Camilo Sesto, who also played the title role of Jesus Christ. The musical was seen in 1974 in Peru and Singapore.
9715_21	Robert Stigwood launched two road touring companies in 1971 to cover North America, with Robert Corff and Tom Westerman as Jesus, respectively. The first major US National Tour, however began In 1976, managed by Laura Shapiro Kramer. The tour continued until 1980. In 1977, the show had its first Broadway revival, running from 23 November 1977 to 12 February 1978. It was directed by William Daniel Grey, with choreography by Kelly Carrol and starred William Daniel Grey as Jesus, Patrick Jude as Judas, and Barbara Niles as Mary Magdalene. Regional productions followed. In 1981, Emilio de Soto directed an English-language version in Venezuela, with 163 actors. From 1982 to 1984, an Australian production toured Australia and South-East Asia, directed by Trevor White, who also reprised his role of Jesus. The cast included Doug Parkinson as Judas and Marcia Hines (reprising her role as Mary Magdalene).
9715_22	1990s and 2000s The North American touring revival of Superstar in 1992 starred Neeley and Anderson reprising their respective Broadway and 1973 film roles as Jesus and Judas, receiving positive reviews for their performances. This production also starred both Dennis DeYoung as Pilate, and Syreeta and Irene Cara sharing Mary Magdalene. Originally expected to run for three to four months, the tour ended up running for five years. Original cast replacements to this tour included Christine Rea as Mary Magdalene, Jason Raize as Pontius Pilate and Simone as the Maid by the Fire and understudy for Mary. In 1994, a New Zealand production starred Darryl Lovegrove as Jesus, Jay Laga'aia as Judas and Frankie Stevens as Caiaphas. Also in 1994, a stage version titled Jesus Christ Superstar: A Resurrection was performed in Atlanta, Austin and Seattle featuring Amy Ray and Emily Saliers of the Indigo Girls as Jesus and Mary Magdalene respectively, and Michael Lorant as Judas.
9715_23	In 1996, the musical was revived in London at the Lyceum Theatre and ran for a year and a half. Directed by Gale Edwards, it starred Steve Balsamo and Zubin Varla as Jesus and Judas, and Joanna Ampil as Mary Magdalene. Alice Cooper sang the role of King Herod on the cast recording, but did not play the role on stage. The production was nominated for an Olivier Award for Best Musical Revival but did not win. It was followed by a UK tour. This production was revived on Broadway at the Ford Center for the Performing Arts in 2000, starring Glenn Carter as Jesus and Tony Vincent as Judas. It opened to mixed reviews and ran for 161 performances. It was nominated for a Tony Award for Best Revival of a Musical but did not win. In 2002, a national tour starred Sebastian Bach as Jesus and Anderson once again as Judas. Bach received mixed reviews while Anderson was again praised. In April 2003, Bach was replaced by Eric Kunze. Anderson left the show later in 2003 after being diagnosed with
9715_24	leukaemia and died in 2004. The tour closed shortly after Anderson's departure.
9715_25	In 2004 a year-long UK tour began, directed by Bob Tomson and Bill Kenwright. Carter reprised his role as Jesus, with James Fox as Judas. In 2005, a successful Scandinavian tour starred Australian Peter Murphy (Jesus), American Kristen Cummings (Mary), Englishman Jon Boydon née Stokes (Judas), Frenchman Jérôme Pradon (King Herod) and Australian Michael-John Hurney (Pilate). A US tour starring Neeley, reprising his role as Jesus, Corey Glover as Judas, and Christine Rea as Mary, began in 2006 and played for five years. A Chilean heavy metal version has played annually in Santiago since 2004. In Boston, Gary Cherone portrayed Jesus in productions in 1994, 1996 and 2003 and Judas in 2000.
9715_26	2010s and 2020s A new production of Jesus Christ Superstar was mounted at the Stratford Shakespeare Festival, in Stratford, Ontario, in 2011. Directed by Des McAnuff, the cast starred Paul Nolan as Jesus, Josh Young as Judas, Brent Carver as Pilate, Chilina Kennedy as Mary Magdalene, Bruce Dow as Herod and Melissa O'Neil as Martha. This moved to La Jolla Playhouse later in the year and transferred to the Neil Simon Theatre on Broadway in 2012, with Tom Hewitt taking over the role of Pilate. Reviews were mixed. The revival was nominated for two Tonys: Best Revival and, for Young, Best Actor. Neither award was won, but Young won a Theatre World Award. The revival closed after 116 performances and 24 previews.
9715_27	Through a 2012 ITV competition TV show called Superstar, produced by Andrew Lloyd Webber, the UK public chose Ben Forster for the role of Jesus in an arena tour of the musical, beginning at O2 in September 2012. The production also starred Tim Minchin as Judas, Melanie C as Mary Magdalene and Chris Moyles as King Herod. Lloyd Webber stated, "The funny thing is that Jesus Christ Superstar [as a rock concert] is what we actually intended it to be. When it is done in a conventional proscenium theatre production it feels shoe-horned in. That is why I wanted to do this." The tour resumed in March 2013 in the UK, and an Australian leg of the tour commenced in Perth in May 2013. Andrew O'Keefe played King Herod in Australia, with Jon Stevens as Pilate. Stevens had played Judas in an Australian arena tour in 1992.
9715_28	In 2016, celebrating 45 years since the musical debuted on Broadway, Jesus Christ Superstar returned to London at Regent's Park Open Air Theatre from 15 July to 27 August, directed by Timothy Sheader. The production won the BBC Radio 2 Audience Award for Best Musical at the Evening Standard Theatre Awards, and a Laurence Olivier Award for Best Musical Revival. The production returned to the Open Air Theatre as part of the 2017 season, running from 11 August 2017 to 23 September. Additionally, the Lyric Opera of Chicago hosted a run of the production from late April 2018 to late May 2018. before returning to London at the Barbican Centre from 9 July to 24 August 2019 prior to a 50th anniversary US tour from October 2019. However, due to the COVID-19 pandemic, the US tour was temporarily suspended in March 2020. The production returned to Regent's Park Open Air Theatre in a socially distanced environment in a concert staging from 14 August to 27 September 2020. The US tour resumed
9715_29	performances on 28 September 2021 at the Keller Auditorium.
9715_30	On November 23, 2021, James D. Beeks, who played Judas in the tour, was arrested for involvement in the 2021 United States Capitol attack. Beeks, performing in the show under the stage name James T. Justis, is alleged to have been one of those who forced entry into the capitol and to have paid dues to the far right-wing anti-government militia Oath Keepers. Beeks was immediately suspended from the touring production with the role of Judas assumed by another performer in the cast. On December 2, 2021; Tyrone Huntley, who played Judas in the 2016 London production was announced to have replaced Beeks. In 2017, a production featuring an all-Black cast was directed by Ron Kellum at the Paramount Theatre in Aurora, IL. Kellum's production ran from April 19, 2017, through May 28, 2017. Notable international productions
9715_31	Two notable Jesuses were Takeshi Kaga, in the 1976 Japanese production, and Camilo Sesto in the 1975 Spanish production. Mary Magdalene was played by Rocío Banquells in a 1981 production in Mexico. A Czech version premiered in 1994 in Prague's Spirála Theatre and ran until 1998, with 1288 performances. In the 2000s, a Venezuelan production ran for two years (2006–2008), directed by Michel Hausmann. A Spanish production produced by Stage Entertainment ran from 2007 to 2009, followed by long-running productions in Italy and Sweden (featuring Ola Salo) and Norway. Concerts of the show have been mounted in Vienna, Austria, since 1981, including one on Easter of 2015 starring Drew Sarich in the title role.
9715_32	In 2010, an Australian production presented by Harvest Rain Theatre Company was directed by Tim O'Connor. Luke Kennedy appeared as Jesus, Naomi Price as Mary, Tod Strike as Judas, and Steven Tandy as Herod. A 2017 Professional Australian Production was staged at the Arts Centre Melbourne and starred Rob Mills as Jesus. A 2014 production in São Paulo, Brazil starred Igor Rickli as Jesus. Negra Li was Mary Magdalene. A 2014 production in Lima, Peru, at the Sarita Colonia prison, as part of a rehabilitation program for inmates, received some press. Eighty prisoners mounted the production, directed by inmate Freddy Battifora, who also played the role of Jesus. The Catholic Church approved of the production.
9715_33	In 2018, a new production, directed by Michael Hunt was premiered at the Perm Academic Theatre, Russia. Hunt worked closely with The Really Useful Group on a new translation together with the concept for a new staging. This rock opera is very popular in Russia but is the first authorised production to receive the support of the Really Useful Group. Recordings and radio broadcasts The original 1970 concept album was very popular; its 1971 release topped the US Billboard Pop Albums. The 1972 and 1992 Australian cast recordings were also both highly successful. In 1994, a studio recording under the name of Jesus Christ Superstar: A Resurrection was released. A 1996 radio production for BBC Radio 2 starred Tony Hadley as Jesus, Roger Daltrey as Judas, Frances Ruffelle as Mary Magdalene and Julian Clary as King Herod; this production was re-broadcast on BBC Radio 4 Extra on 6 August 2016.
9715_34	In May 2018, Aztec Records released a 1973 live recording of the Australian production; previous recordings of that production were released as "bootleg" copies. Adaptations Films A film adaptation of Jesus Christ Superstar was released in 1973. The film, directed by Norman Jewison, was shot in Israel and other Middle Eastern locations. Ted Neeley, Carl Anderson and Yvonne Elliman were each nominated for a Golden Globe Award for their portrayals of Jesus, Judas and Mary Magdalene, respectively. Bob Bingham (Caiaphas) and Barry Dennen (Pilate) also reprised their roles. A new song, called "Then We Are Decided" and phrased as a dialogue between Caiaphas and Annas, was written for this adaptation.
9715_35	A second adaptation was filmed in 1999, and released around the world on video in 2000 and 2001. It starred Glenn Carter as Jesus, Jérôme Pradon as Judas, Reneé Castle as Mary Magdalene, and Rik Mayall as Herod, and was directed by Gale Edwards and Nick Morris. It was released on video in the UK in October 2000. In the U.S. it was released on VHS and DVD in March 2001, and aired on PBS's Great Performances series in April 2001. It won the International Emmy Award for Best Performing Arts Film in November 2001. The style of the film is more like the stage version than the location-based 1973 adaptation, and it used many of the ideas from the 1996–1999 UK production. Television
9715_36	On Easter Sunday, 1 April 2018, NBC aired a live concert version of the show featuring John Legend as Jesus, Sara Bareilles as Mary Magdalene, Brandon Victor Dixon as Judas, Alice Cooper as King Herod, Norm Lewis as Caiaphas, Ben Daniels as Pilate, Jin Ha as Annas, Erik Grönwall as Simon Zealotes and Jason Tam as Peter. Principal roles and casting history Awards and nominations Original Broadway production 1996 West End revival 2000 Broadway revival 2012 Broadway revival 2016 Regent's Park Open Air Theatre revival Notes Explanatory notes Citations Further reading Ellis Nassour, Richard Broderick. Rock Opera: The Creation of Jesus Christ Superstar, from Record Album to Broadway Show and Motion Picture. Hawthorn Books, 1973. Robert M. Price. Jesus Christ Superstar: The Making of a Modern Gospel. eBookIt. 2011. External links
9715_37	Jesus Christ Superstar, official website Review on "Cool Album of the Day" of original London cast recording Original album cover artwork by Ernie Cefalu Largest online community for Jesus Christ Superstar JesusChristSuperstarZone.com Jesus Christ Superstar, Andrew Lloyd Webber site Jesus Christ Superstar, timrice.co.uk Lyrics Jesus Christ Superstar at Playbill Vault: 1971 – Original production 1977 – First revival 2000 – Second revival 2012 – Third revival Jesusmania!The Bootleg Superstar of Gettysburg College, about an illicit amateur production staged in March 1971
9715_38	1971 musicals British musicals Broadway musicals Caiaphas Censorship in South Africa Cultural depictions of Judas Iscariot Cultural depictions of Pontius Pilate Cultural depictions of Saint Peter Mary Magdalene Musicals based on religious traditions Musicals based on the Bible Musicals by Andrew Lloyd Webber and Tim Rice Musicals by Andrew Lloyd Webber Musicals by Tim Rice Musicals inspired by real-life events Passion settings Race-related controversies in theatre Religious controversies in theatre Rock musicals Rock operas Stage portrayals of Jesus Sung-through musicals West End musicals
9716_0	Defender of the Crown is a strategy computer game designed by Kellyn Beck. It was Cinemaware's first game, and was originally released for the Commodore Amiga in 1986, setting a new standard for graphic quality in home computer games. In 1987 it was ported to the Commodore 64, Atari ST, MS-DOS, and Macintosh. It was later ported to the Nintendo Entertainment System (NES), Amstrad CPC, Apple IIGS, CDTV, CD-i, Atari Jaguar and Intellivision. An unofficial ZX Spectrum port was also produced. A sequel, Defender of the Crown II, was released in 1993 for the CDTV and Amiga CD32. Two remakes have been released: Robin Hood: Defender of the Crown in 2003 and Defender of the Crown: Heroes Live Forever in 2007. Gameplay The game is set in England in 1149 during the Middle Ages where, following the death of the king, different factions are fighting for territorial control.
9716_1	The player assumes the role of a Saxon (Wilfred of Ivanhoe, Cedric of Rotherwood, Geoffrey Longsword, or Wolfric the Wild) and tries to fight off the Norman hordes and wrestle for control of England. Eventually, the player must fight for control of all territories, and potentially those controlled by other Saxons, if they have become antagonistic. The player must amass armies and fight for control of opponents' castles. The player may engage enemy armies in battle and loot or lay siege to opposing castles. Territories can also be won in the periodic jousting contests. From time to time the player may attempt to rescue a damsel in distress and can appeal for help from the legendary bandit Robin Hood. The game's strategy boils down to a war of attrition as the player tries to amass larger armies than his opponents and manages to attack their territories at the right time.
9716_2	Due to financial strains, Cinemaware decided to release the initial version without all the features originally planned for because of their need for revenue. Some features were partially implemented, but were removed so the game could be shipped. Some additional features completed but never seen in the shipped game include flaming fireballs (launched via the catapult), more locations (more varied castles to attack), and more in-depth strategy. Some of these features were implemented in the ports of the game. James D. Sachs, the primary artist for the game, showcased some of these features on the Amiga during interviews after the release of the game. Cover art The cover art of Defender of the Crown was put together by Peter Green Design and painted by Ezra Tucker.
9716_3	Randy McDonald was in charge of art direction, design, and production for Cinemaware's first four games, and he explains in an interview that "Peter Greene or I would do a sketch of generally what we wanted for each cover. I went to Western Costume in Hollywood, which for many decades was the giant in the costume industry there, and rented costumes for the types of "look" we had settled on for each cover. We hired models and brought them into Peter's large photo studio, where we set them up in the costumes I had rented, posed as closely as possible to the way we wanted them to be illustrated." The initial artist, according to Randy McDonald, was supposed to be Greg Winter, but the cover eventually went to Ezra Tucker.
9716_4	Ports The ports of Defender of the Crown, notably for DOS and the NES, resulted in an enormous loss in graphic and audio quality due to those systems' inferior abilities compared to the Amiga. But these ports featured more in-depth strategic elements compared to the unfinished original version. The Apple IIGS, Atari ST, and Commodore 64 versions were ported with better success, the IIGS, Macintosh, and ST versions' graphics coming quite close to the Amiga version. A version for the Sharp X68000 was in development by Bullet-Proof Software but never released. All ports: Amstrad CPC Atari ST Apple IIGS Commodore 64 Apple Macintosh Game Boy Advance Nintendo Entertainment System Macintosh DOS CGA (4 color) and EGA (16 color) ZX Spectrum (unofficial) CD-i iOS Android Atari Jaguar Intellivision In 1989, the game became the second game to ship on CD-ROM, after The Manhole.
9716_5	Reception The first public demonstration of Defender of the Crown occurred at the Los Angeles Commodore Show in September 1986, before its November release, and attracted a huge crowd. The game amazed those who saw it for the first time: Defender of the Crown became a commercial hit. In 1989, Video Games & Computer Entertainment reported that it had been purchased by "almost three-quarters of a million gamers worldwide". Sales had surpassed 1 million units by 2001.
9716_6	Info gave the Amiga version four stars out of five, stating that its "graphics have set new standards for computer games". The magazine praised the "breathtaking" animation and "impressive" color, but hoped that future Cinemaware games would improve on the "adequate" gameplay, which was "the weak link". The Australian Commodore Review gave the Commodore 64 version of the game a total score of 96 out of 100, while Commodore User said that it was "totally brilliant and one of the best games to date on the 64." Computer Gaming World praised the Amiga version of Defender of the Crown'''s graphics and animation, calling the game "a showcase program to demonstrate the power of the Amiga to your friends." Although the gameplay was not as complex as other strategy games of the time, the reviewer was still exceptionally pleased with Cinemaware's first game. That year the magazine gave Defender of the Crown a special award for "Artistic Achievement in a Computer Game", but in 1990 and 1993,
9716_7	surveys of wargames in the magazine gave the game two-plus stars out of five.Compute! also stated that Defender of the Crown effectively demonstrated the Amiga's graphics, but stated that its gameplay was oversimplified. CU Amiga stated that "there are not many areas in which Defender of the Crown could be improved ... the graphics are sophisticated with lush colours and visual effects." Amiga Format were less kind to the CD rerelease of the game, stating that it "hasn't stood the test of time simply because the gameplay is somewhat weak."The One magazine in 1991 rated the game four out of five stars for the Amiga, Atari ST and PC. In 1996, Computer Gaming World declared Defender of the Crown the 92nd-best computer game ever released.
9716_8	LegacyDefender of the Crown II was published by Commodore International in 1993 for the CDTV and Amiga CD32. After a string of successful games and game series, Cinemaware eventually went bankrupt. In 2000, however, Lars Fuhrken-Batista and Sean Vesce bought Cinemaware's name and assets, and founded Cinemaware Inc., naming a remake of Defender of the Crown for modern PCs as one of the reformed company's first projects. The new version, titled Robin Hood: Defender of the Crown was released in 2003 for the PlayStation 2 (September 30), Xbox (October 6), and Windows (October 15). The new company also created "Digitally Remastered Versions" of classic Cinemaware games, including Defender of the Crown.
9716_9	In February 2007, a second remake to the game called Defender of the Crown: Heroes Live Forever was released by eGames,<ref>[http://www.egames.com/gamepage.php?id=60 Defender of the Crown: Heroes Live Forever] from eGames</ref> who had acquired Cinemaware in 2005. Heroes Live Forever features many of the elements of the original game, including jousting and archery tournaments, raiding castles, rescuing princesses, and laying siege to enemy fortresses via catapult. A new addition to the game involved the use of Hero and Tactic cards during battles, giving the user's army various upgrades during the on-screen melee. During the second half of the 1980s, some games directly inspired by Defender of the Crown were released. Among these was for example Joan of Arc (Rainbow Arts, 1989). The Danish band PRESS PLAY ON TAPE remixed the theme music of the game on their 2003 album Run/Stop Restore, replacing the instrumental tune with proper medieval-sounding lyrics. References
9716_10	External links Defender of the Crown on the Amiga at The Hall of Light (HOL) Images of Defender of the Crown box, manual and screen shots at C64Sets.com Panda's Defender of the Crown page https://web.archive.org/web/20160619205027/http://www.thelegacy.de/Museum/game.php3?titel_id=4073&game_id=4108 Legally distributed recordings of the Amiga version music Macintosh Plus game gallery featuring DotC screenshots 1986 video games Amiga games Amstrad CPC games Apple IIGS games Atari Jaguar games Atari ST games Cancelled Sharp X68000 games CD-i games Cinemaware games Commodore 64 games Commodore CDTV games DOS games Game Boy Advance games Games commercially released with DOSBox IOS games Classic Mac OS games Mobile games Nintendo Entertainment System games Robin Hood video games Strategy video games Video games developed in the United States Video games set in medieval England Windows games ZX Spectrum games
9717_0	Protected cruisers, a type of naval cruiser of the late-19th century, gained their description because an armoured deck offered protection for vital machine-spaces from fragments caused by shells exploding above them. Protected cruisers resemble armored cruisers, which had in addition a belt of armour along the sides. Evolution From the late 1850s, navies began to replace their fleets of wooden ships-of-the-line with armoured ironclad warships. However, the frigates and sloops which performed the missions of scouting, commerce raiding and trade protection remained unarmoured. For several decades, it proved difficult to design a ship which had a meaningful amount of protective armour but at the same time maintained the speed and range required of a "cruising warship". The first attempts to do so, armored cruisers like , proved unsatisfactory, generally lacking enough speed for their cruiser role.
9717_1	During the 1870s the increasing power of armour-piercing shells made armouring the sides of a ship more and more difficult, as very thick, heavy armour plates were required. Even if armour dominated the design of the ship, it was likely that the next generation of shells would be able to pierce such armour. The alternative was to leave the sides of the ship vulnerable, but to armour a deck just below the waterline. Since this deck would be struck only very obliquely by shells, it could be less thick and heavy than belt armour. The ship could be designed so that the engines, boilers and magazines were under the armoured deck, and with enough displacement to keep the ship afloat and stable even in the event of damage. Cruisers with armoured decks and no side armour became known as "protected cruisers", and eclipsed the armoured cruisers in popularity in the 1880s and into the 1890s.
9717_2	HMS Shannon was the first warship to incorporate an armoured deck; hers stretched forward from the armoured citadel to the bow. However, Shannon principally relied on her vertical citadel armour for protection. By the end of the 1870s ships could be found with full-length armoured decks and little or no side armour. The Italian of very fast battleships had armoured decks and guns but no side armour. The British used a full-length armoured deck in their of corvettes started in 1878; however the Comus class were designed for colonial service and were capable of only a speed, not fast enough for commerce protection or for fleet duties.
9717_3	But even while the Comus class were building the four ship s. Ordered in 1880 and rated as second-class cruisers, these ships combined the speed of the dispatch vessels with a heavy armament, reduced rig and armoured deck. "Leander and her three sisters were very successful and may be seen as the ancestors of most [Royal Navy] cruisers for the rest of the century and beyond. Their general configuration was scaled up to the big First Class cruisers and down to the torpedo cruisers, whilst traces of the protected deck scheme can even be recognised in some sloops."
9717_4	The breakthrough in protected-cruiser design came with the Chilean cruiser , designed and built by the British firm Armstrong at their Elswick yard. Esmeralda had a high speed of (dispensing entirely with sails), and an armament of two and six guns. Her protection scheme, inspired by the Italia class, included a full-length protected deck up to thick, and a cork-filled cofferdam along her sides. Esmeralda set the tone for cruiser construction for the years to come, with "Elswick cruisers" on a similar design being constructed for Italy, China, Japan, Argentina, Austria and the United States.
9717_5	The French Navy adopted the protected-cruiser concept wholeheartedly in the 1880s. The Jeune École school of thought, which proposed a navy composed of fast cruisers for commerce raiding and torpedo boats for coastal defence, became particularly influential in France. The first French protected cruiser was , laid down in 1882, and followed by six classes of protected cruiser – and no armoured cruisers.
9717_6	The Royal Navy remained equivocal about which protection scheme to use until 1887. The large , begun in 1881 and finished in 1886, were built as armoured cruisers but were often referred to as protected cruisers. While they carried an armoured belt some covered only of the length of the ship, and the belt was also submerged below the waterline at full load. The real protection of the class came from the armoured deck thick, and the arrangement of coal bunkers to prevent flooding. These ships were also the last armoured cruisers to be designed with sails. However, on trials it became clear that the masts and sails did more harm than good. The masts, sails and rigging were removed and replaced with a single military mast with machine-guns.
9717_7	The next class of small cruisers in the Royal Navy, the of 1883, were protected cruisers, but the Royal Navy returned to the armoured cruiser with the , begun in 1885 and completed in 1889. However, in 1887 an assessment of the Orlando type judged them inferior to the protected cruisers and thereafter the Royal Navy built only protected cruisers, even for very large first-class cruiser designs, returning to armoured cruisers only in the late 1890s with the , laid down in 1898. The sole major naval power to retain a preference for armoured cruisers during the 1880s was Russia. The Imperial Russian Navy laid down four armoured cruisers and one protected cruiser during the decade, all large ships with sails.
9717_8	Around 1910, armour plate began to increase in quality and steam-turbine engines, lighter and more powerful than previous reciprocating engines, came into use. Existing protected cruisers became obsolete as they were slower and less well protected than new ships. Oil-fired boilers were introduced, making side bunkers of coal unnecessary but losing the protection they afforded. Protected cruisers were replaced by "light armoured cruisers" with a side armoured belt and armoured decks instead of the single deck, later developed into heavy cruisers. Protected cruisers in service United States
9717_9	The first protected cruiser of the United States Navy's "New Navy" was , launched in October 1884, soon followed by in December, and a year later. A numbered series of cruisers began with Newark (Cruiser No. 1), although Charleston (Cruiser No. 2) was the first to be launched, in July 1888, and ending with another Charleston, Cruiser No. 22, launched in 1904. The last survivor of this series is , preserved as a museum ship in Philadelphia. The reclassification of 17 July 1920 put an end to the U.S. usage of the term "protected cruiser", the existing ships were classified as light or heavy cruisers with new numbers, depending on their level of armor. Austria-Hungary The Austro-Hungarian Navy built and operated two classes of protected cruisers. These were two ships of the and three of the . Britain
9717_10	The Royal Navy rated cruisers as first, second and third class between the late 1880s and 1905, and built large numbers of them for trade protection requirements. For most of this time these cruisers were built with a "protected", rather than armoured, scheme of protection for their hulls. First class protected cruisers were as large and as well-armed as armoured cruisers, and were built as an alternative to the large first class armoured cruiser from the late 1880s till 1898. Second class protected cruisers were smaller, displacing and were of value both in trade protection duties and scouting for the fleet. Third class cruisers were smaller, lacked a watertight double bottom, and were intended primarily for trade protection duties, though a few small cruisers were built for fleet scout roles or as "torpedo" cruisers during the "protected" era.
9717_11	The introduction of Krupp armour in six inch thickness rendered the "armoured" protection scheme more effective for the largest first class cruisers, and no large first class protected cruisers were built after 1898. The smaller cruisers, unable to bear the weight of heavy armoured belts retained the "protected" scheme up to 1905, when the last units of the and es were completed. There was a general hiatus in British cruiser production after this time, apart from a few classes of small, fast scout cruisers for fleet duties. When the Royal Navy began building larger cruisers (less than ) again around 1910, they used a mix of armoured decks and/or armoured belts for protection, depending on class. These modern, turbine powered cruisers are properly classified as light cruisers. France The French Navy built and operated a series large variety of protected cruisers classes starting with in 1882. The last ship built to this design was in 1897. Germany
9717_12	The German Imperial Navy (Kaiserliche Marine) built a series of protected cruisers in the 1880s and 1890s, starting with the two ships of the in the 1880s. The Navy completed only two additional classes of protected cruisers, comprising six more ships: the unique , and the five ships. The type then was superseded by the armored cruiser at the turn of the century, the first of which being . All of these ships tended to incorporate design elements from their foreign contemporaries, though the Victoria Louise class more closely resembled German battleships of the period, which carried lighter main guns and a greater number of secondary guns.
9717_13	These ships were employed as fleet scouts and colonial cruisers. Several of the ships served with the German East Asia Squadron, and , , and took part in the Battle of Taku Forts in 1900 during the Boxer Rebellion. During a deployment to American waters in 1902, participated in the Venezuelan crisis of 1902–1903, where she bombarded Fort San Carlos. Long since obsolete by the outbreak of World War I, the five Victoria Louise-class vessels briefly served as training ships in the Baltic but were withdrawn by the end of 1914 for secondary duties. Kaiserin Augusta and the two Irene-class cruisers similarly served in reduced capacities for the duration of the war. All eight ships were broken up for scrap following Germany's defeat. Italy

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