title: Nestor Makhno

text: Due to the threats of deportation, he mostly kept to his writing, as he was no longer able to attend meetings or engage in active organizing. In great pain, increasingly isolated and financially precarious, Makhno got odd jobs as an interior decorator and shoemaker. He was also supported by the income of his wife, who worked as a cleaner, and in April 1929, May Picqueray and other French anarchists established a "Makhno Solidarity Committee" to raise funds. Much of the money was contributed by the Spanish anarchists of the Confederación Nacional del Trabajo (CNT), which greatly admired Makhno, with the fundraiser in "Le Libertaire" eventually securing Makhno's family a weekly allowance of 250 francs, barely one-third of the living wage. Makhno spent most of this money on his daughter, neglecting his own self-care, which contributed further to his declining health. His ideological conflict with the synthesis anarchists escalated and, in July 1930, "Le Libertaire" suspended his allowance. Individual fundraising attempts ended up being unsuccessful.


title: Nestor Makhno

text: Around this time, Makhno learned that Peter Arshinov had defected to the Soviet Union, which left him even more isolated from the Ukrainian exiles. Makhno spent his last years writing criticisms of the Bolsheviks and encouraging other anarchists to learn from the mistakes of the Ukrainian experience. His final article, an obituary for his old friend Nikolai Rogdaev, went unsent as Makhno could not afford the postage. As he suffered from malnutrition, Makhno's tuberculosis worsened to the point that he was hospitalized on 16 March 1934. Operations failed to help and Makhno finally died in the early hours of 25 July 1934. He was cremated three days after his death, with five hundred people attending his funeral at the Père Lachaise Cemetery in Paris.


title: Nestor Makhno

text: While imprisoned in the 1910s, Makhno received "warm letters" from one Nastia Vasetskaia, a young peasant woman from Huliaipole. After his return home in 1917, the two met and became a couple, living together on a commune where Makhno contributed. His activism during this time, however, left him "little time for personal affairs". Vasetskaia was eventually forced to flee Huliaipole after being threatened by Black Guards, taking their child with her. After Makhno himself was forced into exile by the invasion of the Central Powers in early 1918, Makhno managed to reunite with Vasetskaia in Tsaritsyn, finding her lodging at a nearby farm. Makhno soon left her to continue his travels. They never saw each other again. Their baby died young and, after hearing a rumor that Makhno had also died, Vasetskaia found another partner.


title: Nestor Makhno

text: Following the Makhnovist capture of Huliaipole from the Central Powers in late 1918, Makhno met a local schoolteacher called Halyna Kuzmenko, who became his wife and a leading figure in the Makhnovshchina. With the defeat of the Makhnovshchina, the couple fled to Romania and then on to Poland, where Kuzmenko gave birth to their daughter Elena while she and Makhno were both in prison. The family finally settled in Paris but were forced to live separately for some time due to Makhno's worsening tuberculosis.


title: Nestor Makhno

text: Years after Makhno's death, Volin described Makhno's "greatest failing" as being alcohol abuse, claiming that "under the influence of alcohol, he became perverse, over-excitable, unfair, intractable and violent." These claims of alcoholism were disputed by Ida Mett and Makhno's biographer Alexandre Skirda, who respectively noted Makhno's low alcohol tolerance and his enforcement of prohibition during the war. Although other biographers, such as Michael Malet and Victor Peters, wrote that Makhno began to drink heavily during the final years of his life, "when he knew that the tuberculosis was killing him anyway."


title: Nestor Makhno

text: Makhno's widow and his daughter Elena were deported to Nazi Germany for forced labor during World War II. After the end of the war they were arrested by the Soviet NKVD and taken to Kiev for trial in 1946. For the crime of "anti-Soviet agitation", Halyna was sentenced to eight years of hard labor in Mordovia and Elena was sentenced to five years in Kazakhstan. Following the death of Stalin, the two were reunited in Taraz, where they spent the rest of their lives: Halyna would die in 1978, followed by Elena in 1993. Makhno's relatives in Huliaipole faced harassment by Ukrainian authorities up until the dissolution of the Soviet Union.


title: Nestor Makhno

text: The Ukrainian anarchist insurgency continued after Makhno's 1921 flight to Romania. Makhnovist militant groups operated clandestinely throughout the 1920s. Some continued to fight as partisans during World War II. Although the Soviets eventually extinguished the Ukrainian anarchist movement, an anarchist underground continued during the 1970s and following the Revolutions of 1989. Various anarchist groups draw on the name of Makhno for inspiration. For example, the was founded in 1994 and organized along the lines of platformism. The anti-fascist militants of Revolutionary Action have also lain claim to Makhno's legacy and "neo-Makhnovist" sympathies emerged from the anarchists that participated in the Revolution of Dignity.


title: Nestor Makhno

text: Makhno is a local hero in his hometown of Huliaipole, where a statue of the "Bat'ko" stands in its main town square. The Huliaipole Local History Museum hosts a permanent exhibition dedicated to Makhno. In the late 2010s, the Huliaipole City Council was preparing to request the return of Makhno's ashes from France, as part of a campaign to attract tourists to the city, declaring Makhno to be part of the city's brand. Since the dissolution of the Soviet Union, sections of the Ukrainian far right have also attempted to reclaim Makhno as a Ukrainian nationalist and to downplay his anarchist politics.


title: Nestor Makhno

text: Multiple Soviet and Russian films depicted Makhno, often in a negative light. Makno was the antagonist in the 1923 "Red Devils", portrayed by the Odessa gangster and part-time actor Vladimir Kucherenko. He reprised his role in the 1926 sequel "Savur-Mohyla" and returned to crime by using the name "Makhno" as a pseudonym. Boris Chirkov portrayed Makhno in the 1942 epic film "Alexander Parkhomenko" in which he famously sang the traditional Cossack song "Lovely, brothers, lovely" while drinking vodka. Valeri Zolotukhin played Makhno in the 1970 drama "Hail, Mary!", about a Makhnovist who works as a Red Army informant. Aleksey Tolstoy's novel trilogy "The Road to Calvary" portrays Makhno as a dangerous deformation of the revolution with a corrupting influence on the morally unstable. Television miniseries adaptations of the novel in and 2017 similarly present Makhno in a negative light.


title: Nestor Makhno

text: The 2005 "Nine Lives of Nestor Makhno" was a Russian biographical miniseries about Nestor Makhno's life. Pavel Derevyanko portrayed Makhno, and Russian critics gave his performance high praise. The series was noted for its positive portrayal of Makhno, although some reviewers also criticised the series for lacking narrative coherence. Hélène Châtelain directed a 1995 French documentary about Makhno.


title: Nestor Makhno

text: Also, Makhno has been referenced in popular media as a cultural allusion, such as a supporting role in Michael Moorcock's 1981 alternative history novel "The Steel Tsar", the opening track in the Russian rock band Lyube's 1989 album during the fall of communism in the Eastern Bloc, a song U.S. representative Dana Rohrabacher had written and played for the 1991 official visit of a People's Deputy of Ukraine, and the pseudonym used by the leader of an "anti-yuppie crusade" in San Francisco against perceived gentrification by Silicon Valley.


title: Nestor Makhno

text: Following the 2022 Russian invasion of Ukraine, the legacy of Nestor Makhno and the Makhnovshchina was again taken up by Ukrainian anti-authoritarians that joined the Territorial Defense Forces (TDF). Symbols of the Makhnovshchina have appeared in the propaganda of the Resistance Committee, an anarchist detachment in the TDF, on the patches of a Ukrainian armed unit of green anarchists, and on flags flown on the back of modern-day tachankas. The Ukrainian Armed Forces also adopted the name "Makhno's bow" () for their defense forces engaged in the battle of Huliaipole, which has occupied a key place in the line of contact between Ukrainian and Russian-occupied Zaporizhzhia.


title: Steven Adler

text: Steven Adler (born Michael Coletti; January 22, 1965) is an American musician. He was the drummer and co-songwriter of the hard rock band Guns N' Roses, with whom he achieved worldwide success in the late 1980s. Adler was fired from Guns N' Roses over his heroin addiction in 1990, following which he reformed his pre-Guns N' Roses band Road Crew and briefly joined BulletBoys. During the 2000s, Adler was the drummer of the band Adler's Appetite, and from 2012, he had held the same position in the band Adler. In early 2017, he declared that he has no intention to continue with the band and that the band has been dissolved, with the reason being his lack of interest in performing during poorly attended concerts. He appeared on the second (2008) and fifth (2011) seasons of the reality TV show "Celebrity Rehab with Dr. Drew", as well as on the first season of its spin-off "Sober House" (2009). He was inducted into the Rock and Roll Hall of Fame in 2012 as a member of Guns N' Roses.


title: Steven Adler

text: Steven Adler was born Michael Coletti in Cleveland, Ohio, to an Italian-American father, Michael Coletti, and a Jewish-American mother, Deanna. After his father left the family, his mother moved with her children to Los Angeles, California. Adler was originally named after his father at birth, but his mother renamed him Steven when she returned to her parents because Jewish naming conventions forbid naming children after living relatives. He took his mother's surname after she married Melvin Adler, who adopted her two oldest children (including Steven). He has one older brother, Kenny, and a younger half-brother, Jamie. Adler grew up in the San Fernando Valley until the age of 13, when he was sent to live with his grandparents in Hollywood due to his bad behavior. While attending Bancroft Junior High School, Adler befriended Saul Hudson, later known as Slash; they met when Adler had a skateboarding accident and Slash stopped to help him. After ninth grade, Adler returned to his parents' house in the Valley for the remainder of high school, during which time he learned to play drums.


title: Steven Adler

text: After his return to Hollywood in 1983, Adler auditioned for Sunset Strip staple London. When the audition proved unsuccessful, he formed the band Road Crew—named after the Motörhead song "(We Are) The Road Crew"—with his childhood friend Slash. They placed an advertisement in a newspaper looking for a bassist, and received a response from Duff McKagan. They auditioned a number of singers, including one-time Black Flag vocalist Ron Reyes, and worked on material that included the main riff of what would become the Guns N' Roses song "Rocket Queen." Slash disbanded the group the following year due to their inability to find an adequate lead vocalist, as well as Adler's laziness compared to himself and McKagan. Adler then briefly joined a local band known as Hollywood Rose, which featured singer Axl Rose and guitarist Izzy Stradlin (who left shortly after).


title: Steven Adler

text: In June 1985, Adler joined Guns N' Roses, which was newly founded by Axl Rose, Izzy Stradlin, and L.A. Guns members Tracii Guns, Ole Beich and Rob Gardner. After the original drummer Gardner quit, Adler and Slash joined their former Road Crew bandmate Duff McKagan (who joined in March 1985) to complete the line-up. They played nightclubs—such as the Whisky a Go Go, The Roxy, and The Troubadour—and opened for larger acts throughout 1985 and 1986. After being scouted by several major record labels, the band signed with Geffen Records in March 1986.


title: Steven Adler

text: In July 1987, Guns N' Roses released its debut album, "Appetite for Destruction", which to date has sold over 30 million copies worldwide, 18 million of which were in the United States, making it the best-selling debut album of all time in the US. In December, during a tour with Alice Cooper, an intoxicated Adler broke his hand when he punched a streetlight after a barroom brawl; Fred Coury of Cinderella was brought in as his substitute for several shows until he recovered. In November 1988, Guns N' Roses released "G N' R Lies", which sold over five million copies in the US alone, despite containing only eight tracks, four of which were included on the previously released EP "Live ?!*@ Like a Suicide".


title: Steven Adler

text: Adler was again absent during a performance at the American Music Awards in January 1989; Don Henley filled in for him on drums. His absence was originally attributed to a case of the flu, but it was later revealed that Adler had been in a drug rehabilitation program at the time. The following October, during a show as opening act for The Rolling Stones, Axl Rose threatened to leave the band if certain members of the band didn't stop "dancing with Mr. Brownstone," a reference to their song of the same name about heroin use. Adler was among those who promised to clean up, but he continued to struggle with his addiction.


title: Steven Adler

text: Adler was briefly fired from the band over his drug use in early 1990, but he was reinstated after signing a contract in which he vowed to stop taking drugs. However, by the time the band entered the studio to record the song "Civil War", his addiction had become so severe that he was unable to perform. By Adler's own admission, he tried to play the song "20, maybe 30 times." The song's drum track had to be heavily edited just for his bandmates to be able to play along with it. When problems in the studio continued, causing recording sessions to abort for several days at a time, Adler was formally fired from Guns N' Roses on July 11, 1990. He had played his final show with the band on April 7 at Farm Aid IV.


title: Steven Adler

text: Izzy Stradlin, who left the band in November 1991, later stated that replacing Adler with Matt Sorum of The Cult had a big impact on the band's sound. In response to an interviewer's suggestion that the line-up change had turned Guns N' Roses from a rock 'n' roll band into a heavy metal one, Stradlin said, "Yeah, a big musical difference. ... [Our songs] were written with Steve playing the drums and his sense of swing was the push and pull that give the songs their feel. When that was gone, it was just...unbelievable, weird. Nothing worked. I would have preferred to continue with Steve, but we'd had two years off and we couldn't wait any longer."


title: Steven Adler

text: Following his departure from Guns N' Roses, he was one of several drummers who auditioned to join AC/DC. However Adler claims that AC/DC's manager withdrew an offer, following Axl Rose announcing Adler's firing and branding him a drug addict onstage at the MTV Video Music Awards in September 1990. Adler instead reformed Road Crew with a new line-up, consisting of former Vain members singer Davy Vain, guitarist Jamie Scott, and bassist Ashley Mitchell, along with guitarist Shawn Rorie. They recorded an album and attracted attention from a major label, but due to Adler's persistent drug problems, the group disbanded shortly thereafter. Adler then entered a prolonged, self-imposed exile from the music industry; he later recalled, "I wish I could say that I did a lot of traveling or self-improvement, but all I actually did was sit on the couch and get high—while the TV watched me. It was a very, very hard time."


title: Steven Adler

text: A year after his dismissal, in July 1991, Adler filed a lawsuit against his former Guns N' Roses bandmates, contending that he was fired because the opiate-blocking drug he had been taking to aid his detox interfered with his concentration. He also alleged that the contract he had been made to sign took away his financial interest in the band, stating, "I was told that every time I did heroin, the band would fine me $2,000. ... What these contracts actually said was that the band were paying me $2,000 to leave. They were taking my royalties, all my writing credits. They didn't like me any more and just wanted me gone." The case was settled out of court in 1993; Adler received a back-payment check of $2,250,000 and was granted 15% of the royalties for everything he recorded prior to his departure.


title: Steven Adler

text: In 1996, Adler suffered a stroke and was briefly comatose after taking a particularly potent speedball—a cocktail of heroin and cocaine used intravenously—which caused a temporary paralysis of the left side of his face, resulting in a speech impediment. The following year, he pleaded no contest to disturbing the peace in relation to a domestic violence charge involving a woman with whom he had been living; he was sentenced to four days in jail, three years' probation, and mandatory drug counseling.


title: Steven Adler

text: In June 1998, Adler joined the newly reformed hard rock band BulletBoys, along with future Guns N' Roses guitarist DJ Ashba. The group recorded an album and announced a US summer tour with Faster Pussycat, Bang Tango and Enuff Z'nuff. However, Adler's return to music was cut short the following September, when he pleaded no contest to two counts of battery stemming from attacks on two other women in separate domestic violence incidents. He was sentenced to a 150-day term in prison and three years' probation, with the condition of undergoing a year of domestic violence counseling and a ban on using illegal drugs.


title: Steven Adler

text: In 2003, Adler formed the band Suki Jones, later renamed Adler's Appetite, with singer Jizzy Pearl, former Slash's Snakepit guitarist Keri Kelli, Faster Pussycat guitarist Brent Muscat, and former Ratt bassist Robbie Crane. With an ever-changing line-up due to members' previous commitments, the band toured the US and Europe throughout 2003 and 2004, playing mostly songs off Guns N' Roses' debut album "Appetite for Destruction", as well as material by Aerosmith, Led Zeppelin, and Queen. In September 2003, Adler's Appetite performed a show at the Key Club in Hollywood, where they were joined on stage by Adler's former Guns N' Roses bandmates Slash and Izzy Stradlin, for renditions of "Mr. Brownstone", "Paradise City", and "Knockin' on Heaven's Door".


title: Steven Adler

text: In January 2005, Adler's Appetite—minus Brent Muscat, who had departed the band—released through their official website a self-titled EP, which featured four original songs and the covers "Hollywood" by Thin Lizzy and "Draw the Line" by Aerosmith. The release was followed by a tour of the US, Europe, Japan, and Argentina. Later that year, the band announced plans to release a full-length album through Shrapnel Records, but it failed to materialize. In July 2007, the group played another show at the Key Club, as part of their tour celebrating the 20th anniversary of "Appetite for Destruction", during which they were joined on stage by former Guns N' Roses members Izzy Stradlin and Duff McKagan. Although Slash was also in attendance, he did not join the band on stage, stating that he did not want to encourage the notion of a Guns N' Roses reunion.


title: Steven Adler

text: In 2008, Adler participated in the second season of the reality TV show "Celebrity Rehab with Dr. Drew". The show's resident medical expert, Drew Pinsky, regarded Adler as the "problem child" of the group; he described his behavior as "suicidal" and revealed that Adler had to be committed to a psychiatric hospital for two weeks prior to entering rehab. Adler also participated in the first season of the "Celebrity Rehab" spin-off "Sober House". During the show's filming in July, an intoxicated Adler became so aggressive towards his cast mates that he was arrested at the "Sober House" premises. He was convicted of being under the influence of a controlled substance and sentenced to community service. The following January, he was arrested again for failure to complete his community service in the time frame stipulated by the judge.


title: Steven Adler

text: In 2010, Adler collaborated with his former Guns N' Roses bandmate Slash on the latter's self-titled debut solo album, which was released in April. He appeared on the track "Baby Can't Drive", along with Red Hot Chili Peppers bassist Flea, Alice Cooper, and Nicole Scherzinger. The song was featured on an expanded edition of the album released by "Classic Rock". The following July, Adler's Appetite—consisting of Adler, singer Rick Stitch, guitarists Michael Thomas and Alex Grossi, and bassist Chip Z'nuff—released the single "Alive", in conjunction with the release of Adler's autobiography "My Appetite for Destruction: Sex, and Drugs, and Guns N' Roses". In December, the band released two more singles, entitled "Stardog" and "Fading". In 2011, following another relapse, Adler participated in the fifth season of "Celebrity Rehab with Dr. Drew".


title: Steven Adler

text: In 2011, Adler formed a new band, simply called Adler, with guitarist Lonny Paul, who had been a member of Adler's Appetite prior to the breakup, and singer-guitarist Jacob Bunton of Lynam and formerly of Mars Electric, with the lineup later rounded out by former L.A. Guns member Johnny Martin on bass. Adler stated, "I love the music that we're creating! I haven't been this excited about my band since the Guns N' Roses days." The band recorded their debut album in Los Angeles with producers Jeff Pilson and Jay Ruston. Titled "Back from the Dead", the album features guest appearances from Slash and John 5, and was released on November 26, 2012, via New Ocean Media. The album's release was preceded by the single "The One That You Hated", which was released on April 10 via iTunes.


title: Steven Adler

text: On April 14, 2012, Adler was inducted into the Rock and Roll Hall of Fame as a member of the classic lineup of Guns N' Roses. He headlined the induction ceremony with fellow inductees Slash, Duff McKagan, and Matt Sorum, as well as former member Gilby Clarke and Slash's collaborator Myles Kennedy. Adler stated that being inducted was "an honor and a dream come true."


title: Steven Adler

text: In late October and early November 2012, Adler played on the Kiss Kruise, which sailed from Florida to the Bahamas. These shows marked the band's first-ever live performances. The following year, Adler's scheduled U.S. tour was postponed when Adler checked into a rehab facility to "continue working on his sobriety."


title: Steven Adler

text: On the July 6, 2016 stop of the Not in This Lifetime... Tour in Cincinnati, Ohio, Adler joined Guns N' Roses for performances of "Out Ta Get Me" and "My Michelle", which marked his first appearance with the band since his firing in 1990. He made other guest appearances during shows in Nashville, Los Angeles, and Buenos Aires. He was also rumored to take part in the band's surprise April 1 show at the Troubadour, but had back surgery which forced him to pull out.


title: Steven Adler

text: In 2018, guitarist Alex Grossi announced that Adler's Appetite will return to celebrate the 30th anniversary of "Appetite for Destruction".


title: Veliky Novgorod

text: Veliky Novgorod (), also known as just Novgorod (), is the largest city and administrative centre of Novgorod Oblast, Russia. It is one of the oldest cities in Russia, being first mentioned in the 9th century. The city lies along the Volkhov River just downstream from its outflow from Lake Ilmen and is situated on the M10 federal highway connecting Moscow and Saint Petersburg. UNESCO recognized Novgorod as a World Heritage Site in 1992. The city has a population of


title: Veliky Novgorod

text: At its peak during the 14th century, the city was the capital of the Novgorod Republic and was one of Europe's largest cities. The "Veliky" ("great") part was added to the city's name in 1999.


title: Veliky Novgorod

text: The Sofia First Chronicle makes initial mention of it in 859, while the Novgorod First Chronicle first mentions it in 862, when it was purportedly already a major Baltics-to-Byzantium station on the trade route from the Varangians to the Greeks. The Charter of Veliky Novgorod recognizes 859 as the year when the city was first mentioned. Novgorod is traditionally considered to be a cradle of Russian statehood.


title: Veliky Novgorod

text: The oldest archaeological excavations in the middle to late 20th century, however, have found cultural layers dating back to the late 10th century, the time of the Christianization of Rus' and a century after it was allegedly founded. Archaeological dating is fairly easy and accurate to within 15–25 years, as the streets were paved with wood, and most of the houses made of wood, allowing tree ring dating.


title: Veliky Novgorod

text: The Varangian name of the city or ( or ) is mentioned in Norse Sagas as existing at a yet earlier stage, but the correlation of this reference with the actual city is uncertain. Originally, referred to the stronghold, now only to the south of the center of the present-day city, Rurikovo Gorodische (named in comparatively modern times after the Varangian chieftain Rurik, who supposedly made it his "capital" around 860). Archaeological data suggests that the Gorodishche, the residence of the Knyaz (prince), dates from the mid-9th century, whereas the town itself dates only from the end of the 10th century; hence the name Novgorod, "new city", from Old East Slavic and ( and ); the Old Norse term is a calque of an Old Russian word. First mention of this Norse etymology to the name of the city of Novgorod (and that of other cities within the territory of the then Kievan Rus') occurs in the 10th-century policy manual by Byzantine emperor Constantine VII.


title: Veliky Novgorod

text: In 882, Rurik's successor, Oleg of Novgorod, conquered Kiev and founded the state of Kievan Rus'. Novgorod's size as well as its political, economic, and cultural influence made it the second most important city in Kievan Rus'. According to a custom, the elder son and heir of the ruling Kievan monarch was sent to rule Novgorod even as a minor. When the ruling monarch had no such son, Novgorod was governed by posadniks, such as the legendary Gostomysl, Dobrynya, Konstantin, and Ostromir.


title: Veliky Novgorod

text: Of all their princes, Novgorodians most cherished the memory of Yaroslav the Wise, who sat as Prince of Novgorod from 1010 to 1019, while his father, Vladimir the Great, was a prince in Kiev. Yaroslav promulgated the first written code of laws (later incorporated into Russkaya Pravda) among the Eastern Slavs and is said to have granted the city a number of freedoms or privileges, which they often referred to in later centuries as precedents in their relations with other princes. His son, Vladimir, sponsored construction of the great St. Sophia Cathedral, more accurately translated as the Cathedral of Holy Wisdom, which stands to this day.


title: Veliky Novgorod

text: In Norse sagas the city is mentioned as the capital of Gardariki. Many Viking kings and yarls came to Novgorod seeking refuge or employment, including Olaf I of Norway, Olaf II of Norway, Magnus I of Norway, and Harald Hardrada. No more than a few decades after the 1030 death and subsequent canonization of Olaf II of Norway, the city's community had erected in his memory Saint Olaf's Church in Novgorod.


title: Veliky Novgorod

text: The Gotland town of Visby functioned as the leading trading center in the Baltic before the Hansa League. At Novgorod in 1080, Visby merchants established a trading post which they named Gutagard (also known as Gotenhof). Later, in the first half of the 13th century, merchants from northern Germany also established their own trading station in Novgorod, known as Peterhof. At about the same time, in 1229, German merchants at Novgorod were granted certain privileges, which made their position more secure.


title: Veliky Novgorod

text: In 1136, the Novgorodians dismissed their prince Vsevolod Mstislavich. The year is seen as the traditional beginning of the Novgorod Republic. The city was able to invite and dismiss a number of princes over the next two centuries, but the princely office was never abolished and powerful princes, such as Alexander Nevsky, could assert their will in the city regardless of what Novgorodians said. The city state controlled most of Europe's northeast, from lands east of today's Estonia to the Ural Mountains, making it one of the largest states in medieval Europe, although much of the territory north and east of Lakes Ladoga and Onega was sparsely populated and never organized politically.


title: Veliky Novgorod

text: One of the most important local figures in Novgorod was the , or mayor, an official elected by the public assembly (called the ) from among the city's boyars, or aristocracy. The , or "thousandman", originally the head of the town militia but later a commercial and judicial official, was also elected by the . Another important local official was the Archbishop of Novgorod who shared power with the boyars. Archbishops were elected by the or by the drawing of lots, and after their election, were sent to the metropolitan for consecration.


title: Veliky Novgorod

text: While a basic outline of the various officials and the can be drawn up, the city-state's exact political constitution remains unknown. The boyars and the archbishop ruled the city together, although where one official's power ended and another's began is uncertain. The prince, although his power was reduced from around the middle of the 12th century, was represented by his , or lieutenant, and still played important roles as a military commander, legislator and jurist. The exact composition of the , too, is uncertain, with some historians, such as Vasily Klyuchevsky, claiming it was democratic in nature, while later scholars, such as Marxists Valentin Ianin and Aleksandr Khoroshev, see it as a "sham democracy" controlled by the ruling elite.


title: Veliky Novgorod

text: In the 13th century, Novgorod, while not a member of the Hanseatic League, was the easternmost kontor, or entrepôt, of the league, being the source of enormous quantities of luxury (sable, ermine, fox, marmot) and non-luxury furs (squirrel pelts).


title: Veliky Novgorod

text: Throughout the Middle Ages, the city thrived culturally. A large number of birch bark letters have been unearthed in excavations, perhaps suggesting widespread literacy. It was in Novgorod that the Novgorod Codex, the oldest Slavic book written north of Bulgaria, and the oldest inscription in a Finnic language (Birch bark letter no. 292) were unearthed. Some of the most ancient Russian chronicles (Novgorod First Chronicle) were written in the scriptorium of the archbishops who also promoted iconography and patronized church construction. The Novgorod merchant Sadko became a popular hero of Russian folklore.


title: Veliky Novgorod

text: Novgorod was never conquered by the Mongols during the Mongol invasion of Rus. The Mongol army turned back about from the city, not because of the city's strength, but probably because the Mongol commanders did not want to get bogged down in the marshlands surrounding the city. However, the grand princes of Moscow, who acted as tax collectors for the khans of the Golden Horde, did collect tribute in Novgorod, most notably Yury Danilovich and his brother, Ivan Kalita.


title: Veliky Novgorod

text: In 1259, Mongol tax-collectors and census-takers arrived in the city, leading to political disturbances and forcing Alexander Nevsky to punish a number of town officials (he cut off their noses) for defying him as Grand Prince of Vladimir (soon to be the khan's tax-collector in Russia) and his Mongol overlords. In the 14th century, raids by Novgorod pirates, or , sowed fear as far as Kazan and Astrakhan, assisting Novgorod in wars with the Grand Duchy of Moscow.


title: Veliky Novgorod

text: During the era of Old Rus' State, Novgorod was a trade hub at the northern end of both the Volga trade route and the "route from the Varangians to the Greeks" along the Dnieper river system. A vast array of goods were transported along these routes and exchanged with local Novgorod merchants and other traders. The farmers of Gotland retained the Saint Olof trading house well into the 12th century. Later German merchantmen also established tradinghouses in Novgorod. Scandinavian royalty would intermarry with Russian princes and princesses.


title: Veliky Novgorod

text: After the great schism, Novgorod struggled from the beginning of the 13th century against Swedish, Danish, and German crusaders. During the Swedish-Novgorodian Wars, the Swedes invaded lands where some of the population had earlier paid tribute to Novgorod. The Germans had been trying to conquer the Baltic region since the late 12th century. Novgorod went to war 26 times with Sweden and 11 times with the Livonian Brothers of the Sword. The German knights, along with Danish and Swedish feudal lords, launched a series of uncoordinated attacks in 1240–1242. Novgorodian sources mention that a Swedish army was defeated in the Battle of the Neva in 1240. The Baltic German campaigns ended in failure after the Battle on the Ice in 1242. After the foundation of the castle of Viborg in 1293 the Swedes gained a foothold in Karelia. On August 12, 1323, Sweden and Novgorod signed the Treaty of Nöteborg, regulating their border for the first time.


title: Veliky Novgorod

text: The city's downfall occurred partially as a result of its inability to feed its large population, making it dependent on the Vladimir-Suzdal region for grain. The main cities in the area, Moscow and Tver, used this dependence to gain control over Novgorod. Eventually Ivan III forcibly annexed the city to the Grand Duchy of Moscow in 1478. The was dissolved and a significant part of Novgorod's aristocracy, merchants and smaller landholding families was deported to central Russia. The Hanseatic League kontor was closed in 1494 and the goods stored there were seized by Muscovite forces.


title: Veliky Novgorod

text: At the time of annexation, Novgorod became the third largest city under Muscovy and then the Tsardom of Russia (with 5,300 homesteads and 25–30 thousand inhabitants in the 1550s) and remained so until the famine of the 1560s and the Massacre of Novgorod in 1570. In the Massacre, Ivan the Terrible sacked the city, slaughtered thousands of its inhabitants, and deported the city's merchant elite and nobility to Moscow, Yaroslavl and elsewhere. The last decade of the 16th century was a comparatively favourable period for the city as Boris Godunov restored trade privileges and raised the status of Novgorod bishop. The German trading post was reestablished in 1603. Even after the incorporation into the Russian state Novgorod land retained its distinct identity and institutions, including the customs policy and administrative division. Certain elective offices were quickly restored after having been abolished by Ivan III.


title: Veliky Novgorod

text: During the Time of Troubles, Novgorodians submitted to Swedish troops led by Jacob De la Gardie in the summer of 1611. The city was restituted to Muscovy six years later by the Treaty of Stolbovo. The conflict led to further depopulation: the number of homesteads in the city decreased from 1158 in 1607 to only 493 in 1617, with the Sofia side described as 'deserted'. Novgorod only regained a measure of its former prosperity towards the end of the century, when such ambitious buildings as the Cathedral of the Sign and the Vyazhischi Monastery were constructed. The most famous of Muscovite patriarchs, Nikon, was active in Novgorod between 1648 and 1652. The Novgorod Land became one of the Old Believers' strongholds after the Schism. The city remained an important trade centre even though it was now eclipsed by Archangelsk, Novgorodian merchants were trading in the Baltic cities and Stockholm while Swedish merchants came to Novgorod where they had their own trading post since 1627. Novgorod continued to be a major centre of crafts which employed the majority of its population. There were more than 200 distinct professions in 16th century. Bells, cannons and other arms were produced in Novgorod; its silversmiths were famous for the skan' technique used for religious items and jewellery. Novgorod chests were in widespread use all across Russia, including the Tsar's household and the northern monasteries.


title: Veliky Novgorod

text: In 1727, Novgorod was made the administrative center of Novgorod Governorate of the Russian Empire, which was detached from Saint Petersburg Governorate (see Administrative divisions of Russia in 1727–1728). This administrative division existed until 1927. Between 1927 and 1944, the city was a part of Leningrad Oblast, and then became the administrative center of the newly formed Novgorod Oblast.


title: Veliky Novgorod

text: On August 15, 1941, during World War II, the city was occupied by the German Army. Its historic monuments were systematically obliterated. The Red Army the city on January 19, 1944. Out of 2,536 stone buildings, fewer than forty remained standing. After the war, thanks to plans laid down by Alexey Shchusev, the central part was gradually restored. In 1992, the chief monuments of the city and the surrounding area were inscribed on the UNESCO World Heritage Site list as the Historic Monuments of Novgorod and Surroundings. In 1999, the city was officially renamed Veliky Novgorod (literally, Great Novgorod), thus partly reverting to its medieval title "Lord Novgorod the Great". This reduced the temptation to confuse Veliky Novgorod with Nizhny Novgorod, a larger city the other side of Moscow which, between 1932 and 1990, had been renamed Gorky, in honour of Maxim Gorky.


title: Veliky Novgorod

text: Veliky Novgorod is the administrative center of the oblast and, within the framework of administrative divisions, it also serves as the administrative center of Novgorodsky District, even though it is not a part of it. As an administrative division, it is incorporated separately as the city of oblast significance of Veliky Novgorod—an administrative unit with status equal to that of the districts. As a municipal division, the city of oblast significance of Veliky Novgorod is incorporated as Veliky Novgorod Urban Okrug.


title: Veliky Novgorod

text: The city is known for the variety and age of its medieval monuments. The foremost among these is the St. Sophia Cathedral, built between 1045 and 1050 under the patronage of Vladimir Yaroslavich, the son of Yaroslav the Wise; Vladimir and his mother, Anna Porphyrogenita, are buried in the cathedral. It is one of the best preserved churches from the 11th century. It is also probably the oldest structure still in use in Russia and the first one to represent original features of Russian architecture (austere stone walls, five helmet-like domes). Its frescoes were painted in the 12th century originally on the orders of Bishop Nikita (died 1108) (the "porches" or side chapels were painted in 1144 under Archbishop Nifont) and renovated several times over the centuries, most recently in the nineteenth century. The cathedral features famous bronze gates, which now hang in the west entrance, allegedly made in Magdeburg in 1156 (other sources see them originating from Płock in Poland) and reportedly snatched by Novgorodians from the Swedish town of Sigtuna in 1187. More recent scholarship has determined that the gates were most likely purchased in the mid-15th century, apparently at the behest of Archbishop Euthymius II (1429–1458), a lover of Western art and architectural styles.


title: Veliky Novgorod

text: The Novgorod Kremlin, traditionally known as the "Detinets", also contains the oldest palace in Russia (the so-called Chamber of the Facets, 1433), which served as the main meeting hall of the archbishops; the oldest Russian bell tower (mid-15th century), and the oldest Russian clock tower (1673). The Palace of Facets, the bell tower, and the clock tower were originally built on the orders of Archbishop Euphimius II, although the clock tower collapsed in the 17th century and had to be rebuilt and much of the palace of Euphimius II is no longer standing. Among later structures, the most remarkable are a royal palace (1771) and a bronze monument to the Millennium of Russia, representing the most important figures from the country's history (unveiled in 1862).


title: Veliky Novgorod

text: Outside the Kremlin walls, there are three large churches constructed during the reign of Mstislav the Great. St. Nicholas Cathedral (1113–1123), containing frescoes of Mstislav's family, graces Yaroslav's Court (formerly the chief square of Novgorod). The Yuriev Monastery (one of the oldest in Russia, 1030) contains a tall, three-domed cathedral from 1119 (built by Mstislav's son, Vsevolod, and Kyurik, the head of the monastery). A similar three-domed cathedral (1117), probably designed by the same masters, stands in the Antoniev Monastery, built on the orders of Antony, the founder of that monastery.


title: Veliky Novgorod

text: There are now some fifty medieval and early modern churches scattered throughout the city and its surrounding areas. Some of them were blown up by the Nazis and subsequently restored. The most ancient pattern is represented by those dedicated to Saints Pyotr and Pavel (on the Swallow's Hill, 1185–1192), to Annunciation (in Myachino, 1179), to Assumption (on Volotovo Field, 1180s) and to St. Paraskeva-Piatnitsa (at Yaroslav's Court, 1207). The greatest masterpiece of early Novgorod architecture is the Savior church at Nereditsa (1198).


title: Veliky Novgorod

text: In the 13th century, tiny churches of the three-paddled design were in vogue. These are represented by a small chapel at the Peryn Monastery (1230s) and St. Nicholas' on the Lipnya Islet (1292, also notable for its 14th-century frescoes). The next century saw the development of two original church designs, one of them culminating in (1360–1361, fine frescoes from 1380s), and another one leading to the Savior church on Ilyina street (1374, painted in 1378 by Feofan Grek). The Savior' church in Kovalevo (1345) was originally frescoed by Serbian masters, but the church was destroyed during the war. While the church has since been rebuilt, the frescoes have not been restored.


title: Veliky Novgorod

text: During the last century of the republican government, some new churches were consecrated to Saints Peter and Paul (on Slavna, 1367; in Kozhevniki, 1406), to Christ's Nativity (at the Cemetery, 1387), to St. John the Apostle's (1384), to the Twelve Apostles (1455), to St Demetrius (1467), to St. Simeon (1462), and other saints. Generally, they are not thought to be as innovative as the churches from the previous period. Several shrines from the 12th century (i.e., in Opoki) were demolished brick by brick and then reconstructed exactly as they used to be, several of them in the mid-fifteenth century, again under Archbishop Yevfimy II (Euthymius II), perhaps one of the greatest patrons of architecture in medieval Novgorod.


title: Veliky Novgorod

text: Novgorod's conquest by Ivan III in 1478 decisively changed the character of local architecture. Large commissions were thenceforth executed by Muscovite masters and patterned after cathedrals of Moscow Kremlin: e.g., the Savior Cathedral of Khutyn Monastery (1515), the Cathedral of the Mother of God of the Sign (1688), the St. Nicholas Cathedral of Vyaschizhy Monastery (1685). Nevertheless, the styles of some parochial churches were still in keeping with local traditions: e.g., the churches of Myrrh-bearing Women (1510) and of Saints Boris and Gleb (1586).


title: Veliky Novgorod

text: In Vitoslavlitsy, along the Volkhov River and the Myachino Lake, close to the Yuriev Monastery, a museum of wooden architecture was established in 1964. Over twenty wooden buildings (churches, houses and mills) dating from the 14th to the 19th century were transported there from all around the Novgorod region.


title: Veliky Novgorod

text: 11400 graves of the German 1st Luftwaffe Field Division are found at the war cemetery in Novgorod. Also 1900 soldiers of the Spanish Blue Division are buried there.


title: Veliky Novgorod

text: Novgorod has connections to Moscow (531 km) and St. Petersburg (189 km) by the federal highway M10. There are public buses to Saint Petersburg and other destinations.


title: Veliky Novgorod

text: The city has direct railway passenger connections with Moscow (Leningradsky Rail Terminal, by night trains), St. Petersburg (Moscow Rail Terminal and Vitebsk Rail Terminal, by suburban trains), Minsk (Belarus) (Minsk Passazhirsky railway station, by night trains) and Murmansk.


title: Veliky Novgorod

text: The city's former commercial airport Yurievo was decommissioned in 2006, and the area has now been redeveloped into a residential neighbourhood. The still existing Krechevitsy Airport does not serve any regular flights since mid-1990s although there is a plan to turn Krechevitsy into a new operational airport by 2025. The nearest international airport is St. Petersburg's Pulkovo, some north of the city.


title: Veliky Novgorod

text: Local transportation consists of a network of buses and trolleybuses. The trolleybus network, which currently consists of five routes, started operating in 1995 and is the first trolley system opened in Russia after the fall of the Soviet Union.


title: Veliky Novgorod

text: A minor planet, 3799 Novgorod, discovered by the Soviet astronomer Nikolai Stepanovich Chernykh in 1979, is named after the city.


title: Futurism

text: Futurism () was an artistic and social movement that originated in Italy, and to a lesser extent in other countries, in the early 20th century. It emphasized dynamism, speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city. Its key figures included the Italians Filippo Tommaso Marinetti, Umberto Boccioni, Carlo Carrà, Fortunato Depero, Gino Severini, Giacomo Balla, and Luigi Russolo. Italian Futurism glorified modernity and according to its doctrine, aimed to liberate Italy from the weight of its past. Important Futurist works included Marinetti's 1909 "Manifesto of Futurism", Boccioni's 1913 sculpture "Unique Forms of Continuity in Space", Balla's 1913–1914 painting "Abstract Speed + Sound", and Russolo's "The Art of Noises" (1913).


title: Futurism

text: Although Futurism was largely an Italian phenomenon, parallel movements emerged in Russia, where some Russian Futurists would later go on to found groups of their own; other countries either had a few Futurists or had movements inspired by Futurism. The Futurists practiced in every medium of art, including painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design, theatre, film, fashion, textiles, literature, music, architecture, and even cooking.


title: Futurism

text: To some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, and Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. can represent an opposing trend or attitude.


title: Futurism

text: Futurism is an avant-garde movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. Marinetti launched the movement in his "Manifesto of Futurism", which he published for the first time on 5 February 1909 in "La gazzetta dell'Emilia", an article then reproduced in the French daily newspaper "Le Figaro" on Saturday 20 February 1909. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini and the composer Luigi Russolo. Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. "We want no part of it, the past", he wrote, "we the young and strong "Futurists!"" The Futurists admired speed, technology, youth and violence, the car, the airplane and the industrial city, all that represented the technological triumph of humanity over nature, and they were passionate nationalists. They repudiated the cult of the past and all imitation, praised originality, "however daring, however violent", bore proudly "the smear of madness", dismissed art critics as useless, rebelled against harmony and good taste, swept away all the themes and subjects of all previous art, and gloried in science.


title: Futurism

text: Publishing manifestos was a feature of Futurism, and the Futurists (usually led or prompted by Marinetti) wrote them on many topics, including painting, architecture, music, literature, photography, religion, women, fashion and cuisine.


title: Futurism

text: The founding manifesto did not contain a positive artistic programme, which the Futurists attempted to create in their subsequent "Technical Manifesto of Futurist Painting" (published in Italian as a leaflet by "Poesia", Milan, 11 April 1910). This committed them to a "universal dynamism", which was to be directly represented in painting. Objects in reality were not separate from one another or from their surroundings: "The sixteen people around you in a rolling motor bus are in turn and at the same time one, ten four three; they are motionless and they change places. ... The motor bus rushes into the houses which it passes, and in their turn the houses throw themselves upon the motor bus and are blended with it."


title: Futurism

text: The Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been adopted from Divisionism by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Cubism contributed to the formation of Italian Futurism's artistic style. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists. Cubism offered them a means of analysing energy in paintings and expressing dynamism.


title: Futurism

text: They often painted modern urban scenes. Carrà's "Funeral of the Anarchist Galli" (1910–11) is a large canvas representing events that the artist had himself been involved in, in 1904. The action of a police attack and riot is rendered energetically with diagonals and broken planes. His "Leaving the Theatre" (1910–11) uses a Divisionist technique to render isolated and faceless figures trudging home at night under street lights.


title: Futurism

text: Boccioni's "The City Rises" (1910) represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. His "States of Mind", in three large panels, "The Farewell", "Those who Go", and "Those Who Stay", "made his first great statement of Futurist painting, bringing his interests in Bergson, Cubism and the individual's complex experience of the modern world together in what has been described as one of the 'minor masterpieces' of early twentieth century painting." The work attempts to convey feelings and sensations experienced in time, using new means of expression, including "lines of force", which were intended to convey the directional tendencies of objects through space, "simultaneity", which combined memories, present impressions and anticipation of future events, and "emotional ambience" in which the artist seeks by intuition to link sympathies between the exterior scene and interior emotion.


title: Futurism

text: Boccioni's intentions in art were strongly influenced by the ideas of Bergson, including the idea of intuition, which Bergson defined as a simple, indivisible experience of sympathy through which one is moved into the inner being of an object to grasp what is unique and ineffable within it. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted. Boccioni developed these ideas at length in his book, "Pittura scultura Futuriste: Dinamismo plastico" ("Futurist Painting Sculpture: Plastic Dynamism") (1914).


title: Futurism

text: Balla's "Dynamism of a Dog on a Leash" (1912) exemplifies the Futurists' insistence that the perceived world is in constant movement. The painting depicts a dog whose legs, tail and leash—and the feet of the woman walking it—have been multiplied to a blur of movement. It illustrates the precepts of the "Technical Manifesto of Futurist Painting" that, "On account of the persistency of an image upon the retina, moving objects constantly multiply themselves; their form changes like rapid vibrations, in their mad career. Thus a running horse has not four legs, but twenty, and their movements are triangular." His "Rhythm of the Bow" (1912) similarly depicts the movements of a violinist's hand and instrument, rendered in rapid strokes within a triangular frame.


title: Futurism

text: The adoption of Cubism determined the style of much subsequent Futurist painting, which Boccioni and Severini in particular continued to render in the broken colors and short brush-strokes of divisionism. But Futurist painting differed in both subject matter and treatment from the quiet and static Cubism of Picasso, Braque and Gris. As the art critic Robert Hughes observed, "In Futurism, the eye is fixed and the object moves, but it is still the basic vocabulary of Cubism—fragmented and overlapping planes". While there were Futurist portraits: Carrà's "Woman with Absinthe" (1911), Severini's "Self-Portrait" (1912), and Boccioni's "Matter" (1912), it was the urban scene and vehicles in motion that typified Futurist painting; Boccioni's "The Street Enters the House" (1911), Severini's "Dynamic Hieroglyph of the Bal Tabarin" (1912), and Russolo's "Automobile at Speed" (1913)


title: Futurism

text: The Futurists held their first exhibition outside of Italy in 1912 at the Bernheim-Jeune gallery, Paris, which included works by Umberto Boccioni, Gino Severini, Carlo Carrà, Luigi Russolo and Giacomo Balla.


title: Futurism

text: In 1912 and 1913, Boccioni turned to sculpture to translate into three dimensions his Futurist ideas. In "Unique Forms of Continuity in Space" (1913) he attempted to realise the relationship between the object and its environment, which was central to his theory of "dynamism". The sculpture represents a striding figure, cast in bronze posthumously and exhibited in the Tate Modern. (It now appears on the national side of Italian 20 eurocent coins). He explored the theme further in "Synthesis of Human Dynamism" (1912), "Speeding Muscles" (1913) and "Spiral Expansion of Speeding Muscles" (1913). His ideas on sculpture were published in the "Technical Manifesto of Futurist Sculpture" In 1915 Balla also turned to sculpture making abstract "reconstructions", which were created out of various materials, were apparently moveable and even made noises. He said that, after making twenty pictures in which he had studied the velocity of automobiles, he understood that "the single plane of the canvas did not permit the suggestion of the dynamic volume of speed in depth ... I felt the need to construct the first dynamic plastic complex with iron wires, cardboard planes, cloth and tissue paper, etc."


title: Futurism

text: In 1914, personal quarrels and artistic differences between the Milan group, around Marinetti, Boccioni, and Balla, and the Florence group, around Carrà, Ardengo Soffici (1879–1964) and Giovanni Papini (1881–1956), created a rift in Italian Futurism. The Florence group resented the dominance of Marinetti and Boccioni, whom they accused of trying to establish "an immobile church with an infallible creed", and each group dismissed the other as "passéiste."


title: Futurism

text: Futurism had from the outset admired violence and was intensely patriotic. The "Futurist Manifesto" had declared, "We will glorify war—the world's only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman." Although it owed much of its character and some of its ideas to radical political movements, it was not much involved in politics until the autumn of 1913. Then, fearing the re-election of Giolitti, Marinetti published a political manifesto. In 1914 the Futurists began to campaign actively against the Austro-Hungarian empire, which still controlled some Italian territories, and Italian neutrality between the major powers. In September, Boccioni, seated in the balcony of the Teatro dal Verme in Milan, tore up an Austrian flag and threw it into the audience, while Marinetti waved an Italian flag. When Italy entered the First World War in 1915, many Futurists enlisted. The experience of the war marked several Futurists, particularly Marinetti, who fought in the mountains of Trentino at the border of Italy and Austria-Hungary, actively engaging in propaganda. The combat experience also influenced Futurist music.


title: Futurism

text: The outbreak of war disguised the fact that Italian Futurism had come to an end. The Florence group had formally acknowledged their withdrawal from the movement by the end of 1914. Boccioni produced only one war picture and was killed in 1916. Severini painted some significant war pictures in 1915 (e.g. "War", "Armored Train", and "Red Cross Train"), but in Paris turned towards Cubism and post-war was associated with the Return to Order.


title: Futurism

text: After the war, Marinetti revived the movement. This revival was called "il secondo Futurismo" (Second Futurism) by writers in the 1960s. The art historian Giovanni Lista has classified Futurism by decades: "Plastic Dynamism" for the first decade, "Mechanical Art" for the 1920s, "Aeroaesthetics" for the 1930s.


title: Futurism

text: Russian Futurism was a movement of literature and the visual arts, involving various Futurist groups. The poet Vladimir Mayakovsky was a prominent member of the movement, as were Velimir Khlebnikov and Aleksei Kruchyonykh; visual artists such as David Burliuk, Mikhail Larionov, Natalia Goncharova, Lyubov Popova, and Kazimir Malevich found inspiration in the imagery of Futurist writings, and were writers themselves. Poets and painters collaborated on theatre production such as the Futurist opera "Victory Over the Sun", with texts by Kruchenykh, music by Mikhail Matyushin, and sets by Malevich.


title: Futurism

text: The main style of painting was Cubo-Futurism, extant during the 1910s. Cubo-Futurism combines the forms of Cubism with the Futurist representation of movement; like their Italian contemporaries, the Russian Futurists were fascinated with dynamism, speed and the restlessness of modern urban life.


title: Futurism

text: The Russian Futurists sought controversy by repudiating the art of the past, saying that Pushkin and Dostoevsky should be "heaved overboard from the steamship of modernity". They acknowledged no authority and professed not to owe anything even to Marinetti, whose principles they had earlier adopted, most of whom obstructed him when he came to Russia to proselytize in 1914.


title: Futurism

text: The movement began to decline after the revolution of 1917. The Futurists either stayed, were persecuted, or left the country. Popova, Mayakovsky and Malevich became part of the Soviet establishment and the brief Agitprop movement of the 1920s; Popova died of a fever, Malevich would be briefly imprisoned and forced to paint in the new state-approved style, and Mayakovsky committed suicide on April 14, 1930.


title: Futurism

text: The Futurist architect Antonio Sant'Elia expressed his ideas of modernity in his drawings for "La Città Nuova" (The New City) (1912–1914). This project was never built and Sant'Elia was killed in the First World War, but his ideas influenced later generations of architects and artists. The city was a backdrop onto which the dynamism of Futurist life is projected. The city had replaced the landscape as the setting for the exciting modern life. Sant'Elia aimed to create a city as an efficient, fast-paced machine. He manipulates light and shape to emphasize the sculptural quality of his projects. Baroque curves and encrustations had been stripped away to reveal the essential lines of forms unprecedented from their simplicity. In the new city, every aspect of life was to be rationalized and centralized into one great powerhouse of energy. The city was not meant to last, and each subsequent generation was expected to build their own city rather than inheriting the architecture of the past.


title: Futurism

text: Futurist architects were sometimes at odds with the Fascist state's tendency towards Roman imperial-classical aesthetic patterns. Nevertheless, several Futurist buildings were built in the years 1920–1940, including public buildings such as railway stations, maritime resorts and post offices. Examples of Futurist buildings still in use today are Trento railway station, built by Angiolo Mazzoni, and the Santa Maria Novella station in Florence. The Florence station was designed in 1932 by the "Gruppo Toscano" (Tuscan Group) of architects, which included Giovanni Michelucci and Italo Gamberini, with contributions by Mazzoni.


title: Futurism

text: Futurist music rejected tradition and introduced experimental sounds inspired by machinery, and would influence several 20th-century composers.


title: Futurism

text: Francesco Balilla Pratella joined the Futurist movement in 1910 and wrote a "Manifesto of Futurist Musicians" in which he appealed to the young (as had Marinetti), because only they could understand what he had to say. According to Pratella, Italian music was inferior to music abroad. He praised the "sublime genius" of Wagner and saw some value in the work of other contemporary composers, for example Richard Strauss, Elgar, Mussorgsky, and Sibelius. By contrast, the Italian symphony was dominated by opera in an "absurd and anti-musical form". The conservatories was said to encourage backwardness and mediocrity. The publishers perpetuated mediocrity and the domination of music by the "rickety and vulgar" operas of Puccini and Umberto Giordano. The only Italian Pratella could praise was his teacher Pietro Mascagni, because he had rebelled against the publishers and attempted innovation in opera, but even Mascagni was too traditional for Pratella's tastes. In the face of this mediocrity and conservatism, Pratella unfurled "the red flag of Futurism, calling to its flaming symbol such young composers as have hearts to love and fight, minds to conceive, and brows free of cowardice."


title: Futurism

text: Luigi Russolo (1885–1947) wrote "The Art of Noises" (1913), an influential text in 20th-century musical aesthetics. Russolo used instruments he called "intonarumori", which were acoustic noise generators that permitted the performer to create and control the dynamics and pitch of several different types of noises. Russolo and Marinetti gave the first concert of Futurist music, complete with "intonarumori", in 1914. However they were prevented from performing in many major European cities by the outbreak of war.


title: Futurism

text: Futurism was one of several 20th-century movements in art music that paid homage to, included or imitated machines. Ferruccio Busoni has been seen as anticipating some Futurist ideas, though he remained wedded to tradition. Russolo's "intonarumori" influenced Stravinsky, Arthur Honegger, George Antheil, Edgar Varèse, Stockhausen and John Cage. In "Pacific 231", Honegger imitated the sound of a steam locomotive. There are also Futurist elements in Prokofiev's "The Steel Step" and in his Second Symphony.


title: Futurism

text: Most notable in this respect, however, is the American George Antheil. His fascination with machinery is evident in his "Airplane Sonata", "Death of the Machines", and the 30-minute "Ballet Mécanique". The "Ballet Mécanique" was originally intended to accompany an experimental film by Fernand Léger, but the musical score is twice the length of the film and now stands alone. The score calls for a percussion ensemble consisting of three xylophones, four bass drums, a tam-tam, three airplane propellers, seven electric bells, a siren, two "live pianists", and sixteen synchronized player pianos. Antheil's piece was the first to synchronize machines with human players and to exploit the difference between what machines and humans can play.


title: Futurism

text: The Futuristic movement also influenced the concept of dance. Indeed, dancing was interpreted as an alternative way of expressing man's ultimate fusion with the machine. The altitude of a flying plane, the power of a car's motor and the roaring loud sounds of complex machinery were all signs of man's intelligence and excellence which the art of dance had to emphasize and praise. This type of dance is considered futuristic since it disrupts the referential system of traditional, classical dance and introduces a different style, new to the sophisticated bourgeois audience. The dancer no longer performs a story, a clear content, that can be read according to the rules of ballet. One of the most famous futuristic dancers was the Italian . Trained as a classical ballerina, she is known for her "Aerodanze" and continued to earn her living by performing in classical and popular productions. She describes this innovative form of dance as the result of a deep collaboration with Marinetti and his poetry. Through these words, she says,I launched this idea of the aerial-futurist poetry with Marinetti, he himself declaiming the poetry. A small stage of a few square meters;... I made myself a satin costume with a helmet; everything that the plane did had to be expressed by my body. It flew and, moreover, it gave the impression of these wings that trembled, of the apparatus that trembled, ... And the face had to express what the pilot felt."


title: Futurism

text: Futurism as a literary movement made its official debut with F. T. Marinetti's "Manifesto of Futurism" (1909), as it delineated the various ideals Futurist poetry should strive for. Poetry, the predominant medium of Futurist literature, can be characterized by its unexpected combinations of images and hyper-conciseness (not to be confused with the actual length of the poem). The Futurists called their style of poetry "parole in libertà" (word autonomy), in which all ideas of meter were rejected and the word became the main unit of concern. In this way, the Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression.


title: Futurism

text: Theater also has an important place within the Futurist universe. Works in this genre have scenes that are few sentences long, have an emphasis on nonsensical humor, and attempt to discredit the deep rooted traditions via parody and other devaluation techniques.


title: Futurism

text: There are a number of examples of Futurist novels from both the initial period of Futurism and the neo-Futurist period, from Marinetti himself to a number of lesser known Futurists, such as Primo Conti, Ardengo Soffici and Giordano Bruno Sanzin ("Zig Zag, Il Romanzo Futurista" edited by Alessandro Masi, 1995). They are very diverse in style, with very little recourse to the characteristics of Futurist Poetry, such as 'parole in libertà'. Arnaldo Ginna's 'Le "locomotive con le calze"' (Trains with socks on) plunges into a world of absurd nonsense, childishly crude. His brother Bruno Corra wrote in "Sam Dunn è morto" (Sam Dunn is Dead) a masterpiece of Futurist fiction, in a genre he himself called 'Synthetic' characterized by compression, and precision; it is a sophisticated piece that rises above the other novels through the strength and pervasiveness of its irony. Science fiction novels play an important role in Futurist literature.


title: Futurism

text: Italian futurist cinema () was the oldest movement of European avant-garde cinema. Italian futurism, an artistic and social movement, impacted the Italian film industry from 1916 to 1919. It influenced Russian Futurist cinema and German Expressionist cinema. Its cultural importance was considerable and influenced all subsequent avant-gardes, as well as some authors of narrative cinema; its echo expands to the dreamlike visions of some films by Alfred Hitchcock.


title: Futurism

text: Most of the futuristic-themed films of this period have been lost, but critics cite "Thaïs" (1917) by Anton Giulio Bragaglia as one of the most influential, serving as the main inspiration for German Expressionist cinema in the following decade. "Thaïs" was born on the basis of the aesthetic treatise "Fotodinamismo futurista" (1911), written by the same author. The film, built around a melodramatic and decadent story, actually reveals multiple artistic influences different from Marinett's futurism; the secessionist scenographies, the liberty furniture, and the abstract and surreal moments contribute to create a strong formal syncretism. "Thaïs" is the only surviving of the 1910s Italian futurist cinema to date (35 min. of the original 70 min.).


title: Futurism

text: When interviewed about her favorite film of all times, famed movie critic Pauline Kael stated that the director Dimitri Kirsanoff, in his silent experimental film "Ménilmontant" "developed a technique that suggests the movement known in painting as Futurism".


title: Futurism

text: Within F. T. Marinetti's "The Founding and Manifesto of Futurism", two of his tenets briefly highlight his hatred for women under the pretense that it fuels the Futurist movement's visceral nature:


title: Futurism

text: Marinetti would begin to contradict himself when, in 1911, he called Luisa, Marchesa Casati a Futurist; he dedicated a portrait of himself painted by Carrà to her, the said dedication declaring Casati as a Futurist being pasted on the canvas itself.


title: Futurism

text: In 1912, only three years after the "Manifesto of Futurism" was published, Valentine de Saint-Point responded to Marinetti's claims in her "Manifesto of the Futurist Woman" "(Response to F. T. Marinetti"). Marinetti even later referred to her as "the 'first futurist woman.'" Her manifesto begins with a misanthropic tone by presenting how men and women are equal and both deserve contempt. She instead suggests that rather than the binary being limited to men and women, it should be replaced with "femininity and masculinity"; ample cultures and individuals should possess elements of both. Yet, she still embraces the core values of Futurism, especially its focus on "virility" and "brutality". Saint-Point uses this as a segue into her antifeminist argument—giving women equal rights destroys their innate "potency" to strive for a better, more fulfilling life.


title: Futurism

text: In Russian Futurist and Cubo-Futurist circles, however, from the start, there was a higher percentage of women participants than in Italy; examples of major female Futurists are Natalia Goncharova, Aleksandra Ekster, and Lyubov Popova. Although Marinetti expressed his approval of Olga Rozanova's paintings during his 1914 lecture tour of Russia, it is possible that the women painters' negative reaction to the said tour may have largely been due to his misogyny.


title: Futurism

text: Despite the chauvinistic nature of the Italian Futurist program, many serious professional female artists adopted the style, especially so after the end of the first World War. Notably among these female futurists is F.T Marinetti's own wife Benedetta Cappa Marinetti, whom he had met in 1918 and exchanged a series of letters discussing each of their respective work in Futurism. Letters continued to be exchanged between the two with F. T. Marinetti often complimenting Benedetta – the single name she was best known as – on her genius. In a letter dated August 16, 1919, Marinetti wrote to Benedetta "Do not forget your promise to work. You must carry your genius to its ultimate splendor. Every day." Although many of Benedetta's paintings were exhibited in major Italian exhibitions like the 1930-1936 Venice Biennales (in which she was the first woman to have her art displayed since the exhibition's founding in 1895), the 1935 Rome Quadriennale and several other futurist exhibitions, she was oft overshadowed in her work by her husband. The first introduction of Benedetta's feminist convictions regarding futurism is in the form of a public dialogue in 1925 (with an L. R. Cannonieri) concerning the role of women in society. Benedetta was also one of the first to paint in Aeropittura, an abstract and futurist art style of landscape from the view of an airplane.


title: Futurism

text: Many Italian Futurists supported Fascism in the hope of modernizing a country divided between the industrialising north and the rural, archaic South. Like the Fascists, the Futurists were Italian nationalists, laborers, disgruntled war veterans, radicals, admirers of violence, and were opposed to parliamentary democracy. Marinetti founded the Futurist Political Party ("Partito Politico Futurista") in early 1918, which was absorbed into Benito Mussolini's "Fasci Italiani di Combattimento" in 1919, making Marinetti one of the first members of the National Fascist Party. He opposed Fascism's later exaltation of existing institutions, calling them "reactionary", and walked out of the 1920 Fascist party congress in disgust, withdrawing from politics for three years; but he supported Italian Fascism until his death in 1944. The Futurists' association with Fascism after its triumph in 1922 brought them official acceptance in Italy and the ability to carry out important work, especially in architecture. After the Second World War, many Futurist artists had difficulty in their careers because of their association with a defeated and discredited regime.


title: Futurism

text: Marinetti sought to make Futurism the official state art of Fascist Italy but failed to do so. Mussolini chose to give patronage to numerous styles and movements in order to keep artists loyal to the regime. Opening the exhibition of art by the Novecento Italiano group in 1923, he said, "I declare that it is far from my idea to encourage anything like a state art. Art belongs to the domain of the individual. The state has only one duty: not to undermine art, to provide humane conditions for artists, to encourage them from the artistic and national point of view." Mussolini's mistress, Margherita Sarfatti, who was as able a cultural entrepreneur as Marinetti, successfully promoted the rival Novecento group, and even persuaded Marinetti to sit on its board. Although in the early years of Italian Fascism modern art was tolerated and even embraced, towards the end of the 1930s, right-wing Fascists introduced the concept of "degenerate art" from Germany to Italy and condemned Futurism.


title: Futurism

text: Marinetti made numerous moves to ingratiate himself with the regime, becoming less radical and avant-garde with each. He moved from Milan to Rome to be nearer the centre of things. He became an academician despite his condemnation of academies, married despite his condemnation of marriage, promoted religious art after the Lateran Treaty of 1929 and even reconciled himself to the Catholic Church, declaring that Jesus was a Futurist.


title: Futurism

text: Although Futurism mostly became identified with Fascism, it had a diverse range of supporters. They tended to oppose Marinetti's artistic and political direction of the movement, and in 1924 the socialists, communists and anarchists walked out of the Milan Futurist Congress. The anti-Fascist voices in Futurism were not completely silenced until the annexation of Abyssinia and the Italo-German Pact of Steel in 1939. This association of Fascists, socialists and anarchists in the Futurist movement, which may seem odd today, can be understood in terms of the influence of Georges Sorel, whose ideas about the regenerative effect of political violence had adherents right across the political spectrum.


title: Futurism

text: Aeropainting ("aeropittura") was a major expression of the second generation of Futurism beginning in 1926. The technology and excitement of flight, directly experienced by most aeropainters, offered aeroplanes and aerial landscape as new subject matter. Aeropainting was varied in subject matter and treatment, including realism (especially in works of propaganda), abstraction, dynamism, quiet Umbrian landscapes, portraits of Mussolini (e.g. Dottori's "Portrait of il Duce"), devotional religious paintings, decorative art, and pictures of planes.


title: Futurism

text: Aeropainting was launched in a manifesto of 1929, "Perspectives of Flight", signed by Benedetta, Depero, Dottori, Fillìa, Marinetti, Prampolini, Somenzi and . The artists stated that "The changing perspectives of flight constitute an absolutely new reality that has nothing in common with the reality traditionally constituted by a terrestrial perspective" and that "Painting from this new reality requires a profound contempt for detail and a need to synthesise and transfigure everything." Crispolti identifies three main "positions" in aeropainting: "a vision of cosmic projection, at its most typical in Prampolini's 'cosmic idealism' ... ; a 'reverie' of aerial fantasies sometimes verging on fairy-tale (for example in Dottori ...); and a kind of aeronautical documentarism that comes dizzyingly close to direct celebration of machinery (particularly in Crali, but also in Tato and Ambrosi)."


title: Futurism

text: Eventually there were over a hundred aeropainters. Major figures include Fortunato Depero, Marisa Mori, Enrico Prampolini, Gerardo Dottori, Mino Delle Site and Crali. Crali continued to produce "aeropittura" up until the 1980s.


title: Futurism

text: Futurism influenced many other twentieth-century art movements, including Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism and the Grosvenor School linocut artists. Futurism as a coherent and organized artistic movement is now regarded as extinct, having died out in 1944 with the death of its leader Marinetti.


title: Futurism

text: Nonetheless, the ideals of Futurism remain as significant components of modern Western culture; the emphasis on youth, speed, power and technology finding expression in much of modern commercial cinema and culture. Ridley Scott consciously evoked the designs of Sant'Elia in "Blade Runner". Echoes of Marinetti's thought, especially his "dreamt-of metallization of the human body", are still strongly prevalent in Japanese culture, and surface in manga/anime and the works of artists such as Shinya Tsukamoto, director of the "Tetsuo" (lit. "Ironman") films. Futurism has produced several reactions, including the literary genre of cyberpunk—in which technology was often treated with a critical eye—whilst artists who came to prominence during the first flush of the Internet, such as Stelarc and Mariko Mori, produce work which comments on Futurist ideals. and the art and architecture movement Neo-Futurism in which technology is considered a driver to a better quality of life and sustainability values.


title: Futurism

text: A revival of sorts of the Futurist movement in theatre began in 1988 with the creation of the Neo-Futurist style in Chicago, which utilizes Futurism's focus on speed and brevity to create a new form of immediate theatre. Currently, there are active Neo-Futurist troupes in Chicago, New York, San Francisco, and Montreal.


title: Futurism

text: Futurist ideas have been a major influence in Western popular music; examples include ZTT Records, named after Marinetti's poem "Zang Tumb Tumb"; the band Art of Noise, named after Russolo's manifesto "The Art of Noises"; and the Adam and the Ants single "Zerox", the cover featuring a photograph by Bragaglia. Influences can also be discerned in dance music since the 1980s.


title: Futurism

text: Japanese Composer Ryuichi Sakamoto's 1986 album "Futurista" was inspired by the movement. It features a speech from Tommaso Marinetti in the track 'Variety Show'.


title: Futurism

text: In 2014, the Solomon R. Guggenheim Museum featured the exhibition "Italian Futurism, 1909–1944: Reconstructing the Universe". This was the first comprehensive overview of Italian Futurism to be presented in the United States.


title: Futurism

text: Estorick Collection of Modern Italian Art is a museum in London, with a collection solely centered around modern Italian artists and their works. It is best known for its large collection of Futurist paintings.


title: Alison Moyet

text: Geneviève Alison Jane Ballard ( ; born 18 June 1961) is an English singer noted for her powerful bluesy contralto voice. She came to prominence as half of the duo Yazoo (also known as Yaz), but has since mainly worked as a solo artist.


title: Alison Moyet

text: Her worldwide album sales have reached a certified 23 million, with over two million singles sold. All nine of her studio albums and three compilation albums have charted in the top 30 of the UK Albums Chart, with two of them reaching number one. She has also achieved nine top 30 singles and six top 10 hits on the UK Singles Chart. Her most recent album, her ninth, "Other", was released 16 June 2017.


title: Alison Moyet

text: Geneviève Alison Jane Moyet was born in Billericay, Essex, to a French father and English mother. She grew up in the nearby town of Basildon, where she attended Janet Duke Junior School and then Nicholas Comprehensive at secondary level.


title: Alison Moyet

text: She was involved in a number of punk rock, pub rock and blues bands in the South East Essex area during the late 1970s and early 1980s, including the Vandals, the Screamin' Ab Dabs, the Vicars and the Little Roosters (the latter featuring Garrie Lammin, formerly of Cock Sparrer).


title: Alison Moyet

text: At the age of 20, Moyet's mainstream pop career began in 1982 with the formation of the synthpop duo Yazoo with former Depeche Mode member Vince Clarke. In the United States, the band operated under the name Yaz, due to trademark issues with the Yazoo Records record label already operating in the region. Yazoo had several hits, including "Only You", "Don't Go", "Situation" and "Nobody's Diary", and recorded two albums, "Upstairs at Eric's" and "You and Me Both".


title: Alison Moyet

text: In 1983, Clarke decided to disband Yazoo. While Clarke went on to form The Assembly (another duo, this time with Eric Radcliffe) and then Erasure (a duo again, with Andy Bell), Moyet signed to CBS, and began her solo career. In 1984, Moyet released her debut solo album "Alf" (titled after her punk-era nickname). "Alf" was produced by the record producing and songwriting team of Jolley & Swain. The album was co-written by the duo and Moyet, with the exception of "Invisible", which was written for Moyet by Lamont Dozier. The record was a hit in Britain, reaching No. 1 in the album chart. "Alf" spawned three international hit singles, "Love Resurrection" (UK No. 10), "Invisible" (UK No. 21) and "All Cried Out" (UK No. 8). In the US, "Invisible" was a Top 40 hit. In some European territories, a fourth single, "For You Only", was also released.


title: Alison Moyet

text: In 1985, Moyet performed at Live Aid alongside Paul Young and later returned unscheduled to the stage (alongside Bob Geldof, David Bowie and Pete Townshend) to provide vocals on "Let It Be" when Paul McCartney's vocal microphone at his piano failed, leaving him unable to be heard for the first stanza of the song. (Twenty years later, he overdubbed his vocal for the Live Aid DVD release.) Moyet also released a single not featured on "Alf", a cover of the standard "That Ole Devil Called Love", which climbed to No. 2 on the UK Singles Chart (it remains Moyet's highest-charting UK single).


title: Alison Moyet

text: Moyet had another big UK hit the following year with "Is This Love?" (co-written by Eurythmics' Dave Stewart, under the pseudonym Jean Guiot), followed in 1987 by her second LP, "Raindancing". "Raindancing" spawned further hit singles, including a cover of Floy Joy's "Weak in the Presence of Beauty" and "Ordinary Girl". In 1987, she scored another cover hit with "Love Letters", which peaked at UK No. 4. The video for the song featured comedy duo French & Saunders.


title: Alison Moyet

text: Following a period of personal and career evaluation, she released "Hoodoo" in 1991. The album sold respectably in the UK, and Moyet was nominated for a Grammy for the single "It Won't Be Long". However, the release of "Hoodoo" marked the beginning of an eight-year fight for Moyet to secure complete control of her artistic direction. Like many similar artists (including Aimee Mann and the late Kirsty MacColl), Moyet was reluctant to record a radio-friendly "pop" album simply for the sake of creating chart hits.


title: Alison Moyet

text: Moyet's next album, "Essex" (1994), was also a source of controversy for her; in order for the album to be released, her label (now Sony) insisted that certain "Essex" tracks be re-recorded and re-produced, and that there be additional material remixed to create a more 'commercial' package. The video for the single "Whispering Your Name" again featured Dawn French.


title: Alison Moyet

text: Following the release of "Essex", Sony released a greatest hits compilation of Moyet's work. "Singles" entered the UK charts at No. 1 and, following a UK tour, was re-issued as a double CD set which included "Live (No Overdubs)", a bonus live CD. Upon re-issue, "Singles" charted again, this time in the Top 20.


title: Alison Moyet

text: Due to prolonged litigation with Sony, Moyet did not record or release a new studio album for over eight years after the release of "Essex". During this time, however, she recorded vocals for Tricky, Sylk-130, Ocean Colour Scene, The Lightning Seeds, and King Britt, and was featured on the British leg of the Lilith Fair tour. 2001 saw the release of "The Essential Alison Moyet" CD, and in 2002 "The Essential Alison Moyet" DVD.


title: Alison Moyet

text: In 1995, she sang back-up vocals with Sinéad O'Connor for one of Dusty Springfield's last television appearances, singing "Where Is a Woman to Go?" on the music show "Later With Jools Holland".


title: Alison Moyet

text: In August 2002, Moyet was released from her Sony contract. Moyet signed to Sanctuary Records and released her first studio album in eight years. "Hometime" was produced by The Insects, who had also produced works by Massive Attack and Madonna. The release of the CD launched Moyet into the top five best-selling female UK artists of 2002, and resulted in a BRIT Awards nomination for Best Female Vocalist, as well as a nomination for the Mercury Music Prize. "Hometime" was certified gold in the UK for sales in excess of 100,000 copies, with little promotion.


title: Alison Moyet

text: "Voice", a collection of cover versions, was released on 6 September 2004 and entered the UK charts at No. 7. Scored and produced by Moyet's neighbour (and Academy Award winner) Anne Dudley, the album was later re-issued with a bonus track, "Alfie". A companion DVD, "One Blue Voice", was released in 2006. "Voice" was certified Gold in the UK within four weeks of its release.


title: Alison Moyet

text: In December 2006, Moyet signed a recording contract with W14 Music, a Universal Music Group imprint. The deal saw Moyet reunited with label head John Williams, who was A&R man for her previous two albums, "Hometime" and "Voice".


title: Alison Moyet

text: Moyet's album, "The Turn", was released on 15 October 2007, preceded by the single "One More Time" a week earlier. The album featured self-penned songs, including the three numbers she wrote for the stage play, "Smaller" in which she starred with Dawn French. For these songs, again Moyet worked alongside producer/songwriter and frequent Moyet collaborator Pete Glenister. "The Turn" debuted at No. 21 on the UK Albums Chart on 22 October 2007. Moyet left W14 shortly after the release of "The Turn". During mid-2008, Moyet reunited with Vince Clarke as Yazoo for a series of live dates.


title: Alison Moyet

text: Sony Music released "The Best of Alison Moyet" on 19 October 2009. It was Moyet's personal selection of tracks from her seven solo albums. The deluxe edition of the album, "The Best of: 25 Years Revisited", contained an extra disc, with re-recorded versions of older songs. Moyet supported the release with a tour of the UK and Ireland during November and December 2009. Also in 2009, she provided vocals to My Robot Friend's single "Waiting."


title: Alison Moyet

text: Moyet appeared with Jools Holland throughout his tour of the UK in 2010. In the same year she contributed vocals to "The Man That Got Away" on Holland's album "Rocking Horse".


title: Alison Moyet

text: Moyet appeared with Heather Peace in January 2012 on the final concert of Peace's first studio album, Fairytales.


title: Alison Moyet

text: Moyet announced on BBC Radio 6 Music that her new album with Guy Sigsworth would be released in 2012, but in February that year she stated "I appear to have forfeited my recording deal because I won't do reality TV. No-one needs to make an album that badly. Tea anyone?" In an interview with "Touchbase" the following June, Moyet confirmed that she was still recording her album and that she was not rushing it. On 22 January 2013 the singer announced on her Facebook page that she had signed a worldwide deal with London-based record label Cooking Vinyl. Sony Music had earlier announced that Moyet's four solo albums on the label ("Alf", "Raindancing", "Hoodoo" and "Essex") were being digitally remastered and would be reissued with B-sides and bonus material. In February 2013, Moyet said of the remastered albums: "The project was Sony's – some initial work was done and then the project was suspended."


title: Alison Moyet

text: "The Minutes" was released in the UK on 6 May 2013. The first single, "When I Was Your Girl", was released on 1 April 2013. A tour of the UK and Ireland to promote the album was announced for October. Describing the album, Moyet said: "I avoided listening to anything during the process of writing and recording this album, choosing instead to be led by my own melodic voice, the one I now find myself with 30-years-in. Guy Sigsworth returns me to a programmer's world and marries it with perfect musicality. I have been waiting for him. We have made an album mindless of industry mores that apply to middle-aged women and have shunned all talk of audiences, demographics and advert jazz covers. This has easily been my happiest studio experience." "The Minutes" debuted at number 5 on the UK Albums Chart, her highest debut since 1987's "Raindancing".


title: Alison Moyet

text: On 16 October 2013, Moyet appeared as a guest performer on ITV 1's "The One and Only Cilla Black" celebrating Cilla Black's 50 years in show business. Moyet sang "Anyone Who Had a Heart".


title: Alison Moyet

text: On 10 November 2014, Moyet released a live album, "Minutes and Seconds – Live", taken from "The Minutes Tour".


title: Alison Moyet

text: On 30 July 2015, it was announced that Moyet would be releasing deluxe editions of her albums "Hometime", "Voice", and "The Turn". According to her official web site: "Each album will feature plenty of bonus material – including some rare and previously unreleased material."


title: Alison Moyet

text: On 21 September 2015, Moyet performed at the Burberry Show at London Fashion Week. Her set was released as a digital EP, "Live for Burberry" on 23 September.


title: Alison Moyet

text: On 27 September 2016, it was announced that Moyet's first four studio albums "Alf", "Raindancing", "Hoodooo" and "Essex" would be reissued as Deluxe editions after having been remastered by BMG on 25 November 2016. Each double-disc set comes in a casebound book with the original album remastered from the original tapes along with 12-inch remixes, b-sides and previously unreleased songs.


title: Alison Moyet

text: Moyet's ninth studio album "Other", described as "intelligent, adventurous electronic pop," co-produced by Guy Sigsworth, was released 16 June 2017 on Cooking Vinyl. From September through December that same year, she will embark on a world tour, The Other Tour.


title: Alison Moyet

text: In October 2017, Moyet featured as guest artist on the Norwegian band A-Ha's acoustic album, "MTV Unplugged – Summer Solstice", singing "Summer Moved On". The performance was recorded at Giske island in Norway in June 2017.


title: Alison Moyet

text: On 20 April 2018, Moyet released her second live album, "The Other Live Collection", taken from The Other Tour.


title: Alison Moyet

text: Moyet made her stage debut in the London West End production of the musical "Chicago" in 2001. She played the part of Matron 'Mama' Morton. Although the play was initially intended for a short period, it ran for six months. In 2006, she appeared in the play "Smaller", which undertook a regional tour before a stint at London's Lyric Theatre.


title: Alison Moyet

text: Moyet's first marriage, to hairdresser and retired London firefighter Malcolm Lee, with whom she has a son, ended in divorce. Moyet has a daughter with former partner Kim McCarthy, and a daughter with her current husband David Ballard. In 2013, Moyet moved from Radlett, Hertfordshire, to Brighton.


title: Alison Moyet

text: Moyet has been candid about her battles with weight and agoraphobia and the challenges of having ADHD. She embarked on a weight loss programme, because she did not want to become "an obese old woman".


title: Alison Moyet

text: On 14 October 2014, Moyet was presented with a Gold Badge Award by professional music writers association The Ivors Academy.


title: Alison Moyet

text: Moyet was appointed Member of the Order of the British Empire (MBE) in the 2021 Birthday Honours for services to music.


title: Murder of Seth Rich

text: The murder of Seth Rich occurred on July 10, 2016, at 4:20 a.m. in the Bloomingdale neighborhood of Washington, D.C. Rich died about an hour and a half after being shot twice in the back. The perpetrators were never apprehended; police suspected he had been the victim of an attempted robbery.


title: Murder of Seth Rich

text: The 27-year-old Rich was an employee of the Democratic National Committee (DNC), and his murder spawned several right-wing conspiracy theories, including the false claim, contradicted by the law enforcement branches that investigated the murder, that Rich had been involved with the leaked DNC emails in 2016. It was also contradicted by the July 2018 indictment of 12 Russian military intelligence agents for hacking the e-mail accounts and networks of Democratic Party officials and by the U.S. intelligence community's conclusion the leaked DNC emails were part of Russian interference in the 2016 United States elections. Fact-checking websites like PolitiFact, Snopes, and FactCheck.org stated that the theories were false and unfounded. "The New York Times", the "Los Angeles Times" and "The Washington Post" wrote that the promotion of these conspiracy theories was an example of fake news.


title: Murder of Seth Rich

text: Rich's family denounced the conspiracy theorists and said that those individuals were exploiting their son's death for political gain, and their spokesperson called the conspiracy theorists "disgusting sociopaths". They requested a retraction and apology from Fox News after the network promoted the conspiracy theory, and sent a cease and desist letter to the investigator Fox News used. The investigator stated that he had no evidence to back up the claims which Fox News attributed to him. Fox News issued a retraction, but did not apologize or publicly explain what went wrong. In response, the Rich family sued Fox News in March 2018 for having engaged in "extreme and outrageous conduct" by fabricating the story defaming their son and thereby intentionally inflicting emotional distress on them.<ref name="Grynbaum_3/13/2018"></ref> Fox News reached a seven-figure settlement with the Rich family in October 2020.


title: Murder of Seth Rich

text: Rich grew up in a Jewish family in Omaha, Nebraska. He volunteered for the Nebraska Democratic Party, interned for Senator Ben Nelson, was active in Jewish outreach, and worked with the United States Census Bureau. In 2011, he graduated from Creighton University with a degree in political science. He moved to Washington, D.C., to work for pollster Greenberg Quinlan Rosner. In 2014, he began working for the Democratic National Committee (DNC) as the voter expansion data director. One of his tasks at the DNC was the development of a computer application to help voters locate polling stations.


title: Murder of Seth Rich

text: On Sunday, July 10, 2016, at 4:20 a.m., Rich was shot about a block from his apartment at the southwest corner of Flagler Place and W Street Northwest in the Bloomingdale neighborhood of Washington, D.C.


title: Murder of Seth Rich

text: Earlier that night he had been at Lou's City Bar, a sports pub from his apartment, in Columbia Heights, where he was a regular customer. He left when the bar was closing, at about 1:30 or 1:45 a.m. Police were alerted to gunfire at 4:20 a.m. by an automated gunfire locator. Within about one minute after the gun shots, police officers found Rich conscious with multiple gunshot wounds. He was transported to a nearby hospital, where he died over hours after being shot.<ref name="Isikoff_7/16/2019"></ref> That he was not shot in the head is seen as evidence against the shooting having been an "assassination". According to police, he died from two shots to the back and may have been killed in an attempted robbery. Residents noted the neighborhood had been plagued by robberies.


title: Murder of Seth Rich

text: Rich's mother told NBC's Washington affiliate WRC-TV: "There had been a struggle. His hands were bruised, his knees are bruised, his face is bruised, and yet he had two shots to his back, and yet they never took anything ... They didn't finish robbing him, they just took his life." The police told the family they had found a surveillance recording showing a glimpse of the legs of two people who could be the killers.


title: Murder of Seth Rich

text: On the day after the shooting, DNC chair Debbie Wasserman Schultz issued a statement mourning his loss and praising Rich's work to support voter rights. Two days after the shooting, Hillary Clinton spoke of his death during a speech advocating limiting the availability of guns.