title: The Hunchback of Notre Dame (musical)

text: In 2008, lyricist Stephen Schwartz revealed, "I think we're starting up "Hunchback of Notre Dame", hopefully, next year." In a November 2010 interview, composer Alan Menken confirmed that he was working on an American production, and that they would use James Lapine's book. On January 9, 2013, it was announced that the musical would finally be produced for a Broadway performance with a new book by Peter Parnell and new songs by Menken and Schwartz, who did the songs for the movie and the original musical. In April 2013, the very first English adaptation of Der Glöckner von Notre Dame was staged by the Fine Arts Department of The King's Academy Sports & Fine Arts Center in West Palm Beach, Florida. According to The King's Academy, Walt Disney Productions personally selected them to adapt and premiere the work, and received a license to stage the English version, noting that Disney was workshopping this musical for a possible run on Broadway. The King's Academy collaborated with Disney Executive Studios. Their director, David Snyder, helped Disney cast talent for the new show. This version did not include all the songs from Der Glöckner von Notre Dame, and excludes the deaths of Esmeralda and Frollo. While being an amateur production, it is notable as the first English staging of the musical, rather than a translation of the film.


title: The Hunchback of Notre Dame (musical)

text: At the D23 expo, which took place on August 9–11, 2013, Josh Strickland performed the first official English version of a new song written for the stage musical version, Made of Stone.


title: The Hunchback of Notre Dame (musical)

text: "The Hunchback of Notre Dame" had a workshop in February 2014, and its North American premiere at La Jolla Playhouse on October 28, 2014 and ran through December 7, 2014, directed by Scott Schwartz. The production featured Sacra-Profana, a local 32-voice chorus, appearing onstage during the entire show. The La Jolla Playhouse production transferred to the Paper Mill Playhouse with the 19 person core cast with three new cast members Jeremy Stolle, Dashaun Young, and Joseph J. Simeone, (replacing San Diego locals Brian Smolin, William Thomas Hodgson, and Lucas Coleman respectively) with a new choir local to New Jersey, the Continuo Arts Symphonic Chorus from March 4 through April 5, 2015, after which it was announced the show would not move to Broadway, but it was never officially planned to transfer. The structure of the show was finalized (with one song, Agnus Dei being cut from the show) and turned into a licensable work.


title: The Hunchback of Notre Dame (musical)

text: 2016–17 saw the first wave of US regional theatres to produce the musical; one theatre (Music Theatre Wichita) received a $10,000 grant from the National Endowment for the Arts to financially aid the production. In December 2017 the show finally got its New York debut with its NY Regional Premiere at the White Plains Performing Arts Center and opened to outstanding reviews.


title: The Hunchback of Notre Dame (musical)

text: An adaption of the musical, debuted in 2016 at the Music Circus in Sacramento, embraced the novel's assertion that Quasimodo had become deaf after constantly ringing bells all his life by incorporating sign language into the show. Deaf actor John McGinty was cast as Quasimodo, with a surrogate singer (one of the Notre Dame saints, played by Jim Hogan) singing Quasimodo's songs while McGinty signed.


title: The Hunchback of Notre Dame (musical)

text: A Japanese cast opened in 2016 at the Shiki Theatre Company which is one of the largest theatres in all of Japan. The production opened in 2016 and released their cast album in 2017. Unlike the 1999 German cast, This production is a direct translation of the current revision of the Disney production translated into Japanese. No songs or scenes have been changed outside of translation


title: The Hunchback of Notre Dame (musical)

text: A production featured an intimate rotating cast of 18 (with no additional choir), and reduced orchestrations with the cast playing their own instruments. The production was directed by Nicholas Wainwright at The University Of The Arts in December 2017; making its Center City premiere in Philadelphia.


title: The Hunchback of Notre Dame (musical)

text: Another production was a staging done outdoors in the amphitheater at Tuacahn Center for the Arts, which was performed from August 5-October 15, 2016.


title: The Hunchback of Notre Dame (musical)

text: The show was performed for the first time in the UK at The Royal Welsh College of Music and Drama by the Richard Burton Company in June 2019, directed by Graham Gill.


title: The Hunchback of Notre Dame (musical)

text: Due to union restrictions regarding the inclusion of the choir and the profitability for Disney from licensing to local productions, the musical has never been staged on Broadway, which has garnered some criticism.


title: The Hunchback of Notre Dame (musical)

text: In 1482 Paris, Clopin, an elderly gypsy beggar, narrates the origin of the titular hunchback (""Die Glocken Notre Dames"" – "The Bells of Notre Dame"). The story begins as a group of gypsies sneak illegally into Paris, but are ambushed by Judge Claude Frollo, the Minister of Justice of Paris, and his soldiers. A gypsy woman in the group attempts to flee with her deformed baby, but Frollo chases and kills her outside Notre Dame. He tries to kill the baby as well, but the cathedral's archdeacon intervenes and accuses Frollo of murdering an innocent woman. To atone for his sin, Frollo reluctantly agrees to raise the deformed child in Notre Dame as his son, naming him Quasimodo.


title: The Hunchback of Notre Dame (musical)

text: Twenty years later, in 1502, Quasimodo develops into a kind yet isolated young man who dreams of seeing life outside the bell tower. Due to his loneliness, Quasimodo's mind created imaginary friends: a trio of gargoyles named Charles, Antoine and Loni. Despite Frollo's warnings that he would be shunned for his deformity, the gargoyles urge him to disobey Frollo, (""Zuflucht"" – "Sanctuary") and Quasimodo decides to go out for just one day (""Draußen"" – "Out There").


title: The Hunchback of Notre Dame (musical)

text: While the Parisians continue their preparations for a festival, the gypsies prepare to attend the festival in their hideout, the Court of Miracles (""Tanz auf dem Seil"" – "Balancing Act"). Their attention is taken by a newcomer, a young gypsy dancer named Esmeralda. Meanwhile, Phoebus of Frollo's guard arrives in Paris excited about his new promotion as its captain (""Ein bisschen Freude"" – "Rest and Recreation"). He flirts with a young girl but is suddenly interrupted by a fleeing gypsy accused of theft. The gypsy pleads innocence, but Frollo arrives and orders his soldiers to arrest the gypsy. Frollo tells Phoebus that the city has become overrun by gypsies and that he plans to find the Court of Miracles and eliminate them all.


title: The Hunchback of Notre Dame (musical)

text: As the festival begins (""Drunter drüber"" – "Topsy Turvy"), Quasimodo attends it and he is celebrated for his bizarre appearance, only to be humiliated by the crowd after Frollo's men start a riot. Frollo refuses to help Quasimodo, but Esmeralda intervenes, frees the hunchback, and uses a magic trick to disappear. Frollo confronts Quasimodo and sends him back inside the cathedral.


title: The Hunchback of Notre Dame (musical)

text: Phoebus refuses to arrest Esmeralda for alleged witchcraft inside Notre Dame and has her confined to the cathedral. Esmeralda, encouraged by the Archdeacon, offers a prayer to God to help her and the other outcasts (""Hilf den Verstoß'nen"" – "God Help the Outcasts"). Meanwhile, Frollo orders Phoebus to post a guard at every door to ensure that Esmeralda does not escape.


title: The Hunchback of Notre Dame (musical)

text: Esmeralda finds and befriends Quasimodo to the bell tower and is captivated by the view of the city (""Hoch über der Welt"" – "On Top of the World"). Quasimodo helps her escape Notre Dame out of gratitude for defending him. Esmeralda entrusts Quasimodo with a pendant containing a map to the Court of Miracles. Quasimodo expresses his feelings, as he has been touched by Esmeralda's kindness (""Das Licht des Himmels"" – "Heaven's Light"). Meanwhile, Frollo soon develops lustful feelings for Esmeralda and, upon realizing them, he begs the Virgin Mary to save him from her "spell" to avoid eternal damnation (""Das Feuer der Hölle"" – "Hellfire").


title: The Hunchback of Notre Dame (musical)

text: After discovering that Esmeralda escaped, Frollo instigates a citywide manhunt for her, which involves setting fire to countless houses in his way. Phoebus is appalled by Frollo's evil reputation and defies him. Frollo sentences him to death. Phoebus is briefly struck by an arrow and falls into the Seine but Esmeralda rescues him. ("Finale Act 1"/"Esmeralda").


title: The Hunchback of Notre Dame (musical)

text: The soldiers continue searching the city (""Trommeln in der Stadt"" – "City Under Siege"). Esmeralda tells Phoebus to seek refuge at Notre Dame while she returns to the Court of Miracles. Meanwhile, the gargoyles convince Quasimodo that Esmeralda finds him romantically intriguing, and they reassure him about her safety (""Ein Mann wie du"" – "A Guy Like You"). The Archdeacon brings Phoebus to the bell tower and Phoebus, knowing Quasimodo to be a friend of Esmeralda's, asks Quasimodo to hide him.


title: The Hunchback of Notre Dame (musical)

text: Frollo returns to Notre Dame later that night and discovers that Quasimodo helped Esmeralda escape. He bluffs to Quasimodo, saying that he knows about the Court of Miracles and that he intends to attack at dawn. After Frollo leaves, Phoebus comes out of hiding and asks Quasimodo to help him find the Court of Miracles and warn Esmeralda. Quasimodo refuses to leave the cathedral again, but Phoebus and the gargoyles teach Quasimodo the value of devotion and selflessness (""Weil du liebst"" – "Out of Love").


title: The Hunchback of Notre Dame (musical)

text: Using Esmeralda's amulet as their guide, Quasimodo and Phoebus find the Court of Miracles to warn the gypsies. Esmeralda and Phoebus decide to leave the city together while Quasimodo, heartbroken, watches Esmeralda leave with the man she truly loves (""Weil du liebst"" – "Out of Love" (Reprise)). However, Frollo, having followed the two, captures the gypsies present.


title: The Hunchback of Notre Dame (musical)

text: Esmeralda rejects Frollo's advances of becoming his mistress. Tied up in the bell tower, Quasimodo refuses to help and tells the gargoyles to leave him (""Wie aus Stein"" – "Made of Stone"). As dawn approaches, Esmeralda awaits her execution in the dungeon with Phoebus, hoping that one day the world will be a better place (""Einmal"" – "Someday").


title: The Hunchback of Notre Dame (musical)

text: Frollo prepares to burn Esmeralda at the stake, but Quasimodo rescues her and brings her to the cathedral. Phoebus then frees himself and the gypsies and rallies the citizens of Paris against Frollo and his men, who attempt to break into the cathedral. Quasimodo calls upon the saints and the gargoyles before pouring molten lead onto the streets to ensure no one enters, but Frollo himself successfully breaks in. In the cathedral, Esmeralda thanks Quasimodo for being a good friend and dies from smoke inhalation. Frollo arrives and, after asking Quasimodo if she is dead, tells the hunchback that they are finally free of her poison. Encouraged by Antoine, Quasimodo throws Frollo to his death in the molten lead. The gargoyles comfort Quasimodo and tell him the world is full of good as well as evil. The citizens watch as Quasimodo carries Esmeralda's body through the square with Phoebus by his side. Clopin appears again and asks what makes a monster and what makes a man (""Finale Ultimo"" – "Grand Finale").


title: The Hunchback of Notre Dame (musical)

text: Many years ago, orphaned brothers Jehan and Claude Frollo were taken in at Notre Dame. Jehan grew to be mischievous while Claude remained pious. After Jehan was caught with a gypsy woman, he was expelled from Notre Dame. Frollo eventually became the archdeacon of Notre Dame. One day, Frollo received a letter from Jehan; the two met in secret, where Jehan, on his deathbed, gave Frollo his deformed baby before dying. As Frollo prepared to kill the child, he suddenly felt as he was being tested by God. Thus, he instead saved the child, naming it Quasimodo, or "half-formed", and raising it in Notre Dame ("The Bells of Notre Dame").


title: The Hunchback of Notre Dame (musical)

text: In the present day (in the year 1542), Quasimodo is now a young man, made partially deaf by a lifetime of ringing Notre Dame's bells. He talks to Notre Dame's statues of saints and gargoyles about his desire to go to the Feast of Fools. Frollo arrives and asks him who he is speaking to, reminding him that the stone statues cannot talk. They recite the biblical story of the Flight into Egypt, after which Frollo complains about Paris's gypsies and the Feast of Fools ("Sanctuary Part I"). Quasimodo offers to protect him outside; Frollo declines, warning him that he would be shunned if he were to go out in public ("Sanctuary Part II"). Quasimodo sings to himself, yearning to spend one day outside Notre Dame ("Out There").


title: The Hunchback of Notre Dame (musical)

text: In the streets of Paris, the Feast of Fools begins, led by Clopin, the gypsy king ("Topsy Turvy Part I"). Meanwhile, Captain Phoebus, the new head of Notre Dame's Cathedral Guard, arrives in Paris from the front lines. Frollo welcomes him, telling him they must rid the city of gypsies ("Rest and Recreation"). Clopin introduces Esmeralda, a gypsy dancer ("Rhythm of the Tambourine")—Quasimodo, Frollo, and Phoebus are all entranced by her. After that, Clopin holds a contest to crown the King of Fools, the ugliest person in Paris. Encouraged by Esmeralda, Quasimodo enters, immediately winning the contest ("Topsy Turvy Part II") before being humiliated by the crowd. Esmeralda rescues Quasimodo with a magic trick before Frollo intervenes. He scolds Quasimodo; the two return to Notre Dame, followed by Esmeralda ("Sanctuary Part III").


title: The Hunchback of Notre Dame (musical)

text: Frollo finds Esmeralda, confronting her; after a brief argument, he relents, allowing her to stay. Esmeralda prays to God to help the less fortunate ("God Help the Outcasts"). Phoebus finds Esmeralda; they argue, Phoebus telling her not to fight unwinnable battles, to which she retorts that she cannot help it.


title: The Hunchback of Notre Dame (musical)

text: Esmeralda heads to the bell tower, finding Quasimodo there. The two quickly befriend each other ("Top of the World"), Quasimodo ringing the bells of Notre Dame for her. Frollo runs up to the tower, angry at Quasimodo for ringing the bells at the wrong time. He is shocked by Esmeralda's presence, thinking she had left. He offers her shelter so he may save her soul, but she rejects his offer, saying that she sees the way Frollo looks at her. This infuriates Frollo, who orders Phoebus to escort her from Notre Dame and arrest her if she sets foot in it again. Frollo warns Quasimodo that Esmeralda is a dangerous person sent from Hell and to ignore any lustful feelings he may feel towards her. Yet, having developed such feelings for Esmeralda himself, Frollo roams the streets nightly, one night discovering Esmeralda, Clopin and multiple other gypsies partying with Phoebus; he is unable to look away as Esmeralda dances and kisses Phoebus ("Tavern Song (Thai Mol Piyas)"). Meanwhile, in the bell tower, Quasimodo reflects on seeing couples in love from his tower and how he never thought himself worthy of love until meeting Esmeralda ("Heaven's Light").


title: The Hunchback of Notre Dame (musical)

text: Frollo prays, begging the Virgin Mary to save him by either condemning Esmeralda to Hell or giving her to him ("Hellfire"). The next day, he approaches King Louis XI asking for special powers to stop a 'gypsy witch' to protect Paris, which he is granted. With his new powers, he instigates a citywide manhunt for Esmeralda which leads him to a brothel known for hiding gypsies. When the brothel's owner claims ignorance, Frollo orders Phoebus to burn the brothel down, an order which Phoebus defies. As Frollo orders Phoebus's arrest, Esmeralda appears; a fight breaks loose. Amidst the commotion, Frollo stabs Phoebus and frames Esmeralda for it; she uses a magic trick to escape. Frollo continues the hunt, while Quasimodo grows increasingly worried about Esmeralda's whereabouts ("Esmeralda").


title: The Hunchback of Notre Dame (musical)

text: Esmeralda returns to Notre Dame, asking Quasimodo to hide the injured Phoebus. She gives Quasimodo a woven band and leaves. Inspired by the story of Saint Aphrodisius and encouraged by the saints, Quasimodo deciphers the woven band as a map and resolves to help her ("Flight into Egypt"). Frollo returns to Notre Dame, asking Quasimodo where Esmeralda is; Quasimodo responds that he doesn't know. Frollo appears to accept this, before a guard informs Frollo that they know where Esmeralda is. Frollo tells Quasimodo that they will now be successful in capturing Esmeralda and leaves ("Esmeralda (Reprise)").


title: The Hunchback of Notre Dame (musical)

text: Using the map, Quasimodo and Phoebus go to warn the gypsies ("Rest and Recreation (Reprise)"). Initially, the gypsies attempt to kill the two, but they are saved by Esmeralda. ("Court of Miracles"). The two tell the gypsies Frollo will attack at dawn. The gypsies prepare to leave; Phoebus asks Esmeralda to go with her, the two expressing their love for each other as Quasimodo looks on, heartbroken ("Heaven's Light (Reprise)/In a Place of Miracles"). Frollo suddenly enters, having followed Quasimodo, and arrests all present—only Clopin manages to escape. Frollo has the guards lock Quasimodo in the bell tower.


title: The Hunchback of Notre Dame (musical)

text: Frollo visits Esmeralda, telling her that he can save her if she accepts being with him. When Esmeralda refuses, he threatens Phoebus' life and attempts to rape her ("Sanctuary (Reprise)"). He halts when Esmeralda cries out in protest, allowing her to have a final conversation with Phoebus. Phoebus pleads for her to accept Frollo's offer to save herself, which Esmeralda refuses to do. They yearn together for a better future ("Someday"). Meanwhile, in the bell tower, the statues encourage Quasimodo to free himself and save Esmeralda; Quasimodo angrily denounces them, declaring that he will remain stoic until he dies ("Made of Stone").


title: The Hunchback of Notre Dame (musical)

text: At dawn, Esmeralda is tied to a pyre outside Notre Dame. Frollo sentences her to death, offering her one last chance to save herself, which she angrily rejects. He orders her pyre to be lit. Quasimodo swings down on a rope from the bell tower and takes Esmeralda back to Notre Dame, invoking Notre Dame's status as a sanctuary in an appeal for protection. Frollo orders the Cathedral Guard to retake the church by force. Clopin frees Phoebus, after which the two rally the people of Paris to fight against the guards. However, the guards still manage to break in. Quasimodo dumps the molten lead used for fixing the bells onto the guards to stop them. Esmeralda thanks Quasimodo for being a good friend before dying from smoke inhalation. Frollo enters and asks Quasimodo if she is dead, which he broken-heartedly confirms. Relieved, Frollo tells Quasimodo that they are finally free of her poison. Quasimodo angrily throws Frollo off the tower of Notre Dame to his death.


title: The Hunchback of Notre Dame (musical)

text: Devastated, Quasimodo realizes that everyone he has ever loved is now dead. Phoebus arrives, finding out about Esmeralda's death. Phoebus tries to carry her body away but is unable to due to his injuries. Quasimodo then carries Esmeralda away.


title: The Hunchback of Notre Dame (musical)

text: Years later, two skeletons are discovered in the crypts of Notre Dame, one holding the other in its arms – the former has a woven band around its neck and the other has a crooked spinal column. When it was attempted to detach the two, the latter crumbles to dust. The company finally addresses the audience with a question asked at the beginning of the show—"What makes a monster and what makes a man?" ("Finale").


title: The Hunchback of Notre Dame (musical)

text: Alan Menken noted that "some songs complement the original composition of the film" while "others are very different from the film compositions and extend the musical spectrum", making a special mention of a song in Act II which was inspired by traditional Roma music. Translator Michael Kunze "campaign[ed] to allow Esmeralda to die at the end, as she does in the book. There was a feeling that the audience would be depressed if Esmeralda dies. I feel that a European audience would see this as a very romantic ending ... two lost souls finally find each other. People will cry, but they'll be moved." The producers wanted to see how preview audiences reacted before making the final decision. The set for the production utilized many large hydraulically controlled boxes that can be placed at any height, onto which projections were used in every scene for scenery and effects. The finale of act one shows Phoebus' plummet from a bridge over the Seine after being shot by an arrow.


title: The Hunchback of Notre Dame (musical)

text: The style of the show is a "Victor Hugo adaption with the score of Disney's "Hunchback"." "The Bells of Notre Dame" is rewritten to include Frollo's past as a priest as well as his relationship with his brother Jehan before becoming the cathedral's archdeacon. The gargoyles, Victor, Hugo, and Laverne (Charles, Antoine, and Loni in the Berlin production), who are the comic relief in the 1996 movie, are cut. Quasimodo speaks with a "strangled slur", rather than his pure voice in the movie. He relies on a form of sign language that he has invented, and while he is unable to articulate, the statues of Notre Dame serve as figments of his imagination, which provide insight into his thoughts and attitudes as a Greek chorus. Some of the original characters from the novel are added, as well as songs such as "The Tavern Song", "Rhythm of the Tambourine," "Flight into Egypt" and "In a Place of Miracles." The musical relies on a series of musical leitmotifs, which are reprised either instrumentally or vocally. Each of the central characters has a theme ("Out There" for Quasimodo, "God Help the Outcasts" for Esmeralda, "Hellfire" for Frollo, and "Rest and Recreation" for Phoebus). "The Bells of Notre Dame" acts as a narrative device to tell parts of the story. Thomas Schumacher, president of the Walt Disney Theatrical, noted that the English adaption of the musical embraced the darker elements of the original source material by Victor Hugo. After Michael Arden, who played the role of Quasimodo in this version, read the book and discovered that Quasimodo is actually deaf from bell-ringing, he incorporated this aspect into his character, including a sign language-based form of communication. He had to selectively choose the moments to forgo the ailment in order to sing, such as moments when Quasimodo is alone; from his perspective he does not see his deformities. Michael Arden said of his part that he would retire from the role in future incarnations of the show. The ending was proposed by director Scott Schwartz, who turned to the original source material for inspiration; it was inserted during tech rehearsals for the Papermill staging. According to Thomas W. Douglas, musical director of a 2017 adaption at MTW, the musical may leave the audience feeling thoughtful and pensive, rather than compelling them to stand up and cheer, due to the story's moral ambiguity and complexity. The theme of the play, according to Kyoto Quasimodo actor , is of how to behave when in contact with others different from ourselves. Alan Menken and Stephen Schwartz felt that having a live choir on stage was integral in achieving the full-bodied sound they had crafted for the film; in addition James Lapine gave them his blessing in tinkering with his book for the new production.


title: The Hunchback of Notre Dame (musical)

text: The First Japanese production worked to closely replicate the set design and choreography of the original American production. The script received no significant changes outside of translation and keeps all music within the original score.


title: The Hunchback of Notre Dame (musical)

text: Matt Wolf of "Variety" said, "The prevailing tone, indeed, is far and away the most somber of the three Disney film-to-stage shows yet." He wrote that "the design is likely to be the show's talking point in any language, coupling as it does the best of British and American talent with a new $100 million dollar-plus playhouse specifically adapted to accommodate the demands of the piece. The aquamarine stage curtain, Gothic tracery already encoded within it, rises to reveal set designer Heidi Ettinger's ever-shifting array of cubes that join with Jerome Sirlin's projections to conjure the medieval world of the Parisian belltower inhabited by Sarich's misshapen orphan Quasimodo, his unyielding master Frollo (Norbert Lamla) and a trio of very chatty gargoyles."


title: The Hunchback of Notre Dame (musical)

text: The English version of the musical received positive reviews. The "New York Daily News" wrote, "This stage musical smartly excises comic relief from the film's giggling gargoyles...The look of the show is also very good. Alexander Dodge's lavish bell-tower, Alejo Vietti's gritty period costumes and Howell Binkley's dynamic lights lend to the atmosphere." "The New York Times" deemed it a "surprising[ly] self-serious...polished but ponderous musical" with a "simultaneously impressive and oppressive" stage and "rich choral singing." "The Hollywood Reporter" said "Menken's uncommonly complex, classically-influenced score often soars." AM New York called the musical "an unusually dark and chilling piece of musical theater which explores physical deformity, religious extremism, sexual repression and even genocide."


title: The Hunchback of Notre Dame (musical)

text: Additionally, Hunchback received 10 Tommy Tune awards from 15 nominations, 6 Kennt Award nominations, 13 Blue Star Award nominations, 10 Tune Awards, 15 Freedy Award nominations and 8 wins, 6 Blumey Award nominations, one Annual Pierrot Award, and 7 TBA awards. The Danish version received 3 award nominations.


title: The Hunchback of Notre Dame (musical)

text: On May 15, 2015, it was announced that the Paper Mill cast would be releasing a cast recording of the show. Recorded on September 28–30 at Avatar Studios, the album features a 25-piece orchestra, with a 32-strong choir. The recording was released by Ghostlight Records in January 2016. The cast album was released to critical and commercial acclaim. It debuted at number one on Billboard's Cast Albums chart upon its release, thereby ending the 17-week run of "Hamilton" on this list.


title: The Hunchback of Notre Dame (musical)

text: A German cast album was recorded in 2017. M1 Musical wrote that from the first notes of Olim in the German recording, the reviewer was given goosebumps; they ultimately deemed it a "masterpiece – the diamond in the CD shelf."


title: Lil Scrappy

text: Darryl Raynard Richardson III (born January 19, 1984), better known by his stage name Lil Scrappy, is an American rapper.


title: Lil Scrappy

text: Richardson was discovered by producer and performer Lil Jon while performing at a bar in Atlanta. Along with labelmates Trillville, Lil Scrappy was one of the first signings to Lil Jon's BME Recordings. Richardson has built a strong reputation and eager following throughout the Atlanta hip hop scene and throughout the Southeastern United States through various mixtape releases.


title: Lil Scrappy

text: Lil Scrappy's first album, "" (2004), was a split-release, with Trillville songs representing one "side" of the disk and Lil Scrappy songs representing the other. The album reached #12 on the Billboard 200.


title: Lil Scrappy

text: Lil Scrappy's debut album "Bred 2 Die Born 2 Live" was released on December 5, 2006 on Reprise Records. The album was produced by Lil Jon and features appearances by 50 Cent, Bohagon, Lil Jon, Olivia, Three 6 Mafia, Young Buck, Young Dro, and Yung Joc. The first single "Money in the Bank" features Young Buck and became Lil Scrappy's second Top 30 single. "Money in the Bank" peaked at number 28 on the "Billboard" Hot 100 chart, becoming his biggest solo hit and most commercially successful single to date in the U.S. as it surpassed the peak position of "No Problem" by one position. The second single from the album is called "Gangsta Gangsta" and features Lil Jon. "Oh Yeah (Work)" is the third single from "Bred 2 Die Born 2 Live" and features E-40 and Sean P (formerly Sean Paul) of YoungbloodZ.


title: Lil Scrappy

text: Lil Scrappy's second album, "Prince of the South", was released on May 13, 2008, through Real Talk Entertainment.


title: Lil Scrappy

text: Lil Scrappy joined the Disturbing tha Peace label in April 2009. Though still filming the motion picture "Just Another Day", he was expected to tour that summer to promote his fourth studio album, "Tha Grustle," after filming was complete. In November 2011, with the album still unreleased, he announced he'd left Disturbing the Peace and that the album would be released by Bonzi Records in 2012.


title: Lil Scrappy

text: Lil Scrappy's second independent album, "Prince of the South 2", was released on October 19, 2010, through Real Talk Entertainment just like his first independent album. On September 8, 2009, Lil Scrappy released the first single from the album entitled "Addicted To Money" but it failed to reach the Billboard charts so it was dubbed as a promo single. Then on September 28, 2010, Lil Scrappy released the first album from the single"Bad (That's Her)" which featured Stuey Rock but it also failed to reach the Billboard charts so it was dubbed as a promo single.


title: Sick Puppies

text: Sick Puppies is an Australian alternative metal band formed in Sydney, New South Wales in 1997. After releasing their debut album "Welcome to the Real World" in 2001, the band rose to prominence in 2006 when their song "All the Same" was uploaded, along with a video, to YouTube. The video supported the Free Hugs Campaign, which was launched in Sydney, and has since received over 78 million views on the website. This success was followed up with their second studio album, "Dressed Up as Life" in 2007, which entered the "Billboard" 200 at number 181. Their third studio album, "Tri-Polar", came out on 14 July 2009. The band's fourth studio album, "Connect" was released on 16 July 2013. They released their fifth studio album, "Fury" on 20 May 2016 with new vocalist Bryan Scott after Shimon Moore was fired from the band in October 2014.


title: Sick Puppies

text: The band was formed by singer/lead guitarist Shimon Moore and bassist Emma Anzai in the music room of Mosman High School in 1997, when they double-booked the room and bickered over who would get to practice. They soon bonded over their love of Silverchair. Initially with Shimon on drums and Emma on guitars, the duo would frequently meet up to play Green Day, Rage Against the Machine, and Silverchair songs, and eventually felt compelled to write their own material. When Chris Mileski joined the band to play drums, Emma switched to bass and Shimon to guitar and vocals, and they became Sick Puppies.


title: Sick Puppies

text: There are two stories as to how the band name originated. The official version is that Shimon Moore thought of the name himself when the band members were brainstorming, and then came home a few days later to find his father Phil reading the book "Sick Puppy" by Carl Hiaasen. The alternate version is that a neighbor's dog entered the garage during a rehearsal and vomited on their equipment. An early fan made the comment, "That's one sick puppy", and the name stuck.


title: Sick Puppies

text: Emma Anzai took up a job as a telemarketer and Shimon took a job holding a sandwich board in the Pitt Street Mall in Sydney. Through their own financing and with help from Shimon's father (a musician and producer), the band released their debut EP "Dog's Breakfast".


title: Sick Puppies

text: The band entered the Triple J Unearthed band competition in 2000 with a demo of their song, "Nothing Really Matters", and went on to co-win the Sydney-region along with Blue and Ariels.Spans.Earth., which led to a management deal with Paul Stepanek Management. This deal enabled the band to release their debut studio album, "Welcome to the Real World" in 2001, and their second EP, Fly in 2003. The band decided they needed a fresh start when the record label they had signed a contract with folded and their drummer Chris Mileski left the band. They decided to move to Los Angeles when rock photographer Robert Knight, who would later co-star in a documentary called Rock Prophecies with the band, said to their manager, "You should move the band over here, I really think they will do well". As they were without a drummer, the band posted an ad on Craigslist, where they found their current drummer Mark Goodwin.


title: Sick Puppies

text: In 2007, Sick Puppies released their second album, "Dressed Up As Life". The album came after the huge success of the "Free Hugs Campaign", and featured their breakout single "All the Same". The song reached number eight on the U.S. Modern Rock chart and is also featured in the video for the Free Hugs Campaign, which won YouTube video of the year in 2006. They followed up the single with "My World", which peaked at No. 20. The band also released "Pitiful" and "What Are You Looking For" as singles in 2008.


title: Sick Puppies

text: Sick Puppies went into the recording studio in December 2008 to write, record, and produce their next studio album, which was released on 14 July 2009. They also wrote a song for Capcom's video game Street Fighter IV called "War", and it has been used in the advertisements and promotion for the game. It also reached the top 40 on the iTunes top rock songs. "War" was used during the Washington Capitals 2009 Stanley Cup playoffs introduction video. The song was also included as the first track on "Tri-Polar". Their first single off "Tri-Polar", "You're Going Down", reached No. 1, and was used as the theme song for the WWE pay per view Extreme Rules in June 2009. It was also used in "SmackDown vs. Raw 2010", the "My Soul to Take" (2010) movie trailer, and in the trailer and opening credits of "Tekken". The second single from the album, "Odd One", hit radio on 10 November.


title: Sick Puppies

text: Sick Puppies released a new song called "That Time of Year" on "NCIS: The Official TV Soundtrack – Vol. 2" and through their MySpace page for the holidays. The third single from the album, "Maybe", hit radio stations on 22 June. "Maybe" peaked at No. 1 on Billboard Heatseekers, No. 15 on Rock, and No. 6 on Alternative. It is the first Sick Puppies song to be on the Hot 100 chart, making it the band's most successful song. The album's fourth single, "Riptide", was released in February 2011, and peaked at number 6 on the Billboards Rock Chart. "Tri-Polar" was released in the UK on 4 April 2011.


title: Sick Puppies

text: On 14 August 2009, Sick Puppies made their film debut in "Rock Prophecies", a documentary about the career of acclaimed music photographer Robert Knight. This award-winning film features his life as he started out filming music greats such as Led Zeppelin and Jimi Hendrix, and his current mission to find today's up-and-coming bands and help them become tomorrow's top rock acts. This includes him convincing Sick Puppies to leave their homes to pursue success in the American music industry in Los Angeles.


title: Sick Puppies

text: According to bassist Emma Anzai, "() was like, 'Hey I want to put you in my film', so we were like, 'All right, cool.' So now it's two years later and he documented when we did the first album, the first show, all that kind of stuff. It was really cool. He wanted a new band to . . . develop." During the process, the band was filmed for a few days at a time, and said that they would forget the cameras were there and act accordingly, so this film captures them and their true interactions out of the spotlight. It was partly due to their involvement in this project and Mr. Knight's endorsement that they were able to acquire their first American record deal with RMR/Virgin/EMI. This record deal then led to the first U.S album, "Dressed Up as Life". "Rock Prophecies" was nationally aired on PBS and became available on DVD on 14 September 2010.


title: Sick Puppies

text: On 7 April 2010, Sick Puppies released an acoustic EP titled "Live & Unplugged", featuring three tracks from their "Tri-Polar" album and one B-Side from that album. The versions of "Odd One", "So What I Lied", and "The Pretender" were recorded in a studio, while "You're Going Down" was recorded live in a Chicago radio station during an interview. To promote the EP, Sick Puppies offered a merchandise package that included "Tri-Polar" and "Live & Unplugged" with a limited edition lithograph; this package was sold at their concerts. On 1 March 2011, Sick Puppies released their all-acoustic seven-track EP "Polar Opposite", which includes acoustic versions of "Riptide", "Don't Walk Away", and more. It was recorded in studio, along with string ensemble accompaniment. Anzai also contributes more major lead vocals on the record.


title: Sick Puppies

text: Sick Puppies released the follow-up album to "Tri-Polar" on 16 July 2013. The band originally stated on UStream that the working title was "Under the Black Sky" and that there would be a song by the same title. They later confirmed that the album name had changed, and officially announced the title of the album to be "Connect", and its lead single, "There's No Going Back" was released on 20 May 2013. The second single off the album, "Gunfight", was released on 13 October 2013. Connect was released in Europe on 31 March 2014. The album's third single, "Die to Save You", was released on 29 April 2014. The album's fourth single, "Connect", was released on 19 July 2014. In October 2014, American musician Blue Stahli announced that Anzai had worked on the track "Not Over 'Til We Say So" for his upcoming album "The Devil".


title: Sick Puppies

text: On 20 October 2014, it was announced that frontman Shimon Moore had left the band and that the remaining two members would continue on without him. This left bassist Emma Anzai as the only original member remaining in the band. It was later alleged that Moore was fired after he attempted to dissolve the band through a lawyer. Moore stated he was kicked out while out of town and he had no knowledge of it beforehand. He said he was sad and that he wished the band well.


title: Sick Puppies

text: On 15 December 2015, the band teased their upcoming music. They also signed on to play tours including Rock on the Range. On 8 February 2016, they revealed their new vocalist, Bryan Scott, who previously played with Glass Intrepid and Dev Electric, and briefly toured as a vocalist for Atlantic Records rock act Emphatic in 2011, while previewing a new single called "Stick to Your Guns". On 31 March 2016, Sick Puppies released their single "Stick to Your Guns". The album "Fury" was released in May 2016. In May 2022, Anzai joined Evanescence to fill that band's vacant bassist position, but she remains with Sick Puppies.


title: João Paulo II Airport

text: Ponta Delgada - João Paulo II Airport , named after Pope John Paul II, is an international airport located on the island of São Miguel, in the Portuguese archipelago of the Azores. Situated west of the city centre of Ponta Delgada, it is the primary (and busiest) airport in the Azores, as well as the fifth largest infrastructure managed by ANA Aeroportos de Portugal. The terminal was finished in 1995; by 2005 the airport served a total of 873,500 passengers. It has scheduled domestic flights to all islands of the Azores, plus Madeira and the mainland, namely (Lisbon, Porto and Faro). João Paulo II Airport also accommodates international flights to and from Europe and North America. The airport is the major hub for the SATA Group of airlines, which includes both inter-island SATA Air Açores and international Azores Airlines, and since April 2015 as a base for Ryanair.


title: João Paulo II Airport

text: The airport was inaugurated on 24 August 1969 by President Admiral Américo Tomás, after its construction was planned six years earlier, in 1963. Transferred from Santana, at the time of its opening, the runway was long and was then referred to as the "Aeroporto da Nordela", owing to its location at the extreme northwest of Ponta Delgada. It was built in order to serve inter-island connections and the continent, using a single Boeing 737 from the national flag carrier (TAP33). Regular flights to Lisbon began two years later.


title: João Paulo II Airport

text: In May 1995, at the inauguration of the airport terminal, the facility received the designation "João Paulo II", in honour of the visit of the Pope to the Azores in 1991.


title: João Paulo II Airport

text: Along with the airports in Lisbon, Porto, Faro, Flores, Santa Maria, Horta and Beja, the airport's concessions to provide support to civil aviation was conceded to ANA Aeroportos de Portugal on 18 December 1998, under provisions of decree 404/98. With this concession, ANA was also in charge of future planning, development and construction of future infrastructures.


title: Don Pardo

text: Dominick George "Don" Pardo (February 22, 1918 – August 18, 2014) was an American radio and television announcer whose career spanned more than seven decades.


title: Don Pardo

text: A member of the Television Hall of Fame, Pardo was noted for his 70-year tenure with NBC, working as the announcer for early incarnations of such notable shows as "The Price Is Right", "Jackpot", "Jeopardy!", "Three on a Match", "Winning Streak" and "NBC Nightly News". His longest, and best-known, announcing job was for NBC's "Saturday Night Live", a job he held for 38 seasons, from the show's debut in 1975 until 1981 and then 1982 until his death in 2014.


title: Don Pardo

text: Pardo was born in Westfield, Massachusetts. His parents, Dominick George Sr. and Valeria "Viola" Rominak-Pardo, were immigrants from Poland who owned a bakery. He spent his childhood in Norwich, Connecticut and Providence, Rhode Island. He graduated from Emerson College in 1942.


title: Don Pardo

text: He joined NBC full-time as an in-house announcer in 1944, remaining on the network staff for 60 years. The radio programs on which he worked as an announcer include "Barrie Craig, Confidential Investigator", the sci-fi shows "X Minus One" and "Dimension X".


title: Don Pardo

text: For more than 30 years, Pardo was one of the rotating announcers on the KFOG San Francisco radio show "Ten at Ten", appearing at 10 a.m. and in syndication with Dave Morey on KFOG HD Radio.


title: Don Pardo

text: In the early 1950s, he served as announcer for many of RCA's and NBC's closed-circuit color television demonstrations.


title: Don Pardo

text: Pardo made his mark on game shows for NBC in 1952 as the announcer on "Winner Take All", and as the voice of the original "The Price Is Right" from 1956 until it moved to ABC in 1963. Pardo's next show was "Jeopardy!", which he announced from 1964 until the original version of the series ended in 1975. Pardo also announced New York-based NBC game shows such as "Three on a Match", "Winning Streak", and "Jackpot!", all three of which were Bob Stewart productions.


title: Don Pardo

text: Pardo squeezed in many other assignments at NBC, including the Macy's Thanksgiving Day Parade (until 1999), WNBC-TV's "Live at Five" and "NBC Nightly News".


title: Don Pardo

text: Pardo was the on-duty live booth announcer for WNBC-TV in New York and the NBC network on November 22, 1963, and he was the first to announce to NBC viewers that President John F. Kennedy had been shot in Dallas, Texas.


title: Don Pardo

text: His best-known announcing work was for the television series "Saturday Night Live". His was the fourth voice heard on the show's premiere episode in 1975, after the first cold open sketch featuring Michael O'Donoghue, John Belushi and Chevy Chase. Pardo remained the program's announcer except for one season (1981–1982), when it was announced by Mel Brandt or Bill Hanrahan. After "Live from New York, it's Saturday Night!", which is cried out at the end of the cold open, Pardo announces the show's title, then names the cast members and musical guests in a voice-over during the opening montage. According to Pardo, his "Saturday Night Live" announcing booth during his tenure at Studio 8-H was almost exactly where Arturo Toscanini stood when conducting the NBC Symphony Orchestra in Rockefeller Center from 1937 to 1950.


title: Don Pardo

text: In December 1976, Pardo participated in a musical performance by Frank Zappa, reciting a verse of the song "I'm the Slime". Pardo subsequently reprised this role on the live-recorded version of the song for the "Zappa in New York" album (it was not featured on the first release in 1978, but it appears on the 1993 CD re-release). He also provided narration for the songs "The Illinois Enema Bandit" and "Punky's Whips" (a business dispute between Zappa and his record company of the time led to "Punky's Whips" being removed from the 1978 album, but the song was reinstated on the 1993 CD).


title: Don Pardo

text: Pardo also participated in the "Weird Al" Yankovic song "I Lost on Jeopardy", from his second album, ""Weird Al" Yankovic in 3-D", a parody of "Jeopardy" by The Greg Kihn Band, and its refrain "Our love's in jeopardy." The song became the fourth music video released by Yankovic, and featured a number of cameo appearances including Kihn, original Jeopardy! host Art Fleming, Yankovic's mentor Dr. Demento, Pardo, and Yankovic's parents.


title: Don Pardo

text: In 1989, he participated in the recording "I Beg Your Pardon" by Canadian synthpop band Kon Kan, which was an international hit single.


title: Don Pardo

text: Pardo nominally retired from NBC in 2004. However, he continued to announce for "Saturday Night Live" at the behest of executive producer Lorne Michaels, initially under the assumption that a permanent replacement would be found quickly. In 2006, he began prerecording his announcements from a studio in his Arizona home. That arrangement lasted only a few episodes before producers insisted that they needed him in Studio 8H, and he resumed weekly flights to New York. On Saturday, February 23, 2008, Pardo appeared at the closing of "Saturday Night Live" to blow out the candles on his 90th birthday cake. During this period, Pardo missed approximately five episodes due to illness; cast member Darrell Hammond (who would be Pardo's successor following his death) filled in for him but was uncredited.


title: Don Pardo

text: Upon his induction into the Rhode Island Radio Hall of Fame on May 14, 2009, Pardo suggested that the May 16, 2009 episode of "Saturday Night Live" would be his last. However, he subsequently returned for the show's 35th season. Starting with the 36th season, Pardo once again began pre-recording his parts from his home in Arizona instead of performing live in New York City.


title: Don Pardo

text: Pardo married Catherine Lyons in 1938; the marriage lasted until her death in 1995. The couple had five children: daughters Donna, Karen, and Paula; sons David and Michael.


title: The Hunting of the Snark

text: The Hunting of the Snark, subtitled "An Agony in 8 Fits", is a poem by the English writer Lewis Carroll. It is typically categorised as a nonsense poem. Written between 1874 and 1876, it borrows the setting, some creatures, and eight portmanteau words from Carroll's earlier poem "Jabberwocky" in his children's novel "Through the Looking-Glass" (1871).


title: The Hunting of the Snark

text: The narrative follows a crew of ten trying to hunt the Snark, a creature which may turn out to be a highly dangerous "Boojum". The only crewmember to find the Snark quietly vanishes, leading the narrator to explain that the Snark was a Boojum after all. The poem is dedicated to young Gertrude Chataway, whom Carroll met at the English seaside town Sandown in the Isle of Wight in 1875. Included with many copies of the first edition of the poem was Carroll's religious tract, "An Easter Greeting to Every Child Who Loves "Alice"".


title: The Hunting of the Snark

text: "The Hunting of the Snark" was published by Macmillan in the United Kingdom in March 1876, with illustrations by Henry Holiday. It had mixed reviews from reviewers, who found it strange. The first printing of "The Hunting of the Snark" consisted of 10,000 copies. There were two reprintings by the conclusion of the year; in total, the poem was reprinted 17 times between 1876 and 1908. Carroll often denied knowing the meaning behind the poem; however, in an 1896 reply to one letter, he agreed with one interpretation of the poem as an allegory for the search for happiness. Henry Holiday, the illustrator of the poem, considered the poem a "tragedy". Scholars have found various meanings in the poem, among them existential angst, an allegory for tuberculosis, and a mockery of the Tichborne case. "The Hunting of the Snark" has been adapted for musicals, opera, plays, and music.


title: The Hunting of the Snark

text: "The Hunting of the Snark" shares its fictional setting with Lewis Carroll's earlier poem "Jabberwocky" published in his 1871 children's novel "Through the Looking-Glass". Eight nonsense words from "Jabberwocky" appear in "The Hunting of the Snark": "bandersnatch, beamish, frumious, galumphing, jubjub, mimsiest" (which previously appeared as "mimsy" in "Jabberwocky"), "outgrabe", and "uffish". In a letter to the mother of his young friend Gertrude Chataway, Carroll described the domain of the Snark as "an island frequented by the jubjub and the bandersnatchno doubt the very island where the jabberwock was slain."


title: The Hunting of the Snark

text: The crew consists of ten members, where all but one description of the members begin with the letter B: a Bellman, the leader; a Boots (the only member of the crew without an illustration); a maker of Bonnets and Hoods (the only description which does not begin with the letter B); a Barrister, who settles arguments among the crew; a Broker, who can appraise the goods of the crew; a Billiard-marker, who is greatly skilled; a Banker, who possesses all of the crew's money; a Butcher, who can only kill beavers; a Beaver, who makes lace and has saved the crew from disaster several times; and a Baker, who can only bake wedding cake, forgets his belongings and his name, but possesses courage.


title: The Hunting of the Snark

text: After crossing the sea guided by the Bellman's map of the Ocean (a blank sheet of paper) the hunting party arrives in a strange land, and the Bellman tells them the five signs by which a snark can be identified. The Bellman warns them that some snarks are highly dangerous boojums; on hearing this, the Baker faints. Once revived, the Baker recalls that his uncle warned him that if the Snark turns out to be a boojum, the hunter will "softly and suddenly vanish away, and never be met with again". The Baker confesses that this possibility terrifies him.


title: The Hunting of the Snark

text: Along the way, the Butcher and Beaver, previously mutually wary, become fast friends after they hear the cry of a jubjub bird and the Butcher ends up giving the Beaver a lesson on maths and zoology. The Barrister, meanwhile, sleeps, and dreams of witnessing a court trial of a pig accused of deserting its sty, with a snark as its defence lawyer.


title: The Hunting of the Snark

text: During the hunt, the Banker is attacked by a bandersnatch, and loses his sanity after trying to bribe the creature.


title: The Hunting of the Snark

text: The Baker rushes ahead of the party and calls out that he has found a snark, but when the others arrive, he has mysteriously disappeared.


title: The Hunting of the Snark

text: Two explanations of which event in Carroll's life gave rise to "The Hunting of the Snark" have been offered. Biographer Morton N. Cohen connects the creation of "The Hunting of the Snark" with the illness of Carroll's cousin and godson, the twenty-two-year-old Charlie Wilcox. On 17 July 1874, Carroll travelled to Guildford, Surrey, to care for him for six weeks, while the young man struggled with tuberculosis. The next day, while taking a walk in the morning after only a few hours of sleep, Carroll thought of the poem's final line: "For the Snark "was" a boojum, you see."


title: The Hunting of the Snark

text: Fuller Torrey and Judy Miller suggest that the event that inspired the poem was the sudden death of Carroll's beloved uncle, Robert Wilfred Skeffington Lutwidge, caused by a patient in 1873 during Lutwidge's time as an inspector of lunatic asylums. They support their analysis with parts of the poem, such as the Baker's uncle's advice to seek the snark with "thimbles, forks, and soap", which, according to Torrey and Miller, were all items the lunatic asylum inspectors checked during their visits.


title: The Hunting of the Snark

text: Holiday and Carroll had some disagreements on the artwork. Carroll initially objected to Holiday's personification of hope and care, but agreed to the change, when Holiday explained that he had only intended to add another layer of meaning to the word "with". However, Carroll refused his illustration of the boojum, preferring that the creature go without a depiction, and made him change his initial portrayal of the Broker, as it could have been perceived as anti-semitic.


title: The Hunting of the Snark

text: When finally published, the poem comprised 141 stanzas of four lines each, with internal rhymes in the first and third lines of irregular stanzas appearing in the poem from the second fit onwards. Martin Gardner annotated to "The Hunting of the Snark" that Elizabeth Sewell pointed out in "The Field of Nonsense" (1973) that a line in Carroll's poem has a similarity to a line in a limerick ("There was an old man of Port Grigor...") by Edward Lear.


title: The Hunting of the Snark

text: To illustrate the poem Carroll chose Henry Holiday, whom he had met in 1869 or 1870. At the time Carroll approached him to ask if he could create three illustrations for the poem, Carroll had completed three "fits", as he called the parts of his poem"fit" can mean either canto or convulsion"The Landing", "The Hunting", and "The Vanishing". He intended to title it "The Boojum" and include it in his fantasy novel "Sylvie and Bruno", which was unfinished at the time. However, in late October 1875, Carroll thought about having it published during Christmas; this proved impossible, as the wood engraving for the illustrations needed three months to be complete. By the time Holiday had completed the sketches and sent them to Carroll, Carroll had already created a new fit requiring an illustration. They worked this way until Holiday had created nine illustrations as well as the front cover and the back cover of the book. Thus, among the ten illustrations shown below, one illustration is not by Holiday. The "Ocean Chart" is typographic art whereas electrotypes made from Joseph Swain's woodblock engravings were used to print Holiday's illustrations.


title: The Hunting of the Snark

text: There is no depiction of the Snark, nor of Boots. However, based on a draft by Carroll, the snark was allowed to show up in an illustration by Holiday, where it appeared in a dream of the Barrister.


title: The Hunting of the Snark

text: The illustration to the chapter "The Banker's Fate" might contain pictorial references to the etching "The Image Breakers" by Marcus Gheeraerts the Elder, to William Sidney Mount's painting "The Bone Player" and to a photograph by Benjamin Duchenne used for a drawing in Charles Darwin's 1872 book "The Expression of Emotions in Man and Animals".


title: The Hunting of the Snark

text: Upon the printing of the book on 29 March 1876, Carroll gave away eighty signed copies to his favourite young friends; in a typical fashion, he signed them with short poems, many of them acrostics of the child's name. He dedicated "The Hunting of the Snark" to Gertrude Chataway, whom he had befriended in summer 1875 at the English seaside town Sandown on the Isle of Wight. He finished the dedication a month after befriending her, a double acrostic poem that not only spelled out her name, but contained a syllable of her name in the first line of each stanza. The stanza of his first draft concluded ""Rest on a friendly knee, the tale to ask / That he delights to tell."" The poem was printed in "The Hunting of the Snark" with permission from Chataway's mother.


title: The Hunting of the Snark

text: Included with many copies of the first edition of "The Hunting of the Snark" was Carroll's three-page, religious tract to his young readers, "An Easter Greeting to Every Child Who Loves "Alice"". Largely written on 5 February 1876, "An Easter Greeting" explores the concept of innocence and eternal life through biblical allusions and literary allusions to Romantic writers William Blake and William Wordsworth. Gardner suggests that Carroll included the tract as a way of balancing the dark tone of the poem. Scholar Selwyn Goodacre speculates that, as many copies of first-edition of the poem contain the tract, there is a possibility that all first editions originally had a copy of "An Easter Greeting".


title: The Hunting of the Snark

text: The first printing of "The Hunting of the Snark" consisted of 10,000 copies. By the conclusion of 1876, it had seen two reprints, with a total of 18,000 or 19,000 copies circulating. In total, the poem was reprinted seventeen times between 1876 and 1908.


title: The Hunting of the Snark

text: "The Hunting of the Snark" received largely mixed reviews from Carroll's contemporary reviewers. "The Academy"s Andrew Lang criticised Carroll's decision to use poetry instead of prose and its too appealing title. "The Athenaeum" described it as "the most bewildering of modern poetry", wondering "if he has merely been inspired to reduce to idiotcy as many readers and more especially reviewers, as possible". According to "Vanity Fair", Carroll's work had progressively worsened after "Alice's Adventures in Wonderland" (1865), with "The Hunting of the Snark" being the worst of his works and "not worthy [of] the name of nonsense". While "The Spectator" wrote that the poem's final line had the potential to become a proverb, it criticised the poem as "a failure" that might have succeeded with more work from the author. "The Saturday Review" wrote that the poem offered "endless speculation" as to the true identity of the Snark, although the unnamed reviewer felt that the familiar nature of Carroll's nonsense weakened its effect for the reader. Conversely, "The Graphic" praised the poem as a welcome departure from the "Alice" books, and called it "a glorious piece of nonsense", that could appeal to all "Alice" fans.


title: The Hunting of the Snark

text: "The Hunting of the Snark" has in common some elements with Carroll's other works. It shares its author's love of puns on the word "fit" with "Alice's Adventures in Wonderland", and mentions of "candle-ends" and "toasted cheese" with his supernatural poem "Phantasmagoria". Additionally all three works include the number "42". Another of Carroll's children's novels, "Sylvie and Bruno Concluded" (1893) makes a reference to the Boojum.


title: The Hunting of the Snark

text: Other illustrators of "The Hunting of the Snark" include Peter Newell (1903), Edward A. Wilson (1932), Mervyn Peake (1941), Aldren Watson (1952), Tove Jansson (1959), Helen Oxenbury (1970), Byron Sewell (1974), John Minnion (1974), Harold Jones (1975), Ralph Steadman (1975), Quentin Blake (1976), Frank Hinder (1989) and Brian Puttock (1997).


title: The Hunting of the Snark

text: "The Hunting of the Snark" has seen various adaptations into musicals, opera, theatre, plays, and music, including a piece for trombone by Norwegian composer Arne Nordheim (1975) a jazz rendition (2009), and (in French translation"La chasse au Snark") with music by Michel Puig for five actresses, eight actors and an instrumental ensemble of five players, premiered at the Festival d'Avignon in 1971. The poem was turned into a £2 million budget West End musical "The Hunting of the Snark" by Mike Batt.


title: The Hunting of the Snark

text: The poem has inspired literature, such as Jack London's "The Cruise of the Snark" (1911), the science-fiction short story "Chaos, Coordinated" (1947) by John MacDougal, Elspeth Huxley's "With Forks and Hope" (1964) and the title of Kate Wilhelm's novella "With Thimbles, with Forks and Hope." American author Edith Wharton (1862-1937) was fond of the poem as a child.


title: The Hunting of the Snark

text: Various themes have been suggested by scholars. According to biographer Florence Becker Lennon, the poem's "motif of loss of name or identity" is typical of Carroll's work. Richard Kelly writes that the poem contains a "theme of annihilation". Furthermore, Edward Guiliano feels that the "Snark" is within the nonsense tradition of Thomas Hood and, especially, W. S. Gilbert, the librettist of the famous Gilbert and Sullivan team. According to him, a case can be made for a direct influence of Gilbert's Bab Ballads on "The Hunting of the Snark", based on the fact that Carroll was well-acquainted with the comic writing and the theatre of his age.


title: The Hunting of the Snark

text: In response to various letters asking for the meaning of the poem, Carroll often replied that he did not know. However, in an 1896 reply to one letter, he agreed with one interpretation of the poem as an allegory for the search for happiness.


title: The Hunting of the Snark

text: Widely varying interpretations of "The Hunting of the Snark" have been suggested: an allegory for tuberculosis, a mockery of the Tichborne case, a satire of the controversies between religion and science, the repression of Carroll's sexuality, and a piece against vivisection, among others. According to Cohen, the poem represents a "voyage of life", with the Baker's disappearance caused by his violation of the laws of nature, by hoping to unravel its mysteries. Lennon sees "The Hunting of the Snark" as "a tragedy of frustration and bafflement", comparable to British actor Charlie Chaplin's early comedies.


title: The Hunting of the Snark

text: According to Kelly, "The Hunting of the Snark" is "Carroll's comic rendition of his fears of disorder and chaos, with the comedy serving as a psychological defense against the devastating idea of personal annihilation." Kelly writes that the Bellman's Rule of Three and starting each character's name with the letter B are "notable attempts to create a sense of order and meaning out of chaos".


title: The Hunting of the Snark

text: F.C.S. Schiller, writing under the pseudonym "Snarkophilus Snobbs", interprets the poem as an allegory of Man's attempt to understand "the Absolute", and the members of the crew as representing different cultural approaches to the problem. His interpretation of the Sixth Fit, "The Barrister's Dream" is particularly notable: He reads the trial of the pig for deserting its sty as symbolizing the ethical debate about whether suicide should be condemned as an immoral or culpable action. The pig who deserts its sty represents the suicidal person who abandons life. (Like the pig, he's guilty – but being dead, is not punishable.)


title: The Hunting of the Snark

text: Martin Gardner sees the poem as dealing with existential angst, and states that the Baker may be Carroll's satire of himself, pointing to the fact that the Baker was named after a beloved uncle, as was Carroll, and that the two were around the same age at the time of the writing of the poem. Alternatively, Larry Shaw of the fan magazine "Inside and Science Fiction Advertiser" suggests that the Boots, being the Snark, actually murdered the Baker.


title: The Hunting of the Snark

text: Also references to religious issues had been suggested, like the Baker's 42 boxes being a reference to Thomas Cranmer's "Forty-Two Articles" with a focus on the last article on eternal damnation, and Holiday's illustration to the last chapter containing a pictorial allusion to Cranmer's burning.


title: Shahid (film)

text: Shahid is a 2012 Indian Hindi-language biographical drama film directed by Hansal Mehta, written by Sameer Gautam Singh and jointly produced by Anurag Kashyap and Sunil Bohra in association with Ronnie Screwvala and Siddharth Roy Kapur under the UTV Spotboy banner. Based on the life of lawyer and human rights activist Shahid Azmi, who was assassinated in 2010, the film stars Rajkummar Rao as Azmi; Mohammed Zeeshan Ayyub, Prabhleen Sandhu and Baljinder Kaur appear in supporting roles.


title: Shahid (film)

text: Mehta took a break after some of his films were box-office failures. When he heard about Azmi's murder, he felt the need to make a film about his life. He began his research for the film nearly three months after Azmi's murder. Eventually, he met Singh, who wrote the script after researching Azmi's life and spending months interviewing Azmi's family. Apurva Asrani contributed additional inputs on the script with Mehta and also served as the film's editor. Anuj Rakesh Dhawan was the director of photography.


title: Shahid (film)

text: "Shahid" had its world premiere at the 2012 Toronto International Film Festival's City to City programme in 2012. It was screened at several other film festivals including the 14th Mumbai Film Festival, the New York Indian Film Festival, the Indian Film Festival of Stuttgart, the Dubai International Film Festival and the Chicago South Asian Film Festival. The film was awarded the Silver Gateway Trophy at the Mumbai film festival while Mehta won the Best Director award. Mehta also won the best director award at New York Indian Film Festival and at the Indian Film Festival of Stuttgart. It was released theatrically in India on 18 October 2013 and met with critical acclaim. Rao received the Best Actor Award and Mehta the Best Director Award at the 61st National Film Awards ceremony.


title: Shahid (film)

text: Shahid Azmi and his family are terrorised during the Bombay riots, when hundreds of Hindus and Muslims died. Later he goes to Kashmir and spends a brief period at a terror training camp but soon returns after witnessing an execution. He moves back to Mumbai where he is arrested under the Terrorist and Disruptive Activities (Prevention) Act, for an alleged conspiracy to assassinate some politicians. His brother Arif Azmi tries to bail him out but fails. Shahid is tortured by police and forced to admit to the crime, after which he spends seven years at Tihar Jail in New Delhi. During his incarceration, Omar Sheikh tries to brainwash him. Another inmate, Ghulam Navi Waar, inspires him to begin his college education, and once he is acquitted of the charges, he studies law in Mumbai.


title: Shahid (film)

text: After receiving his law degree, Shahid works with lawyer Maqbool Memon for a few months, before starting his career as an independent lawyer with the financial support of his elder brother Arif. During this process he meets Mariam, a Muslim divorcee, and marries her. Shahid soon starts picking up cases of Muslims charged under the Prevention of Terrorism Act (POTA). He fights many cases pro bono in consultation with non-governmental organizations. Shahid's first major success as a defence lawyer is winning an acquittal, due to lack of evidence, for Arif Paanwala who was arrested under POTA for the 2002 Mumbai bus bombing.


title: Shahid (film)

text: Shahid represents the accused in the 2006 Mumbai train bombings, the 2006 Aurangabad arms haul, and the 2006 Malegaon bombings case. He is criticised for supporting terrorists and starts getting threatening calls that disturb his family life. On one occasion, Shahid's face is blackened by assailants outside the court room. While defending Faheem Ansari in the 2008 Mumbai attacks case, he is shot by two gunmen in his office and dies on the spot. Later, Ansari is shown to be acquitted of all charges by the Supreme Court of India due to lack of evidence.


title: Shahid (film)

text: Mehta stated in an interview with Priyanka Pereira of "The Wall Street Journal" that he needed a break after some of his films proved to be a box-office failures, like "Woodstock Villa" (2007) and "Raakh" (2010). On 11 February 2010, lawyer Shahid Azmi was shot dead in his office in Mumbai at the age of 32. He had represented those accused of the 2006 Mumbai train bombings, the 2006 Malegaon bombings and while he was defending Faheem Ansari in the 2008 Mumbai attacks case, he was killed. Azmi was arrested during the communal riots of 1992–1993 in Mumbai and later studied law and began defending people arrested on false charges. The lawyer secured 17 acquittals in his seven-year career. Mehta said that when he heard about Azmi's murder, he had a sense that the tale of his life could pull his "creativity out of the rut". He felt that Azmi lived an "ordinary life, with extraordinary conviction to do what he believed was right" and that his story "had to be told". Mehta began his research nearly three months after Azmi's murder. He later met writer Sameer Gautam Singh, who approached Mehta with a script. Mehta said he could not make a film with the script and asked him if he was would co-write another script with him. Singh agreed, and Mehta sent him along with his son Jai Mehta to Azmi's hometown to meet his family. They interviewed his family members and friends for two months. Mehta chose not to go with them as he feared that on seeing a filmmaker, Azmi's family and friends would "alter the version" of his life.


title: Shahid (film)

text: Both Mehta and Singh read several of Azmi's cases for the story. Mehta noticed that they were written in simple English that could be understood by anyone: "It told me he was a no-nonsense guy. He wanted to fight the battle and not beat around the bush." Mehta and Singh also met his colleagues, attended court sessions, petitions, litigations and learned how to get a client acquitted. Mehta later went to seek permission to make the film to the family members who expressed their skepticism about the project. Later, they agreed and talked to him about Azmi. The film focused on Azmi's beginnings and two cases he handled: the 2006 Mumbai train blasts and the 2008 Mumbai terror attacks. Mehta combined several of Azmi's petitions into a single case for "clarity and dramatic impact".


title: Shahid (film)

text: Mehta said he was looking for "big stars" for the film, but most were not interested because of his earlier failures. At the time, the film's co-producer Anurag Kashyap suggested he cast Rajkummar Rao thinking he was perfect for the role of Azmi. Later, casting director Mukesh Chhabra sent Rao to Mehta's office. Mehta cast him after a screen test. Mehta felt Rao "surrendered himself completely" to the film. In preparing for the role, Rao met Azmi's family and spent time with them to understand the man and his personality. He also studied the Quran and attended courtrooms to understand how lawyers behave. Rao said he was "emotionally drained" as the character was challenging and complex. In the scenes where he had to cry, Rao said he could not stop himself, thinking about what Azmi had to go through.


title: Shahid (film)

text: Tigmanshu Dhulia, Prabhleen Sandhu, Kay Kay Menon and Mohammed Zeeshan Ayyub played supporting roles in the film. Vivek Ghamande played the role of Faheem Ansari while Baljinder Kaur of Ammi.


title: Shahid (film)

text: "Shahid" was made on a production budget of and filmed in complete secrecy. It was shot in several Mumbai neighbourhoods Azmi had frequented including Kurla, Govandi and Pydhonie. Mehta chose to shoot in the apartment above Azmi's ground floor residence in the Taximen's Colony as he wanted to "capture the sense of claustrophobia and unkemptness of his home". Some portions of the film were shot in Azmi's office and his colony. "Shahid" was also shot in Nagpada, where Faheem Ansari's wife Yasmin lives. The scenes in the terrorist training camp were shot in Himachal Pradesh.


title: Shahid (film)

text: Mehta decided to depict realistic court scenes based on his team's observation of real courts. They visited the Andheri Court and the Esplanade Court among others, taking photographs to recreate the ambience for the courtroom scenes. Courtroom sets were built because filming in an actual court is not permitted. The scene where Azmi's face is blackened by assailants outside a courtroom was a re-enactment of an incident from Mehta's own life. In 2000, members of Shiv Sena who were protesting against Mehta's drama film "Dil Pe Mat Le Yaar!!" attacked him and vandalised his office.


title: Shahid (film)

text: The film's unit consisted of about 17 people because of budget and time constraints; it was made on a budget of . The film was shot linearly on a non-linear draft. Mehta said it was filmed guerilla style using all "available digital formats without really worrying about which lens was available". The filmmaker used only natural or minimal lighting. For an interrogation scene, Rao suggested Mehta show him naked as he wanted to "feel the embarrassment, the mental pain of the character." The film's editor, Apurva Asrani, edited the film in a linear order as he felt an earlier version was "not working". Mehta ultimately decided to give him a screenplay credit as he felt Asrani "shaped the narrative" of the film.


title: Shahid (film)

text: "Shahid" was jointly produced by Kashyap, UTV Spotboy and Sunil Bohra. Azmi had defended Kashyap's film "Black Friday" (2007) in the courts while it was debarred from release by the Central Board of Film Certification. Anuj Dhawan served as the film's director of photography.


title: Shahid (film)

text: Mehta said that they had a lot of material they did not use as "not all of it could translate into a scene"; he wanted the film to be more accessible. Azmi's brother Khalid Azmi said of the film's authenticity that "it is 95 percent accurate."


title: Shahid (film)

text: "Shahid" premiered at the 2012 Toronto International Film Festival in its "City to City" programme in September 2012. The film was screened at several film festivals including the 14th Mumbai Film Festival, the New York Indian Film Festival, the Indian Film Festival of Stuttgart, the Dubai International Film Festival and the Chicago South Asian Film Festival. The film's album soundtrack consisted of one song titled "Beparwah", sung by Arijit Singh. The music was composed by Karan Kulkarni. The film's poster, which showed Rao's blackened face, was also released. The official trailer was unveiled on 20 September 2013. The film opened in India on 18 October 2013 around 400 screens. A private screening of the film was held for the cast and crew before its release. "Shahid" is also available on SonyLiv and Netflix.


title: Shahid (film)

text: "Shahid" opened to small audiences in theatres and earned a total of . It went on to take in at the end of its first weekend. The film performed well with multiplex audiences compared to single screens. It collected on the fifth day, on the sixth, and seventh day. The film's total box office collection at the end of its theatrical run was .


title: Shahid (film)

text: Rao received the Best Actor Award and Mehta the Best Director Award at the 61st National Film Awards ceremony. Rao also won the Filmfare Critics Award for Best Actor at the 59th Filmfare Awards. At the 14th Mumbai International Film Festival, the film won the Silver Gateway trophy and cash prize of while Mehta won the Best Director award. Mehta won the Best Director award at the New York Indian Film Festival and at the Indian Film Festival of Stuttgart.


title: Shahid (film)

text: "Shahid" received mostly positive reviews from the critics with particular praise for Rao's performance. Saibal Chatterjee of NDTV called it a "gritty, gutsy, bold and brave" film that articulates "uncomfortable truths about contemporary India, its media, its judiciary and, of course, its people." Sify's Sonia Chopra gave a positive review, writing that the film "salutes the man who walked a unique path" and does "full justice to the man and his extraordinary life." Rajeev Masand wrote in his review: "The film itself is brave and unflinching, and oozes the kind of sincerity that you long for in most Hindi films." Madhureeta Mukherjee of "The Times of India" said the film is "brutally honest, brave and above all a fascinating humane story". Trisha of "Firstpost" believed Mehta's directorial style echoed "Azmi's own commitment to a truth in which thoughtless actions produce victims, rather than villainy producing heroes."


title: Shahid (film)

text: Shubhra Gupta of "The Indian Express" mentioned in her review that the film "needed to have been made" and Mehta "tells it straight, without any false flourishes". She also praised Rao's performance, saying he "wears the character like skin, and becomes Shahid." "India Today"s Suhani Singh gave a positive review, writing the film "stops short of hero worship and is a fitting tribute to an inspiring figure." Anupama Chopra praised Rao's performance in the film and called it his "triumph, [..] his "Shahid" has strength, anguish and a controlled anger, but also real charm." Vinayak Chakravorty of "India Today" noted it as a "career-defining role" for Rao and the "biggest reason you will love this unusual film." Baradwaj Rangan felt the film was a "deeply humanistic drama" which "makes us think, but more often, it makes us feel." "Mid-Day"s Shubha Shetty Saha wrote: "Not often do we get the opportunity to watch a relevant movie that depicts the times we live in, with unblinking directness."


title: Shahid (film)

text: Prasanna D Zore of Rediff.com called it a "gutsy and thought-provoking film", she added that it is not an "in your face film": "It is a subtle, thought-provoking and gutsy story of a person who believed in the power of truth and justice yet knew that the path he had taken was strewn with risks, indifference and ignominy." Saurav Datta of "Daily News and Analysis" opined the film was "incomplete" without showing Azmi's younger brother's role as he took over his job; he felt the film also concluded with an "abrupt, grinding halt". "Mint"s Sanjukta Sharma called it an "admirable project" and praised Rao's performance but stated the film fell "short of a masterpiece" as a biopic. Namrata Joshi felt that the film "portrays the psyche of the Indian Muslim in the changing, increasingly polarised India with warmth and simplicity." Reuters Shilpa Jamkhandikar responded positively to the film and praised Rao's performance: "As Shahid, Raj Kumar injects the right amount of earnestness, anger and vulnerability into his role, to make this one of the best performances we have seen this year." Journalist and writer Rana Ayyub said that the film was a "brave and worthy tribute to [Azmi's] work and courage."


title: Shahid (film)

text: Among overseas reviewers, Omer M. Mozaffar of RogerEbert.com praised Mehta's direction and called his work a "pleasant surprise": "the lack of polish at first seems like a film school weakness, but grows into a well-crafted asset, especially in his deliberate fades to black." Rachel Saltz of "The New York Times" gave a positive review writing: "[Mehta] has made a film of conviction that's neither plodding nor preachy." However, Saltz felt the second half of the film was "truncated and overstuffed". Mohammad Kamran Jawaid of "Dawn", gave the film a positive review writing that the two-hour time constraint "means there's little room for the traditional expansion we get from biopics, and if at times "Shahid" feels like an expanded best-of Mr. Azmi's life, it's because it is".


title: Shahid (film)

text: "Shahid" was mentioned in critic and author Shubhra Gupta's book, "50 Films That Changed Bollywood, 1995–2015".


title: Ed Solomon

text: Edward James Solomon (born September 15, 1960) is an American filmmaker. He is best known for writing the screenplays to "Bill & Ted's Excellent Adventure" (1989), "Men in Black" (1997), and "Now You See Me" (2013).


title: Ed Solomon

text: Solomon began his career in college as a joke writer, stand up comedian, and playwright and, while still in college, was a staff writer for "Laverne & Shirley" – making him (at the time) the youngest member of the Writers Guild of America. He then spent three years writing the cult Showtime TV series, "It's Garry Shandling's Show", and has helped create critically acclaimed hit franchise films in each of the past four decades, including "Bill & Ted's Excellent Adventure" and "Bill & Ted's Bogus Journey" (with Chris Matheson) (the 1980s), "Men in Black" (1990s), "Charlie's Angels" (2000s), and "Now You See Me" (2010s).


title: Ed Solomon

text: In March 2016 he completed production on "Mosaic", a 12-hour long-form TV project for HBO in collaboration with director Steven Soderbergh, and worked on an early version of a Universal "The Invisible Man" remake, with Johnny Depp.


title: Ed Solomon

text: He married Cynthia Cleese, daughter of Connie Booth and John Cleese, in 1995. They have two children and divorced in 2011.


title: Jin Seon-kyu

text: Jin Seon-kyu (born September 13, 1977) is a South Korean actor. He is best known for his roles on the big screen, such as "The Outlaws" (2017) and "Extreme Job" (2019). He won Best Supporting Actor award at the 38th Blue Dragon Film Awards in 2017 for his performance in the film "The Outlaws".


title: Basket weaving

text: Basket weaving (also basketry or basket making) is the process of weaving or sewing pliable materials into three-dimensional artifacts, such as baskets, mats, mesh bags or even furniture. Craftspeople and artists specialized in making baskets may be known as basket makers and basket weavers. Basket weaving is also a rural craft.


title: Basket weaving

text: Basketry is made from a variety of fibrous or pliable materials—anything that will bend and form a shape. Examples include pine, straw, willow, oak, wisteria, forsythia, vines, stems, animal hair, hide, grasses, thread, and fine wooden splints. There are many applications for basketry, from simple mats to hot air balloon gondolas.


title: Basket weaving

text: While basket weaving is one of the widest spread crafts in the history of any human civilization, it is hard to say just how old the craft is, because natural materials like wood, grass, and animal remains decay naturally and constantly. So without proper preservation, much of the history of basket making has been lost and is simply speculated upon.


title: Basket weaving

text: The earliest reliable evidence for basket weaving technology in the Middle East comes from the Pre-Pottery Neolithic phases of Tell Sabi Abyad II and Çatalhöyük. Although no actual basketry remains were recovered, impressions on floor surfaces and on fragments of bitumen suggest that basketry objects were used for storage and architectural purposes. The extremely well-preserved Early Neolithic ritual cave site of Nahal Hemar yielded thousands of intact perishable artefacts, including basketry containers, fabrics, and various types of cordage. Additional Neolithic basketry impressions have been uncovered at Tell es-Sultan (Jericho), Netiv HaGdud, Beidha, Shir, Tell Sabi Abyad III, Domuztepe, Umm Dabaghiyah, Tell Maghzaliyah, Tepe Sarab, Jarmo, and Ali Kosh.


title: Basket weaving

text: The oldest known baskets were discovered in Faiyum in upper Egypt and have been carbon dated to between 10,000 and 12,000 years old, earlier than any established dates for archaeological evidence of pottery vessels, which were too heavy and fragile to suit far-ranging hunter-gatherers. The oldest and largest complete basket, discovered in the Negev in the Middle East, dates to 10,500 years old. However, baskets seldom survive, as they are made from perishable materials. The most common evidence of a knowledge of basketry is an imprint of the weave on fragments of clay pots, formed by packing clay on the walls of the basket and firing.


title: Basket weaving

text: During the Industrial Revolution, baskets were used in factories and for packing and deliveries. Wicker furniture became fashionable in Victorian society.


title: Basket weaving

text: During the World Wars some pannier baskets were used for dropping supplies of ammunition and food to the troops.


title: Basket weaving

text: Weaving with rattan core (also known as reed) is one of the more popular techniques being practiced, because it is easily available. It is pliable, and when woven correctly, it is very sturdy. Also, while traditional materials like oak, hickory, and willow might be hard to come by, reed is plentiful and can be cut into any size or shape that might be needed for a pattern. This includes flat reed, which is used for most square baskets; oval reed, which is used for many round baskets; and round reed, which is used to twine; another advantage is that reed can also be dyed easily to look like oak or hickory.


title: Basket weaving

text: Many types of plants can be used to create baskets: dog rose, honeysuckle, blackberry briars once the thorns have been scraped off and many other creepers. Willow was used for its flexibility and the ease with which it could be grown and harvested. Willow baskets were commonly referred to as wickerwork in England.


title: Basket weaving

text: Water hyacinth is used as a base material in some areas where the plant has become a serious pest. For example, a group in Ibadan led by Achenyo Idachaba have been creating handicrafts in Nigeria.


title: Basket weaving

text: Because vines have always been readily accessible and plentiful for weavers, they have been a common choice for basketry purposes. The runners are preferable to the vine stems because they tend to be straighter. Pliable materials like kudzu vine to more rigid, woody vines like bittersweet, grapevine, honeysuckle, wisteria and smokevine are good basket weaving materials. Although many vines are not uniform in shape and size, they can be manipulated and prepared in a way that makes them easily used in traditional and contemporary basketry. Most vines can be split and dried to store until use. Once vines are ready to be used, they can be soaked or boiled to increase pliability.


title: Basket weaving

text: The type of baskets that reed is used for are most often referred to as "wicker" baskets, though another popular type of weaving known as "twining" is also a technique used in most wicker baskets.


title: Basket weaving

text: Popular styles of wicker baskets are vast, but some of the more notable styles in the United States are Nantucket Baskets and Williamsburg Baskets. Nantucket Baskets are large and bulky, while Williamsburg Baskets can be any size, so long as the two sides of the basket bow out slightly and get larger as it is weaved up.


title: Basket weaving

text: The parts of a basket are the base, the side walls, and the rim. A basket may also have a lid, handle, or embellishments.


title: Basket weaving

text: Most baskets begin with a base. The base can either be woven with reed or wooden. A wooden base can come in many shapes to make a wide variety of shapes of baskets. The "static" pieces of the work are laid down first. In a round basket, they are referred to as "spokes"; in other shapes, they are called "stakes" or "staves". Then the "weavers" are used to fill in the sides of a basket.


title: Basket weaving

text: A wide variety of patterns can be made by changing the size, colour, or placement of a certain style of weave. To achieve a multi-coloured effect, aboriginal artists first dye the twine and then weave the twines together in complex patterns.


title: Basket weaving

text: Basketry exists throughout the Indian subcontinent. Since palms are found in the south, basket weaving with this material has a long tradition in Tamil Nadu and surrounding states.


title: Basket weaving

text: Chinese bamboo weaving, Taiwanese bamboo weaving, Japanese bamboo weaving and Korean bamboo weaving go back centuries. Bamboo is the prime material for making all sorts of baskets, since it is the main material that is available and suitable for basketry. Other materials that may be used are ratan and hemp palm.


title: Basket weaving

text: Southeast Asia has thousands of sophisticated forms of indigenous basketry produce, many of which use ethnic-endemic techniques. Materials used vary considerably, depending on the ethnic group and the basket art intended to be made. Bamboo, grass, banana, reeds, and trees are common mediums.


title: Basket weaving

text: Basketry is a traditional practice across the Pacific islands of Polynesia. It uses natural materials like pandanus, coconut fibre, hibiscus fibre, and New Zealand flax according to local custom. Baskets are used for food and general storage, carrying personal goods, and fishing.


title: Basket weaving

text: Basketry has been traditionally practised by the women of many Aboriginal Australian peoples across the continent for centuries.


title: Basket weaving

text: The Ngarrindjeri women of southern South Australia have a tradition of coiled basketry, using the sedge grasses growing near the lakes and mouth of the Murray River.


title: Basket weaving

text: The fibre basketry of the Gunditjmara people is noted as a cultural tradition, in the World Heritage Listing of the Budj Bim Cultural Landscape in western Victoria, Australia, used for carrying the short-finned eels that were farmed by the people in an extensive aquaculture system.


title: Basket weaving

text: Arctic and Subarctic tribes use sea grasses for basketry. At the dawn of the 20th century, Inupiaq men began weaving baskets from baleen, a substance derived from whale jaws, and incorporating walrus ivory and whale bone in basketry.


title: Basket weaving

text: In New England, they weave baskets from Swamp Ash. The wood is peeled off a felled log in strips, following the growth rings of the tree. Maine and Great Lakes tribes use black ash splints. They also weave baskets from sweet grass, as do Canadian tribes.


title: Basket weaving

text: Birchbark is used throughout the Subarctic, by a wide range of tribes from Dene to Ojibwa to Mi'kmaq. Birchbark baskets are often embellished with dyed porcupine quills. Some of the more notable styles are Nantucket Baskets and Williamsburg Baskets. Nantucket Baskets are large and bulky, while Williamsburg Baskets can be any size, so long as the two sides of the basket bow out slightly and get larger as it is woven up.


title: Basket weaving

text: Southeastern tribes, such as the Atakapa, Cherokee, Choctaw, and Chitimacha, traditionally use split river cane for basketry. A particularly difficult technique for which these tribes are known is double-weave or double-wall basketry, in which each basketry is formed by an interior and exterior wall seamlessly woven together. Doubleweave, although rare, is still practiced today, for instance by Mike Dart (Cherokee Nation).


title: Basket weaving

text: Northwestern tribes use spruce root, cedar bark, and swampgrass. Ceremonial basketry hats are particularly valued by Northeast tribes and are worn today at potlatches. Traditionally, women wove basketry hats, and men painted designs on them. Delores Churchill is a Haida from Alaska who began weaving in a time when Haida basketry was in decline, but she and others have ensured it will continue by teaching the next generation.


title: Basket weaving

text: Indigenous peoples of California and Great Basin are known for their basketry skills. Coiled baskets are particularly common, woven from sumac, yucca, willow, and basket rush. The works by Californian basket makers include many pieces in museums.


title: Basket weaving

text: In northwestern Mexico, the Seri people continue to "sew" baskets using splints of the limberbush plant, "Jatropha cuneata".


title: Basket weaving

text: Wolof baskets are a coil basket created by the Wolof tribe of Senegal. These baskets is considered a women's craft, which have been passed across generations. The Wolof baskets were traditionally made by using thin cuts of palm frond and a thick grass called njodax; however contemporary Wolof baskets often incorporate plastic as a replacement for the palm fronds and/or re-use of discarded prayer mat materials. These baskets are strong and used for laundry hampers, planters, bowls, rugs, and more.


title: Basket weaving

text: Zulu baskets are a traditional craft in the KwaZulu-Natal province of South Africa and were used for utilitarian purposes including holding water, beer, or food; the baskets can take many months to weave. Starting in the late 1960s, Zulu basketry was a dying art form due to the introduction of tin and plastic water containers. Kjell Lofroth, a Swedish minister living in South Africa, noticed a decline in the local crafts, and after a drought in the KwaZulu-Natal province and he formed the Vukani Arts Association (English: wake up and get going) to financially support single women and their families. In this time period of the late 1960s, only three elderly women knew the craft of Zulu basket weaving but because of the Vukani Arts Association they taught others and revived the art. Beauty Ngxongo is the most renowned living Zulu basket weaver.


title: Basket weaving

text: Zulu telephone wire baskets are a contemporary craft. These are often brightly colored baskets and made with telephone wire (sometimes from a recycled source), which is a substitute for native grasses.


title: Shodan (website)

text: Shodan is a search engine that lets users search for various types of servers (webcams, routers, servers, etc.) connected to the internet using a variety of filters. Some have also described it as a search engine of service banners, which are metadata that the server sends back to the client. This can be information about the server software, what options the service supports, a welcome message or anything else that the client can find out before interacting with the server.


title: Shodan (website)

text: Shodan collects data mostly on web servers (HTTP/HTTPS – ports 80, 8080, 443, 8443), as well as FTP (port 21), SSH (port 22), Telnet (port 23), SNMP (port 161), IMAP (ports 143, or (encrypted) 993), SMTP (port 25), SIP (port 5060), and Real Time Streaming Protocol (RTSP, port 554). The latter can be used to access webcams and their video streams.


title: Shodan (website)

text: It was launched in 2009 by computer programmer John Matherly, who, in 2003, conceived the idea of searching devices linked to the Internet. The name Shodan is a reference to SHODAN, a character from the "System Shock" video game series.


title: Shodan (website)

text: The website began as Matherly's pet project, based on the fact that large numbers of devices and computer systems are connected to the Internet. Shodan has since been used to find systems including control systems for water plants, power grids and a cyclotron.


title: Shodan (website)

text: In May 2013, CNN Money released an article detailing how Shodan can be used to find vulnerable systems on the Internet, including traffic light controls. They show screenshots of those systems, which provided the warning banner ""DEATH MAY OCCUR !!!"" upon connecting.


title: Shodan (website)

text: In September 2013, Shodan was referenced in a Forbes article claiming it was used in order to find the security flaws in TRENDnet security cameras. The next day, Forbes followed up with a second article talking about the types of things that can be found using Shodan. This included Caterpillar trucks whose onboard monitoring systems were accessible, heating and security control systems for banks, universities, and corporate giants, surveillance cameras, and fetal heart monitors.


title: Shodan (website)

text: In December 2015, various news outlets, including Ars Technica, reported that a security researcher used Shodan to identify accessible MongoDB databases on thousands of systems, including one hosted by Kromtech, the developer of the macOS security tool MacKeeper.


title: Shodan (website)

text: In November 2021, PCMagazine described how Shodan was used by AT&T to detect Internet of Things devices infected with malware.


title: Shodan (website)

text: The website scans the Internet for publicly accessible devices. Shodan currently returns 10 results to users without an account and 50 to those with one. If users want to remove the restriction, they are required to provide a reason and pay a fee. The primary users of Shodan are cybersecurity professionals, researchers and law enforcement agencies. While cybercriminals can also use the website, some have access to botnets that could accomplish the same task without detection.


title: Adolphe Menjou

text: Adolphe Jean Menjou (February 18, 1890 – October 29, 1963) was an American actor. His career spanned both silent films and talkies. He appeared in such films as Charlie Chaplin's "A Woman of Paris", where he played the lead role; Stanley Kubrick's "Paths of Glory" with Kirk Douglas; Ernst Lubitsch's "The Marriage Circle"; "The Sheik" with Rudolph Valentino; "Morocco" with Marlene Dietrich and Gary Cooper; and "A Star Is Born" with Janet Gaynor and Fredric March, and was nominated for an Academy Award for "The Front Page" in 1931.


title: Adolphe Menjou

text: Adolphe Jean Menjou was born on February 18, 1890, in Pittsburgh, Pennsylvania, to a French father, Albert Menjou (1858–1917), and a mother from Ireland, Nora ("née" Joyce, 1869–1953). His brother, Henry Arthur Menjou (1891–1956), was a year younger. He was raised Catholic, attended the Culver Military Academy, and graduated from Cornell University with a degree in engineering. Attracted to the vaudeville stage, he made his movie debut in 1916 in "The Blue Envelope Mystery". During World War I, he served as a captain in the United States Army Ambulance Service, for which he trained in Pennsylvania before going overseas.