title: Alain Resnais

text: In his final two films, Resnais again drew his source material from the theatre. "Vous n'avez encore rien vu" ("You Ain't Seen Nothin' Yet!", 2012) was adapted from two plays by Jean Anouilh, and it assembled thirteen actors (many of them regular performers in Resnais's earlier films) who have been summoned by the dying wish of an author to witness a new performance their roles in one of his plays. The film was shown in competition for the Palme d'Or at the 2012 Cannes Film Festival. "Aimer, boire et chanter" (2014) was the third film which Resnais adapted from a play by Alan Ayckbourn, in this case "Life of Riley", in which three couples are thrown into confusion by the news that a shared friend has a terminal illness. Three weeks before Resnais's death, the film received its premiere in the competition section of the 64th Berlin International Film Festival in February 2014, where it won a Silver Bear award "for a feature film that opens new perspectives". At the time of his death, Resnais was preparing a further Ayckbourn project, based on the 2013 play "Arrivals & Departures".


title: Alain Resnais

text: Resnais was often linked with the group of French filmmakers who made their breakthrough as the New Wave or "nouvelle vague" in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films. He defined his own relationship by saying: "Although I was not fully part of the New Wave because of my age, there was some mutual sympathy and respect between myself and Rivette, Bazin, Demy, Truffaut ... So I felt friendly with that team." He nevertheless acknowledged his debt to the New Wave because it created the conditions of production, and particularly the financial conditions, which allowed him to make a film like "Hiroshima mon amour", his first feature film.


title: Alain Resnais

text: Resnais was more often associated with a "Left Bank" group of writers and filmmakers who included Agnès Varda, Chris Marker, Jean Cayrol, Marguerite Duras and Alain Robbe-Grillet (with all of whom he collaborated in the earlier part of his career). They were distinguished by their interests in documentary, left-wing politics, and the literary experiments of the "nouveau roman". At the same time, Resnais was also a devotee of popular culture. He owned the largest private collection of comic books in France and in 1962 became the vice president and co-founder of an International Society for Comic Books, "Le Club des bandes dessinées", renamed two years later as "Centre d'Études des Littératures d'Expression Graphique (CELEG)". CELEG members also included Resnais's artistic collaborators Marker and Robbe-Grillet.


title: Alain Resnais

text: The importance of creative collaboration in Resnais's films has been noted by many commentators. Unlike many of his contemporaries, he always refused to write his own screenplays and attached great importance to the contribution of his chosen writer, whose status in the shared "authorship" of the film he fully acknowledged. He was also known to treat the completed screenplay with great fidelity, to the extent that some of his screenwriters remarked on how closely the finished film realised their intentions. (On the few occasions when he did participate in writing the script, particularly for his last three films, his contribution is acknowledged under the pseudonym Alex Reval, since he did not want his name to appear more than once in the credits.)


title: Alain Resnais

text: Time and memory have regularly been identified as two of the principal themes of Resnais's work, at least in his earlier films. He however consistently tried to modify this view of his concerns: "I prefer to speak of the imaginary, or of consciousness. What interests me in the mind is that faculty we have to imagine what is going to happen in our heads, or to remember what has happened". He also described his films as an attempt, however imperfect, to approach the complexity of thought and its mechanism.


title: Alain Resnais

text: Another view of the evolution of Resnais's career saw him moving progressively away from a realistic treatment of 'big' subjects and overtly political themes towards films that are increasingly personal and playful. Resnais himself offered an explanation of this shift in terms of challenging what was the norm in filmmaking at the time: having made his early films when escapist cinema was predominant, he progressively felt the need to move away from exploration of social and political issues as that itself became almost the norm in contemporary cinema. Experimentation with narrative forms and genre conventions instead became a central focus of his films.


title: Alain Resnais

text: A frequent criticism of Resnais's films among English-language commentators has been that they are emotionally cold; that they are all about technique without grasp of character or subject, that his understanding of beauty is compromised by a lack of sensuousness, and that his seriousness of intent fails to communicate itself to audiences. Elsewhere however it is suggested that such views are partly based on a misreading of the films, especially his earlier ones, which has impeded an appreciation of the humour and irony which pervade his work; and other viewers have been able to make the connection between the film's form and its human dimension.


title: Alain Resnais

text: There is general agreement about Resnais's attachment to formalism in his approach to film; he himself regarded it as the starting point of his work, and usually had an idea of a form, or method of construction, in his head even before the plot or the characters took shape. For him this was also the basis for the communication of feeling: "There cannot be any communication except through form. If there is no form, you cannot create emotion in the spectator."


title: Alain Resnais

text: Another term which appears in commentaries on Resnais throughout his career is "surrealism", from his documentary portrait of a library in "Toute la mémoire du monde", through the dreamlike innovations of "Marienbad", to the latterday playfulness of "Les Herbes folles". Resnais himself traced a link to his teenage discovery of surrealism in the works of André Breton: "I hope that I always remain faithful to André Breton who refused to suppose that imaginary life was not a part of real life".


title: Alain Resnais

text: In 1969 Resnais married Florence Malraux (daughter of the French statesman and writer André Malraux). She was a regular member of his production team, working as assistant director on most of his films from 1961 to 1986. His second wife was Sabine Azéma, who acted in the majority of his films from 1983 onwards; they were married in the English town of Scarborough in 1998.


title: Zip line

text: A zip-line, zip line, zip-wire, flying fox, or death slide is a pulley suspended on a cable, usually made of stainless steel, mounted on a slope. It is designed to enable cargo or a person propelled by gravity to travel from the top to the bottom of the inclined cable by holding on to, or being attached to, the freely moving pulley. It has been described as essentially a Tyrolean traverse that engages gravity to assist its speed of movement. Its use is not confined to adventure sport, recreation, or tourism, although modern-day usage tends to favor those meanings.


title: Zip line

text: Ropeways or aerial cables have been used as a method of transport in some mountainous countries for more than 2,000 years, possibly starting in China, India and Japan as early as 250 BC, remaining in use in some remote areas in China such as Nujiang (Salween) valley in Yunnan as late as 2015 before being replaced by bridges. Not all of these structures were assisted by gravity, so not all fitted the definition of the zip-line.


title: Zip line

text: Various technological advances in Europe in the Middle Ages improved the power-line's ropeways, some of which were still assisted by gravity.


title: Zip line

text: The first recorded use of the zip-line as a form of entertainment was possibly in 1739, when Robert Cadman, a steeplejack and ropeslider, died when descending from Shrewsbury's St Mary's Church when his rope snapped. In literature, one appears in "The Invisible Man" (published 1897) by H. G. Wells as part of a Whit Monday fair and referred to as "an inclined strong".


title: Zip line

text: Some sources attribute the development of zip-lines used today as a vacation activity to the Tyrolean traverses developed for mountaineering purposes.


title: Zip line

text: In the Australian outback, zip-lines were sometimes used for delivering necessities to people working in or on the other side of a valley, and they may have been used in conflicts by Australian troops to deliver food, mail and even ammunition to forward positions.


title: Zip line

text: Yungas, Bolivia, features a system of zip-lines used for transporting harvested crops, mainly coca, across a valley 200 m below. They can also be seen in the Ladakh region of India.


title: Zip line

text: In recent years, there has been renewed interest in the use of aerial ropeways for transporting cargo, partly due to their low energy requirements and environmental impact. Gravity-fed types, i.e. zip-lines, have been built in Nepal, Latin America and India.


title: Zip line

text: Ziplines have also been used as a means of transporting items in Australian regions in the past. These may include ammunition, weapons, tools, food, and mail.


title: Zip line

text: Zip-lines may be designed for children's play and found on some adventure playgrounds. Inclines are fairly shallow and so the speeds kept relatively low, negating the need for a means of stopping. The term "flying fox" is commonly used in reference to such a small-scale zip-line in Australia, New Zealand, and Scotland.


title: Zip line

text: With playground equipment, the pulleys are fixed to the cable, the user typically hanging onto a handgrip underneath, but occasionally including a seat or a safety strap. Return of the grip or seat is usually done by simply pushing or pulling it via a short wire back to the top of the hill on foot.


title: Zip line

text: Longer and higher rides are often used as a means of accessing remote areas, such as a rainforest canopy. In the 1970s, wildlife biologists set up zip-lines as a way to study and explore the dense rainforests of Costa Rica without disturbing the environment. The business idea for zip-line canopy tours developed from these. Darren Hreniuk, a Canadian citizen who moved to Costa Rica in 1992, around the same time that a scene in the film "Medicine Man" incorporated the treetop rides, with the goal of using canopy tours to help raise awareness for reforestation, education and socio-economic development in the surrounding areas. In October 1998, the Costa Rican Patent Office granted patent No. 2532 for an "Elevated Forest Transport System Propelled by Gravity, Using Harness and Pulley Through a Simple Horizontal Line" to Hreniuk. The patent was later annulled and brought uncertainty to zip-line businesses, before being reinstated after twenty years.


title: Zip line

text: A canopy tour (sometimes called a zip-line tour) provides a route through a wooded, and often mountainous, landscape making primary use of zip-lines and aerial bridges between platforms built in trees. Tourists are harnessed to a cable for safety, and many are restricted to adults. Heights vary from a close to the ground to high up near the treetops. Canopy tours are largely marketed under the banner of ecotourism, although the environmental impact of any type of zip-line is a disputed topic.


title: Zip line

text: The terminology varies (canopy tour, zip-lining, flying fox), and the line between using zip-lines for ecotourism and zip-lining as an adventure sport is often not clearly drawn.


title: Zip line

text: Zip-line tours are now popular vacation activities, found both at upscale resorts and at outdoor adventure camps, where they may be an element on a larger challenge such as a hike or ropes course.


title: Zip line

text: A type of pulley with a grooved wheel known as a sheave is used in zip-lines, and the pulley turns as it travels along, thus reducing friction and enabling greater speed than would otherwise be possible.


title: Zip line

text: The zip-line trolley is the frame or assembly together with the pulley inside that run along the cable. Zip-lines also have some kind of device to allow the cargo or rider take advantage of the pulley system. This could include a harness, seat, a cabin or often just a handhold in smaller playground applications, that attaches to the pulley by a pivoting link or carabiner which secures the load, allowing the person or cargo to travel down the line.


title: Zip line

text: To be propelled by gravity, the cable needs to be on a fairly steep slope. Even then the rider or cargo will often not travel completely to the end (although this will depend on the load), and some means of safely stopping the car at the bottom end is usually needed with the larger zip-lines. Users of zip lines must have means of stopping themselves. Typical mechanisms include:


title: Zip line

text: There are certain precautions that can be taken. Riders are physically attached to the cable by a harness which attaches to a removable trolley. A helmet is required on almost all courses of any size. All zip-line cables have some degree of sag, so the proper tensioning of a cable is important and allows tuning the ride of a zip-line.


title: Zip line

text: The world's longest zip-line as of 31 January 2018 is the 'Jebel Jais Flight' from one of the peaks of the Jebel Jais mountain in Ras Al Khaimah, United Arab Emirates, with a single unbroken span of . The ride has been closed pending the outcome into an investigation into the crash of an Agusta 139 rescue helicopter on 29 December 2018, killing all on board, thought to have clipped one of the cables.


title: Zip line

text: The "Parque de Aventura Barrancas del Cobre" at in Copper Canyon, Mexico, was bumped to second place, with "El Monstruo" at Orocovis in Puerto Rico coming in third, at .


title: Zip line

text: The Skywire at Bluewater in Kent is the longest in England at . The longest zip-line in Europe, at just over , is the Zip World Bethesda line in Penrhyn Quarry, Bethesda, Wales. The Zip World Bethesda line also holds the record for being the fastest Zip-Line in the world.


title: Zip line

text: There is no Guinness World Record for the world's steepest zip-line, so certainty is difficult to establish, but some contenders have been:


title: Alive (Pearl Jam song)

text: "Alive" is the debut single by American rock band Pearl Jam. It was released on July 7, 1991, 51 days before the release of the band's debut album, "Ten", on which "Alive" appears. Written by guitarist Stone Gossard, the song originated as an instrumental titled "Dollar Short" and was included on a demo tape circulated in hopes of finding a singer for the group. Vocalist Eddie Vedder obtained a copy of the tape and wrote lyrics that describe a somewhat fictionalized account of the time when he was told that the man he thought was his father was not actually his biological parent.


title: Alive (Pearl Jam song)

text: "Alive" charted at number 16 in the United Kingdom and number nine in Australia. In August 2018, it became the first Pearl Jam song to receive a certification from the British Phonographic Industry (BPI), eventually receiving a gold certification in July 2022 for sales and streams of over 400,000. It also reached the top 20 in Belgium, Ireland, the Netherlands, and New Zealand. The single was available only through import in the United States, so it was not able to chart on the "Billboard" Hot 100. However, the song did peak at number 16 on the Album Rock Tracks chart and number 18 on the Modern Rock Tracks chart.


title: Alive (Pearl Jam song)

text: Remixed versions of the song were included on Pearl Jam's 2004 greatest hits album, "Rearviewmirror (Greatest Hits 1991–2003)", and the 2009 "Ten" reissue.


title: Alive (Pearl Jam song)

text: Guitarist Stone Gossard wrote the music for the song, which he titled "Dollar Short", in 1990 when he was still a member of Mother Love Bone. According to Gossard in an interview for Pearl Jam's VH1 "Storytellers" special, Mother Love Bone frontman Andrew Wood had even sung on it. After Wood died of a heroin overdose, Gossard and his bandmate Jeff Ament started playing with guitarist Mike McCready with the hope of starting a new band. "Dollar Short" was one of five tracks compiled onto a tape called "Stone Gossard Demos '91" that Gossard, Ament, and McCready circulated in the hopes of finding a singer and drummer for the group.


title: Alive (Pearl Jam song)

text: The tape made its way into the hands of vocalist Eddie Vedder, who was working as a security guard for a petroleum company in San Diego, California, at the time. He listened to the tape shortly before going surfing, where lyrics came to him. "Alive" was the first song for which Vedder recorded vocals. Vedder mailed the tape back to Seattle. Upon hearing the tape, the band invited Vedder to come to Seattle and he was asked to join the band.


title: Alive (Pearl Jam song)

text: The band, then called Mookie Blaylock, recorded "Alive" during a demo session at London Bridge studio in January 1991. The version recorded during this session would later appear on the group's debut album, "Ten", and on the promotional "Alive" EP. During album mixing sessions in England in June 1991, mixer Tim Palmer had McCready add to the song's outro solo. McCready recorded a number of attempts at the solo, and Palmer edited them into a composite version. The guitarist was unsatisfied with the result, so he made another attempt at the solo, this time using a Uni-Vibe while recording. "He had another go at it", Palmer recalled, "and got it right away. There was no piecing together to do; it was one take."


title: Alive (Pearl Jam song)

text: "Alive" is in the key of A major and features an extended guitar solo after its third chorus (3:38). The solo for "Alive", performed by McCready, was ranked number 44 on "Guitar World"<nowiki>'</nowiki>s list of the "100 Greatest Guitar Solos", and number 26 on "Total Guitar"<nowiki>'</nowiki>s list of the "100 Hottest Guitar Solos". When interviewed about his famous solo, McCready was quick to disclaim creative credit for it, saying he basically "copied Ace Frehley's solo from 'She', which was copied from Robby Krieger's solo in The Doors' 'Five to One'." Aside from that influence, it strongly highlights the influences of Jimi Hendrix on McCready's playing, including extensive wah pedal use, frequent whammy bar dips and vibrato, as well as the use of a battered Stratocaster guitar. During many live shows he has been known to break into the outro lead solo for Black Sabbath's "War Pigs".


title: Alive (Pearl Jam song)

text: The song is the first piece in a trilogy of songs in what Vedder later described as a "mini-opera" entitled "Mamasan", which is composed of the songs "Alive", "Once", and "Footsteps". "Alive" tells the story of a young man discovering that the man he thought was his father is actually his stepfather, while his mother's grief leads to an incestuous relationship with the son, who strongly resembles the biological father. This leads to "Once" in which the man descends into madness and goes on a killing spree, and "Footsteps" in which the man is eventually looking back from a prison cell awaiting his execution.


title: Alive (Pearl Jam song)

text: "Alive" has been revealed by Vedder to be part autobiographical and part fiction. When Vedder was a teenager, his mother revealed to him that the man he thought was his father was actually his stepfather, and that his biological father was dead. The first and last verses detail those actual events, but the second verse is storytelling on Vedder's part. The lyrics of the second verse read, "Oh, she walks slowly, across a young man's room/She said I'm ready...for you/I can't remember anything to this very day/'Cept the look, the look.../Oh, you know where, now I can't see, I just stare...," and Vedder revealed that "she" was the mother, and "the look" referred to was not the look on her face, but "the look is between her "legs". Where do you go with "that"? That's where you came from."


title: Alive (Pearl Jam song)

text: Rather than being the inspirational song most interpret it as, Vedder had quite a different meaning in mind, stating, "[He's] still dealing with love, [he's] still dealing with the death of [his] father. All [he] knows is 'I'm still alive'...that's totally out of burden." Vedder stated at Pearl Jam's 2006 VH1 "Storytellers" appearance that over the years the meaning has changed for him. He said, "In the original story, a teenager is being made aware of a shocking truth that leaves him plenty confused...It was a curse—'I'm still alive.'" The audience's response to the song is what has brought about the change in meaning for Vedder. He added, "They lifted the curse. The audience changed the meaning for me."


title: Alive (Pearl Jam song)

text: While the "Alive" single was released commercially to international markets in 1992, an early version of the track was released on the Coca-Cola Pop Music Sampler in 1991. The album version was released as a single in the United States on June 27, 1995, and was only available as a more expensive import version beforehand. Prior to its commercial release, "Alive" was released as a promotional CD and cassette featuring different artwork and B-sides. While "Wash" was also a B-side to the commercial singles, "I've Got a Feeling" was only on this version of the single. The guitar solo at the end of "Alive" was also different from the "Ten" version, and there are a few other noticeable differences between the two. The B-side "Wash" can also be found as an extra track on European releases of "Ten" and as an alternate version on the compilation album, "Lost Dogs" (2003).


title: Alive (Pearl Jam song)

text: Gossard said that "not a lot of people thought ["Alive"] was a great single when we released it ... I don't think that the record company thought it was a slam-dunk. They went, 'Oh! This seems like the best one so far.'" The song peaked at number 16 on the "Billboard" Mainstream Rock Tracks chart and number 18 on the "Billboard" Modern Rock Tracks chart. Although the album's follow-up singles would find more success on the rock charts, "Alive" was nevertheless important in bringing attention to the band. The single also spent a record-breaking 61 weeks on the "Billboard" Bubbling Under Hot 100 Singles chart.


title: Alive (Pearl Jam song)

text: Steve Huey of Allmusic said that while "Alive" has a "big, stadium-ready chorus," it also is "subtler, less macho, and less grandiose than true arena rock." Regarding the song's guitar solo, Huey said, "It adds a final epic touch to the song, as though the lyric-centered part of the song simply wasn't enough to achieve complete catharsis." Stephen M. Deusner of Pitchfork Media said that "'Alive' remains potent not only because Vedder touches on some seriously transgressive shit here (dead fathers, hints at incest, survivor guilt), but mostly because the band rock the hell out of that coda." In 2021, "American Songwriter" and "Kerrang" each ranked the song number two on their lists of the greatest Pearl Jam songs.


title: Alive (Pearl Jam song)

text: "Alive" is featured in the 2007 video game, "SingStar Amped", for the PlayStation 2. The song is also featured in the 2008 video game, "Rock Band 2". In March 2009, the rest of the album "Ten" was also made available as downloadable content for the "Rock Band" series. A live version of "Alive" taken from the band's September 20, 1992, concert was made available as a downloadable bonus track for the "Rock Band" series for those who purchased the "Ten" re-release through Best Buy.


title: Alive (Pearl Jam song)

text: In July 2009, Australian radio station Triple J polls the Hottest 100 of All Time which "Alive" was voted #25 on the list, although the song was voted higher in the 1998 hottest 100 of all-time list at #3. It was listed at No. 416 on Rolling Stone's "Top 500 Best Songs of All Time" in 2021.


title: Alive (Pearl Jam song)

text: The music video for "Alive" was directed by Josh Taft, a childhood friend of Gossard, who would later direct the music videos for "Even Flow" and "Oceans". The black-and-white video consists of a filmed live performance of the band filmed on August 3, 1991, during a Pearl Jam concert at RKCNDY in Seattle, Washington; thus, different from most music videos, the version of the song heard in the clip is actually being played in the concert rather than being a lip-sync from the record version. Drummer Matt Chamberlain can be seen drumming in the "Alive" video. Pearl Jam's future drummer Dave Abbruzzese was in the audience when the video was shot. It was his first encounter with the band as he had just arrived from Texas after being recommended for the band by Chamberlain and only knew the songs from the "Alive" single. The video was released in September 1991.


title: Alive (Pearl Jam song)

text: Regarding the live video, Ament said, "Initially, it was a problem in terms of talking the record company into taking it seriously...That people didn't think we could pull it off made us want to do it even more. We felt we could do a better version of it. Sonically, it's an inferior version of the song. But it's live." The video was nominated for Best Alternative Video at the 1992 MTV Video Music Awards.


title: Alive (Pearl Jam song)

text: "Alive" was first performed live at the band's October 22, 1990, concert in Seattle, Washington at the Off Ramp Café. Pearl Jam performed the song for its appearance on "MTV Unplugged" in 1992. The song was performed on "Saturday Night Live" in April 1992 in support of "Ten". "Alive" has gone on to become the band's second most performed live song at over 620 performances, behind only "Even Flow" which has been played over 700 times. Following the June 2000 Roskilde Festival tragedy in which nine people died during Pearl Jam's set, the band purposely omitted "Alive" from all shows on its 2000 North American tour until the final night in Seattle. Pearl Jam performed the song for its appearance on VH1 "Storytellers" in 2006.


title: Alive (Pearl Jam song)

text: Live performances of "Alive" can be found on European releases of "Ten", the compilation album "Stanley, Son of Theodore: Yet Another Alternative Music Sampler", the "Oceans" single, the "Dissident"/"Live in Atlanta" box set, various official bootlegs, the live album "Live in NYC 12/31/92", the "Live at the Gorge 05/06" box set, the live album "Live at Lollapalooza 2007", and the "Drop in the Park" LP included in the Super Deluxe edition of the "Ten" reissue. Performances of the song are also included on the DVD "Immagine in Cornice" and the "MTV Unplugged" DVD included in the "Ten" reissue.


title: The Beyond (1981 film)

text: The Beyond (, lit. "…And you will live in terror! The afterlife") is a 1981 Italian Southern Gothic supernatural horror film directed by Lucio Fulci, from an original story created by Dardano Sacchetti, and starring Catriona MacColl and David Warbeck. Its plot follows a woman who inherits a hotel in rural Louisiana that was once the site of a horrific murder, and which may be a gateway to hell. It is the second film in Fulci's "Gates of Hell" trilogy after "City of the Living Dead" (1980), and was followed by "The House by the Cemetery" (1981).


title: The Beyond (1981 film)

text: Filmed on location in and around New Orleans in late 1980 with assistance from the Louisiana Film Commission, additional photography took place at De Paolis Studios in Rome. Released theatrically in Italy in the spring of 1981, "The Beyond" did not see a North American release until late 1983 through Aquarius Releasing, who released an alternate version of the film titled 7 Doors of Death; this version featured an entirely different musical score and ran several minutes shorter than Fulci's original cut, and was branded a "video nasty" immediately upon its release in the United Kingdom. The original version of the film saw its first United States release in September 1998 through a distribution partnership between Rolling Thunder Pictures, Grindhouse Releasing, and Cowboy Booking International.


title: The Beyond (1981 film)

text: Following its release, reception of "The Beyond" was polarized. Contemporary and retrospective critics have praised the film for its surrealistic qualities, special effects, musical score and cinematography, but note its narrative inconsistencies; horror filmmakers and surrealists have interpreted these inconsistencies as intentionally disorienting, supplementing the atmospheric tone and direction. "The Beyond" is ranked among Fulci's most celebrated films, and has gained an international cult following over the ensuing decades.


title: The Beyond (1981 film)

text: In 1927, an artist and warlock named Schweick works on a hellish painting in Room 36 of the Seven Doors Hotel, in New Orleans, Louisiana. He protects one of the seven gates of hell, which if opened, will bring about the end of the world and the death of mankind. He is dragged from his room by a lynch mob to the hotel basement and killed for practicising black magic. As this happens, a white-eyed woman reads from the ancient tome "Eibon", prophesizing the opening of one of the seven gates of hell.


title: The Beyond (1981 film)

text: In 1981, Liza Merrill inherits the hotel and moves from New York City to refurbish and reopen it. Soon after she arrives, a worker glimpses a white-eyed woman through a window and falls off his scaffolding. Local doctor John McCabe is summoned and he takes the injured man to hospital. The bell for Room 36 rings, but as the hotel has yet to open, Liza dismisses it as malfunctioning. A plumber, Joe, arrives to investigate the lack of running water. In the flooded basement, he uncovers a bricked off area and accidentally opens the gate to hell. He is attacked by an unseen ghoul, blinded, and killed. The bodies of both Joe and Schweick are soon discovered by the hotel maid, Martha, and are taken to the local hospital morgue.


title: The Beyond (1981 film)

text: While driving to town, Liza encounters a blind woman named Emily and her guide dog, Dicky. Emily warns Liza that reopening the hotel would be a mistake and she should return to New York at once. At a bar in town, John urges Liza to give up on the hotel project but she refuses, explaining that it is her only remaining chance at financial success.


title: The Beyond (1981 film)

text: Later, Emily visits Liza at the hotel and tells her about Schweick and Room 36, warning Liza not to go up there. Upon examining Schweick's painting, Emily's hands begin to bleed, causing her to run with Dicky from the hotel in terror. Liza notices that neither of them made audible footsteps as they left. Despite Emily's warning, Liza enters Room 36 and discovers the Eibon, as well as Schweick's corpse nailed to the bathroom wall. She returns to Room 36 with John, but both the Eibon and the corpse are gone. Liza also tells John about her encounter with Emily but he is sceptical, insisting that there is no blind woman living in town. Furthermore, he says that the house where Liza claims Emily lives has been abandoned for years.


title: The Beyond (1981 film)

text: Meanwhile, Liza's architect, Martin, visits the town library to inspect the hotel's blueprints. The blueprints reveal a large, unexplained space in the basement. Upon discovering this, Martin is knocked off his ladder by an unseen force, breaks his neck, and is paralyzed. As he lies helpless on the floor, spiders appear and eat him alive. Back at the hotel, Martha is cleaning the bathroom in Room 36 when Joe's animated corpse emerges from the bathtub water and kills her. John breaks into the old house where Emily is supposed to live. It is abandoned, but he finds the Eibon and begins to read it, learning that the hotel is apparently one of the seven gates to hell.


title: The Beyond (1981 film)

text: Emily is confronted in her home by the animated corpses of Schweick and the other recently deceased people. She commands Dicky to attack and although the dog chases away the undead, he next turns upon Emily, killing her.


title: The Beyond (1981 film)

text: Liza enters the hotel basement once more and is attacked by an undead hotel worker. In her escape, she runs into John again at the hotel entrance. Upon investigating, there is no sign of the undead worker and Liza begins to question her own sanity. They drive to the hospital and find it deserted except for a Dr. Harris, Joe's daughter Jill, and a horde of the undead. Harris is killed by flying glass and John dispatches Jill when she transforms and attacks Liza.


title: The Beyond (1981 film)

text: John and Liza escape down a staircase but discover they have once again arrived in the hotel basement. John notes how impossible the entire ordeal is, but has no choice other to accept it as real. They proceed through the flooded labyrinth and stumble into a wasteland—the same landscape in Schweick's painting. No matter which direction they turn, they find themselves back at their starting point. They are ultimately blinded just like Emily, and disappear.


title: The Beyond (1981 film)

text: John Thonen of "Cinefantastique" wrote that "The Beyond" has "a story structure akin to that of an advanced fever dream". Film scholar Wheeler Dixon similarly wrote that the "slight framing narrative is merely the excuse for Fulci to stage a series of macabre, distressing set pieces". Writer Bill Gibron suggested that the film has a subtext of "slavery, witchcraft, mob justice—and perhaps the key to almost all Fulci narratives—revenge" at its core.


title: The Beyond (1981 film)

text: The concept of "the beyond", which the characters Liza and John enter in the films' final sequence, is interpreted by film writer Meagan Navarro as a statement on "the Catholic concept of purgatory". Fulci himself was a Catholic, and previous films of his dealt with aspects of his faith that troubled him, such as "Don't Torture a Duckling" (1972), which touched on corruption among clergy.


title: The Beyond (1981 film)

text: A prominent theme, according to film scholar Phillip L. Simpson, is that of blindness as a result of exposure to evil, specifically tied to the Book of Eibon: "The book, like many other (in)famous 'evil' books found in literature and cinema, is a physical, written record of valuable occult knowledge that attempts to codify—accompanied by dire warnings that careless or ignorant deployment of that power will result in horrific consequences—what is otherwise usually represented as literally 'unseeable'." Simpson interprets the film's "pervasive images of blindness and eye mutilation" as being directly consequential to characters' exposure to the book. Simpson points out that only Schweick, the warlock lynched in the film's 1927 prologue, and Emily, a "seeress who transcends temporality", possess the "necessary sight" to interpret the contents of the book.


title: The Beyond (1981 film)

text: Producer Fabrizio De Angelis said that on his previous collaboration with Fulci, "Zombi 2" (1979), they had aspired to make "a comic book movie… that is, instead of being scared, people would laugh when they saw these zombies". Instead, audiences largely responded with fear, prompting them to make a straightforward horror film. After making "City of the Living Dead" (1980), Fulci sought to make a follow-up film as part of a trilogy with the "Gates of Hell" being a unifying theme. Simpson describes the trilogy as being loosely "connected by the trope of hapless mortals literally living on top of an entrance to Hell and then inadvertently falling into it".


title: The Beyond (1981 film)

text: The base concept for "The Beyond" was devised by Fulci, Giorgio Mariuzzo, and Dardano Sacchetti, with Sacchetti creating the film's original story. A poster designed by Enzo Sciotti was produced based solely on the treatment in hopes of selling the film to international markets, and the film's title was chosen based on a conversation between Fulci and De Angelis. De Angelis recalled Fulci discussing the film's concept with him: "So he's telling me this story about a couple moving into a house, where underneath is hell. And I was like, 'What does this mean?'… there weren't any dead people, maybe killed… No, there was hell under that house!" And he said 'the beyond.' And when I heard 'The Beyond,' that was already the title." After receiving De Angelis's approval, Fulci requested that Sacchetti begin writing a full screenplay based on the brief treatment they had completed. According to De Angelis, much of the plot was devised based on vague ideas Fulci had for various death scenes, as well as several key words that he felt unified his vision. Some elements of the screenplay were derived in an arbitrary manner, such as the design of the Eibon symbol, which Fulci based on the shape of a trivial amateur tattoo his daughter had gotten on her arm.


title: The Beyond (1981 film)

text: Sacchetti's conception of the "beyond" was based on his own ruminations on death, and the "suffering of being born condemned to death… [of being] born to be erased". Sacchetti sought to depict the beyond as a hell full of dead souls, an otherworld existing "outside of Euclidean geometry". Originally, the film's final sequence in which the characters enter the "beyond" was meant to take place at an amusement park, where the two main characters, now dead, are able to enjoy themselves in a "great amusement park of life". Due to logistical restrictions, however, this was unable to be filmed, and the existing final sequence—in which the characters enter a vast desert landscape full of corpses—was devised by Sacchetti "on the spur of the moment". In an interview, Fulci gave the film's budget as 580 million Italian lire, half the amount that De Angelis would declare it cost.


title: The Beyond (1981 film)

text: Although Fulci originally intended to cast "Zombi 2" star Tisa Farrow as Liza Merrill, English actress Catriona MacColl was chosen after having worked with him previously on "City of the Living Dead". She would go on to appear in the subsequent final film of Fulci's "Gates of Hell" trilogy, "The House by the Cemetery", as well. MacColl would later deem "The Beyond" to be her personal favorite film of the trilogy, stating that she remains drawn to the "decadent Italian macabre poetry" that she feels the film exudes.


title: The Beyond (1981 film)

text: David Warbeck was cast as Dr. John McCabe after he and Fulci became friends during the making of "The Black Cat" (1981). Originally, the roles of Joe the Plumber and Professor Harris were to be played by Venantino Venantini and Ivan Rassimov, respectively, but they were replaced by two of Fulci's friends, stage actor Tonino Pulci and "Zombi 2" co-star Al Cliver, whom the director affectionately nicknamed "Tufus". Partway during the shoot, French actor Antoine Saint-John, who played the doomed painter Schweick, was replaced by Giovanni De Nava, who played the "zombified" version of the character; De Nava is sometimes mistakenly credited for playing Joe.


title: The Beyond (1981 film)

text: For the role of the ghostly Emily, Stefania Casini was originally considered, but Casini turned down the role as she did not want to wear the blinding contact lenses she would have been required to wear. Fulci instead cast actress and model Cinzia Monreale, who had previously starred in his Spaghetti Western "Silver Saddle" (1978). Monreale was drawn to the film as she felt Fulci's concept was "well written and full of mystery," and she had enjoyed her time working with him previously.


title: The Beyond (1981 film)

text: The majority of "The Beyond" was filmed on location in late 1980 in New Orleans, Louisiana, as well as the outlying cities of Metairie, Monroe, and Madisonville. Larry Ray, a New Orleans resident and member of the Louisiana Film Commission, was hired to help Fulci scout locations. While scouting, Fulci took a liking to Ray and hired him as a production manager and producer's assistant. Within New Orleans proper, filming was completed in the "Vieux Carré" district, as well as on the campus of Dillard University. The funeral sequence in the graveyard was shot at the Saint Louis Cemetery no. 1.


title: The Beyond (1981 film)

text: The historic Otis House near Lake Pontchartrain, located within the Fairview-Riverside State Park, served as the Seven Doors Hotel. During filming, the production designers aged the home's exteriors by spraying the siding with water and dark dye, as well as throwing cement and sand on the floors to make it appear dusty and dilapidated. According to Ray, the sand damaged the original wood floors, and the production had to pay the State of Louisiana to restore them once filming wrapped. The sequence in which Liza meets Emily on the bridge was shot on the Lake Pontchartrain Causeway, while Emily's house was the same New Orleans residence used in Louis Malle's "Pretty Baby" (1978).


title: The Beyond (1981 film)

text: To achieve the film's stark visual style, cinematographer Sergio Salvati photographed the New Orleans exteriors using "warm colors" in hope of capturing the "sun, the heat, [and] the jazz" of the city. Salvati contrasted the urban New Orleans settings with the "cooler" interiors of the hotel, which often feature cool blue, orange, and violet lighting.


title: The Beyond (1981 film)

text: According to Ray, Fulci had no official shooting script present while filming "The Beyond", only a treatment that ran three pages in length:


title: The Beyond (1981 film)

text: The majority of the cast were English speakers, while Fulci spoke Italian. Due to the language barrier, much of Fulci's direction was done with "miming, making faces and moving his body in order to make the actors understand what he wanted of them." As he was a fluent Italian speaker, Ray served as Fulci's translator and interpreter throughout the shoot.


title: The Beyond (1981 film)

text: After filming had completed in the United States, additional photography took place at De Paolis Studios in Rome, primarily consisting of the special effects-intensive scenes. Among these were the interior shots of the film's opening sequence featuring the mob murder, as well as interior replicas of Emily's home. Some additional sequences featuring Emily's dog were also shot in Rome, which required the production to find a lookalike German Shepherd in Italy. According to MacColl, the film's end sequence, in which she and Warbeck's characters enter "the beyond," was completed on their last day of shooting, on 22 December 1980. The sequence was shot on an empty soundstage which had leftover sand from a previous film, and random civilians were hired off the street to appear as inanimate corpses lying in the sand. The sand was dampened with water, which, through evaporation, resulted in the natural fog effect present in the film.


title: The Beyond (1981 film)

text: The special effects in "The Beyond" were achieved via practical methods, and have been noted by scholars as Fulci's "signature violent set pieces." The majority of the special effects-intensive scenes were filmed on sound stages in Italy. Monreale recalled her time spent on set during the effects preparation as the most "intense," due to elaborate setups and hours spent properly achieving Fulci's desired visual outcome. Among these for Monreale was her character's violent death sequence, in which she is viciously mauled by her dog. To achieve the effect, the head of a fake dog was crafted, as well as a layered prosthetic neck which the dog tears open with its teeth. This sequence alone took around three days to complete, with the dummy dog being manually puppeteered. On set, Fulci jokingly referred to the fake dog head as "Puppola."


title: The Beyond (1981 film)

text: The white contact lenses worn by several actors in the film were made of glass and hand-painted with multiple shades of white enamel. They were described by both MacColl and Warbeck as being very uncomfortable; MacColl recalled that after completing the film's finale sequence, both she and Warbeck had difficulty removing them from their eyes. The lenses also obscured the wearer's vision, rendering them completely or nearly-completely blind. Monreale expressed that wearing the lenses was extremely difficult for her; all of her scenes except one required her to wear them, and she had to rely on the film's makeup artist, Maurizio Trani, for assistance navigating the sets. To minimize discomfort, Trani would regularly remove the lenses from the actors' eyes and disinfect them between takes.


title: The Beyond (1981 film)

text: One of the film's more elaborate special effects sequences was the death scene of Martin Avery, who is attacked by a horde of tarantula spiders. According to Trani, crafting the sequence was "complicated," but "proved to be simpler than expected." Special effects designer Giannetto DeRossi created half of a prosthetic mouth for the actor, Michele Mirabella, from latex and a dental cast he obtained from his dentist. While some of the spiders were real, the ones filmed biting at Avery's mouth and face were fake, and controlled with handheld clamps. Close-up shots of Mirabella's real mouth were intercut with ones of his false mouth (including close-ups of a fake tongue) as it is bitten by the spiders, resulting in a seamless image of the attack.


title: The Beyond (1981 film)

text: The special effects during the film's first morgue scene in which a bottle of acid is poured over the face of Mary-Anne were created by effects artist Germano Natali. To achieve the melting effect of the face, real sulfuric acid was dumped over a cast of the actress's face, which was made of a mixture of wax and clay; sulfuric acid dissolves the latter substance. A similar dummy head was created to achieve the effect of the character of Joe's eyeball being gouged.


title: The Beyond (1981 film)

text: The crucifixion of Schweick, shown in the opening sequence, was also achieved via practical methods: holes were cut for Saint-John to conceal his forearms behind the cross, while dummy forearms filled with fake blood reservoirs were attached to the front of the cross. Two additional holes were cut at the ends of the dummy forearms, through which DeRossi inserted his own hands. The result appears as two seamless arms, and allowed for the crucifixion to look authentic, as the hands were motile and could writhe in reaction. Trani's hands appear onscreen as the nailer who completes the crucifixion.


title: The Beyond (1981 film)

text: Fulci commissioned composer Fabio Frizzi to complete a musical score for the film. Commenting on writing the score, Frizzi said: "The distinctive aim of the film's soundtrack was to achieve an old goal of mine. I wanted to combine two different instrumental forms I had always loved: the band and the orchestra. When I started writing music some years before, I had learned to combine these two sounds; but for many reasons, the roles of strings and wind instruments were mainly created by keyboards. This time I decided to get serious." The score features various instruments, including Mellotron and bass, as well as orchestral and choral arrangements. "Rolling Stone" reviewers noted that as the film progresses toward its conclusion, "Frizzi's score also darkens, growing heavy, underlining the inescapable fate of the characters."


title: The Beyond (1981 film)

text: In 2016, "Rolling Stone" ranked Frizzi's score the 11th-best horror film score of all time. Chris Alexander of ComingSoon.net also ranked the film's main theme, "Voci Dal Nulla" (), one of the greatest horror film themes ever composed. In 1981, the score was released in Italy on vinyl through Beat Records Company. On October 30, 2015, the independent record label Death Waltz issued the remastered score on vinyl. A compact disc version had been released previously in 2001 by Dagored Records. Grindhouse Releasing now includes the soundtrack with the Blu-ray release in the USA.


title: The Beyond (1981 film)

text: On October 17, 2019, Eibon Press announced that Grindhouse Releasing had discovered the original recordings of the score for the US "7 Doors of Death" cut, and they had collaborated to release a limited-edition CD with a comic book adaptation of the film.


title: The Beyond (1981 film)

text: "The Beyond" was released theatrically in Italy on 29 April 1981, where it grossed 747,615,662 lire on its initial run; film historian Roberto Curti described this as "OK business", noting that while these takings were less than that of several of Fulci's earlier horror films, the film was widely distributed in other countries, and was especially successful in Spain. In England, the film had difficulty with censors. The BBFC passed it with an X rating demanding several cuts and subsequently it was considered a Video nasty. It would not be released in the United Kingdom uncut until 2001 on home video. In Germany, the film was released under the title "Die Geisterstadt der Zombies" (). The German theatrical version was the only version of the film in which the pre-credit sequence was printed in color; in the Italian and international versions, the sequence was printed in sepia.


title: The Beyond (1981 film)

text: "The Beyond" did not see a U.S. release until 1983, when it was acquired for theatrical distribution by Terry Levine of Aquarius Releasing, a New York City-based distributor who had previously handled regional distribution for John Carpenter's "Halloween" (1978). Levine purchased the U.S. distribution rights for around $35,000, and spent an additional $10,000 on additional post-production work, which included replacing Frizzi's music with a new score by Mitch and Ira Yuspeh, as well as truncating it by several minutes to achieve an R-rating. Aquarius released this alternate version of the film in the United States on 11 November 1983 under the title "7 Doors of Death". According to Levine, the title change was a result of his belief that the original title was too nebulous, and that the film's "Seven Doors" plot device was a more interesting narrative hook that would intrigue audiences. To promote this release, Levine screened the film for Kim Henkel and Tobe Hooper, the respective co-writer and director of "The Texas Chain Saw Massacre" (1974), who granted laudatory quotes about the film to be used in television and print advertisements. Most of the cast and crew names for this version were also "anglicised" to appeal to U.S. audiences, with Fulci being credited as "Louis Fuller". "7 Doors of Death" was a commercial success, grossing $455,652 during its first week of release; Levine estimated that the film turned him a profit of roughly $700,000.


title: The Beyond (1981 film)

text: The uncut version of "The Beyond" was not made commercially available in the U.S. until after Fulci's death in 1996; the North American distribution rights to the film were acquired by Bob Murawski and Sage Stallone for their company Grindhouse Releasing, which partnered with Quentin Tarantino and Jerry Martinez's Rolling Thunder Pictures and Noah Cowan's Cowboy Booking International to re-release the film through a series of midnight screenings that began in Los Angeles, New York City and five other locations on 12 June 1998, followed by a national roll-out. Remarking on Rolling Thunder's stake in the film, Cowboy Vice-president John Vanco noted that "Fulci is one of [Tarantino and Martinez's] favorite directors", and the pair "wanted to have someone with a little more kind of midnight movie specialized kind of background [to help distribute the film]". By July 26, the re-release had made $123,843 at the box office. Murawski's ownership of "The Beyond"'s U.S. rights proved useful while editing Peter Parker's transformation scene in Sam Raimi's "Spider-Man" (2002): due to a lack of money to create original footage, he inserted a brief close-up shot of a spider from Martin's death scene into the sequence, along with footage from Raimi's "Darkman" (1990). Grindhouse gave the film a second theatrical re-release in North America to celebrate its 24th anniversary, starting on 9 February 2015 at the Alamo Drafthouse Cinema in Yonkers, New York, and ending on 27 March 2015 in the Music Box Theatre in Chicago, Illinois.


title: The Beyond (1981 film)

text: Upon the film's 1983 release in the United States as "7 Doors of Death", critic Kevin Thomas of the "Los Angeles Times" deemed the film visually "elegant," but noted: "as a thriller of the occult it's overly familiar, just another rotting-flesh ghoul parade." Bill Kelley of the "Sun-Sentinel" similarly praised the film's visual elements, including the sepia prologue, but added: "The problem is, whenever someone in the film is trying to act, the camera is recording something that's really not worth seeing," ultimately classing it as a "Z-grade horror movie."


title: The Beyond (1981 film)

text: The "Akron Beacon Journal"s Bill O'Connor criticized the plot for a lack of coherence, writing: "People get killed all over the hotel. Then, after they're killed, they get ugly.. We never know why they get killed or why they get ugly, which leads me to suspect that maybe this is an art film. At the end of the movie, the dead walk… Then the people leave the movie theater. They look just like the dead people who walked out of the morgue. Maybe this is not an art movie. Maybe this is a documentary."


title: The Beyond (1981 film)

text: Tim Pulleine ("The Monthly Film Bulletin") stated that the film allows for "two or three visually striking passages-and granting that, from Bava onwards, narrative concision has not been the strong suit for Italian horror movies—the film is still completely undone by its wildly disorganized plot." The review also critiqued the dub, noting its "sheer ineptitude".


title: The Beyond (1981 film)

text: Upon its 1998 re-release, critic Roger Ebert deemed it a film "filled with bad dialogue" and criticized it for having an incoherent plot. In 2000, he included the film in a book of his "most-hated" movies.


title: The Beyond (1981 film)

text: On the review aggregator Rotten Tomatoes, "The Beyond" holds a 67% approval rating based on 21 critic reviews, with an average rating of 6.50/10. AllMovie called the film a "surreal and bloody horror epic" and labeled it "Italian horror at its nightmarish extreme". "Time Out" London, alternatively, called it "a shamelessly artless horror movie whose senseless story—a girl inherits a spooky, seedy hotel which just happens to have one of the seven doors of Hell in its cellar—is merely an excuse for a poorly connected series of sadistic tableaux of torture and gore." Critic John Kenneth Muir wrote in "Horror Films of 1980s": "Fulci's films may be dread-filled excursions into surrealism and dream imagery, but in the real world, they don't hang together, and "The Beyond" is Exhibit A." A similar sentiment is echoed by Bill Gibron of "PopMatters", who wrote of the film in 2007:


title: The Beyond (1981 film)

text: In the years since its release, "The Beyond" has acquired a cult following. "Time Out" London conducted a poll with several authors, directors, actors and critics who have worked within the horror genre to vote for their top horror films. , "The Beyond" placed at number 64 on their top 100 list. Film critic Steven Jay Schneider ranked the film number 71 in his book "101 Horror Movies You Must See Before You Die" (2009).


title: The Beyond (1981 film)

text: On 10 October 2000, Grindhouse Releasing co-distributed the film in collaboration with Anchor Bay Entertainment on DVD in both a limited-edition tin-box set, and a standard DVD. Both releases featured the fully uncut 89-minute version of the film. There were only 20,000 limited-edition sets released for purchase. The limited-edition set was packaged in a tin box with alternative cover artwork, including an informative booklet on the film's production as well as various miniature poster replications. The same year, Diamond Entertainment released a DVD edition bearing the "7 Doors of Death", which in spite of its usage of the US release title, is uncut at 89 minutes and sourced from the film's laserdisc.


title: The Beyond (1981 film)

text: A Blu-ray version of the film was released in Australia on 20 November 2013. Grindhouse Releasing, the film's North American distributor, released the film in 2015 on high-definition Blu-ray in the United States, featuring two Blu-ray discs as well as a CD soundtrack. The distributors also wanted to restore the "7 Doors" version, but the original print of that version was assumed to be lost; trailers and TV spots for it, and an interview with Aquarius owner Terry Levene explaining the "Americanization" process, were included as special features instead. Levine also stated that he is content with the original version being praised and preserved, and admitted that he only made the "7 Doors" version as a way to gain American interest. , a cut version of the film available for streaming via Amazon Video under the "7 Doors of Death" title runs approximately 84 minutes.


title: The Beyond (1981 film)

text: In 2020, Shameless Screen Entertainment released "The Beyond" on Blu-ray for the UK market, derived from a 2K scan of original elements, among which was the original color version of the film's prologue. Via seamless branching with the film or in a separate comparison video, four versions of the prologue are presented on the disc: the standard sepia version, the color version, a black and white version, and a variant of the color version featuring a digitally-created yellow tint, which is intended to replicate Salvati's original vision for the sequence ― that of "an old, yellowed photograph, something outside time, establishing a gap between the prologue and the present day as though they were two separate films, divided by an infinite arc of time indicating the Dimension of the Afterwards". Aside from two previously released audio commentaries — one with MacColl and Warbeck, and another with Salvati — the disc's special features include new interviews with Monreale, Mirabella, and Mariuzzo, and behind-the-scenes footage of Fulci from the filming of "Demonia".


Dastardly and Muttley in Their Flying Machines (or simply Dastardly and Muttley in the UK and Ireland) is an American animated television series produced by Hanna-Barbera Productions, and a spin-off from "Wacky Races". The show was originally broadcast as a Saturday morning cartoon, airing from September 13, 1969, to January 3, 1970, on CBS. The show focuses on the efforts of Dick Dastardly and his canine sidekick Muttley to catch Yankee Doodle Pigeon, a carrier pigeon who carries secret messages (hence the name of the show's theme song "Stop the Pigeon"). The title is a reference to the film and song "Those Magnificent Men in Their Flying Machines".


title: Dastardly and Muttley in Their Flying Machines

text: The original working title of the show was Stop That Pigeon. The peppy and memorable theme song by William Hanna and Joseph Barbera (based on the jazz standard "Tiger Rag") has a chorus that repeats the phrase "Stop the pigeon" seven times in a row.


text: The show had only two voice actors: Paul Winchell as Dick Dastardly, the indistinctly heard General and other characters and Don Messick as Muttley, Klunk, Zilly and other characters. Each 22-minute episode was broadcast over half an hour on the network, including network breaks, and contained: two "Dastardly & Muttley" stories, one "Magnificent Muttley" story (Muttley's Walter Mitty-style daydreams), and two or three short "Wing Dings" (brief gags to break up the longer stories).


text: Dick Dastardly and Muttley, the villains from "Wacky Races", are now flying aces in World War I-styled aeroplanes and members of the Vulture Squadron, on a mission to stop a messenger pigeon named Yankee Doodle Pigeon from delivering top-secret messages to an opposing army. The other members of the Squadron are Klunk, an inventor who speaks an unintelligible language (punctuated by howls, clicks, whistles, and growls, accompanied by bizarre facial contortions), and Zilly, a panicky pilot whose main role is to translate for Klunk, and who tries to desert the mission at any given opportunity.


text: Each story features variations on the same plot elements: the Vulture Squadron sets out to trap Yankee Doodle Pigeon, a process which begins with Zilly trying to escape and being retrieved by Muttley, and Klunk introducing a plan that involves using one or more planes equipped with his latest contraptions. Inevitably, either the plan is flawed, or one or more of the Squadron messes up and the plane(s) either crash, collide or explode (or all of the above). While they are falling out of the wreckage, Dick Dastardly calls for help, which Muttley offers depending on whether Dastardly either agrees or disagrees to give him medals. Even when Muttley does agree to fly Dastardly out of trouble, Dastardly seldom has a soft landing. At some point the General calls Dastardly on the phone to demand results, and while Dastardly assures him that they will soon capture the pigeon, the General usually disbelieves him and bellows unintelligibly to Dastardly through the phone and extends his hand from it to either grab Dastardly by the nose or his mustache. By the end of every story, Yankee Doodle Pigeon escapes while the Vulture Squadron is often left in backfiring predicaments.


text: In a contemporary comic book/comic digest series of "Dastardly and Muttley in Their Flying Machines", Dastardly and Muttley still failed to stop Yankee Doodle Pigeon, except for three times: the first time when accidentally knocking out and capturing Yankee Doodle Pigeon with falling ice cubes; Dastardly and Muttley finding to their surprise that the pigeon's satchel contained nothing but moths. The second time, they salted his tail for the purpose of again retrieving his satchel, only to discover it contained a jigsaw puzzle that read "Sucker!", while the pigeon had the real message under his helmet. The third time, Dastardly and Muttley lured Yankee Doodle to their side during a 24-hour truce, hypnotized him and set him up to be a traitor.


text: The show also featured "Wing Dings", short clips with jokes, and "Magnificent Muttley", where Muttley encounters Walter Mitty-esque daydreams.


text: There was one "Magnificent Muttley" episode in each of the 17 broadcast episodes. Muttley is the main character and imagines himself in a lot of situations, with Dastardly in the role of the villain; each episode was about three minutes long. Dastardly's car from "Wacky Races" made a cameo in a few of these shorts, namely "The Marvelous Muttdini" and "Admiral Bird Dog".


text: Episode credits: Story: Larz Bourne; Dalton Sandifer; Mike Maltese. Story direction: Alex Lovy, Bill Perez


text: After its original CBS run, "Dastardly and Muttley" was shown in syndicated reruns on local stations between 1976 and 1982. Some episodes were subsequently distributed on VHS tape by Worldvision Enterprises.


text: On May 10, 2005, Warner Home Video released the complete series on Region 1 DVD. On July 31, 2006, the series was released on DVD R2 in the United Kingdom, but only in HMV stores and its online site as an HMV Exclusive.


text: Rockabilly/psychobilly group The Reverend Horton Heat covered the theme song in 1995 as a medley with the theme song from "Jonny Quest" on the cover album "" with other various artists.


text: Hip-Hop group Madvillain references the characters in their song "Accordion" off their debut album Madvillainy.


text: In the BBC "Robin Hood" episode "Lardner's Ring", when Robin Hood is trying to send a message to King Richard via pigeon, at one point the Sheriff of Nottingham yells out "We must catch the pigeon! Catch the pigeon NOW!" Despite being a British show, the writer was obviously familiar with this show, as the Sheriff said it exactly the same way as Dastardly.


text: Yankee Doodle Pigeon and Klunk appear in "Jellystone!" with Klunk voiced by Fajer Al-Kaisi. Yankee Doodle Pigeon made background appearances. Klunk appears in "Lady Danjjer: Is It Wrong to Long for Kabong?" where he steals Jabberjaw's ice cream that she got from Shazzan only to be defeated by El Kabong.


text: Yankee Doodle Pigeon appears stuffed and mounted in Dick Dastardly's quarters aboard his flying machine in the 2020 animated film "Scoob!".


title: Adriane Galisteu

text: Adriane Kelemen Galisteu Iódice (born April 18, 1973) is a Brazilian actress, TV host and former model.


title: Adriane Galisteu

text: Galisteu was born in the city of São Paulo, daughter of Alberto Galisteu and Emma Kelemen, and lived until she was 18 years old in Lapa, a neighborhood in São Paulo. Her father's grandparents, José Galisteo and Maria Muñoz, were Spanish and arrived in Brazil in 1899 on the vessel "Les Alpes", coming from Málaga, Andalusia. Her mother is of Hungarian descent.


title: Adriane Galisteu

text: Galisteu had a difficult childhood due to her father Alberto's alcoholism. His health was affected, and he suffered a heart attack and died in 1989. Adriane, aged fifteen at the time, began working to support her family.


title: Adriane Galisteu

text: Galisteu has appeared in the Brazilian edition of Playboy magazine on a number of occasions and was a VJ for MTV Brasil.


title: Adriane Galisteu

text: She was the girlfriend of Formula One driver Ayrton Senna at the time of his death in a racing accident in the 1994 San Marino Grand Prix.


title: Adriane Galisteu

text: In 2009, Galisteu married Alexandre Iódice, fashion businessman and heir to the fashion house founded by his father, Valdemar Iódice. They are the parents of son Vittorio Iódice, born on August 4, 2010 in São Paulo.


title: BarBara Luna

text: Barbara Ann Luna (born ), also stylized as BarBara Luna, is an American actress from film, television and musicals. Notable roles include Makia in "Five Weeks in a Balloon" and Lt. Marlena Moreau in the classic "" episode "". In 2004 and 2010 she appeared in the first and sixth episodes of "", a fan-created show distributed over the Internet (retitled "Star Trek: Phase II" in 2008).


title: BarBara Luna

text: BarBara Luna (as spelled on her official site) was born in Manhattan, New York. Her mother was Jewish from Budapest, Hungary and her maternal grandfather was from Italy. Her father was born in Manila, Philippines and her paternal grandmother was from Spain. With this background, Luna was cast in a variety of Hispanic and ethnic roles.


title: BarBara Luna

text: Luna played Ngana, in the original Broadway production of "South Pacific", in which she helped sing the show's opening song, "Dites-Moi". She next appeared in "The King and I" as one of the Siamese children, advancing to the more important role of "Royal Dancer" by the time the show closed on Broadway. Not wishing to drop out of school to go on the road, she auditioned for and won the understudy role of Lotus Blossom in "Teahouse of the August Moon". After graduating from high school a few months later, she was given the starring role of Lotus Blossom in "Teahouse" and toured with the show's company from its launch in December 1954 to its final performance in June 1956.


title: BarBara Luna

text: Director Mervyn LeRoy saw Luna's performance as Lotus Blossom in Los Angeles and cast her to play Camille, the blind girl who was Frank Sinatra's love interest in "The Devil at 4 O'Clock" three years after she made her film debut in "Tank Battalion" (1958). This led to roles in other films, including as Meli in "Firecreek", as Amparo in "Ship of Fools", as Cat in "The Concrete Jungle" and as Makia in "Five Weeks in a Balloon".


title: BarBara Luna

text: Opportunities in television came as well. One of Luna's better-known roles was as Lt. Marlena Moreau in the "" episode of "" (1967), a role she commemorates as a guest of "Star Trek" conventions worldwide. She has appeared in some 500 television series, including Walt Disney's "Zorro", where she was a recurring character in the "Joaquin" arc as Theresa, the Tamale Peddler; the role of Rikki Stevens in the 1958 "Perry Mason" episode "The Case of the Sardonic Sergeant"; "The Man from U.N.C.L.E." episode "The Man from THRUSH Affair" as Marnya; "The Wild Wild West" as Gatita; "The Big Valley" as Miranda (1968); "Gunsmoke" as Chavela (in "He Learned About Women" Episode 21 Season 7); "Overland Trail" as Estrelita (in episode "Mission to Mexico"); "Bonanza" as Cayetena Losaro; "The Outer Limits" as Gaby Christian; "The Invaders" as Lisa; "Hawaiian Eye" in three episodes: "The Koa Man" as Susan Chang, "Sword of the Samurai" as Michiko and "Payoff" as Tia Kuno; "Hawaii Five-O" in two episodes: "A Thousand Pardons, You're Dead" as Yoko Collins and "A Lion in the Streets" as Elena Kamoku; "Buck Rogers in the 25th Century" as Koori; "Dallas" as Carmen Esperanza; "Charlie's Angels" as Cynthia Weaver; two guest starring roles on the original "" and in the 1980s remake of that series; and roles in the television soap operas "Search for Tomorrow" and "One Life to Live".


title: BarBara Luna

text: Between film commitments, Luna remained active in musicals. She appeared as Anita in five companies of "West Side Story", including a revival at Lincoln Center in New York City. Her last Broadway show was "A Chorus Line" in the role of Diana Morales (in the "New" New York cast in 1976). This performance led to the preparation of a cabaret act for her. Its opening night at Freddie's in New York City drew rave reviews and led to engagements at the Concord Resort Hotel in the Catskills and at clubs in Atlantic City and Los Angeles. A review of her cabaret show in "The New York Times" found her singing flawed because "her small kittenish voice with its wobbly pitch and wide vibrato was simply not up to the task" of singing songs associated with well-known vocalists.


title: Krishna Janmasthan Temple Complex

text: The Krishna Janmasthan Temple Complex is a group of Hindu temples in Mallapura, Mathura, Uttar Pradesh, India. These temples are built at the location where the Hindu deity Krishna is believed to be born, and is adjacent to the Shahi Eidgah mosque built by Aurangzeb.


title: Krishna Janmasthan Temple Complex

text: The place has held religious significance since the 6th century BC. The temples were destroyed multiple times throughout history, most recently by the Mughal emperor Aurangzeb in 1670. He built the Eidgah mosque there which still stands. In 20th century, the new temple complex adjacent the mosque was built with the financial help from industrialists containing the Keshavdeva temple, the Garbha Griha temple at the birthplace and the Bhagavata Bhavan.


title: Krishna Janmasthan Temple Complex

text: According to Hindu traditions, Krishna was born to Devaki and Vasudeva in a prison cell where they were confined by his maternal uncle Kansa, a king of Mathura, due to prophecy of his death by the child of Devaki. According to tradition, a temple dedicated to Krishna was built the birthplace by his great grandson Vajranabh. The present site known as Krishna Janmasthan () was known as Katra () Keshavdeva. The archaeological excavations of the site had revealed pottery and terracotta from 6th century BC. It also produced some Jain sculptures as well as a large Buddhist complex including Yasha Vihara, a monastery, belonging to Gupta period (). The Vaishnava temple may have erected on the place as early as the first century. Some late 8th century inscriptions mentions donations to the site by the Rashtrakutas.


title: Krishna Janmasthan Temple Complex

text: In 1017 or 1018, Mahmud of Ghazni attacked and plundered Mahaban. Ghazni's scribe, though not accompanying him on the expedition, Al Utbi describes in his "Tarikh-i-Yamini" neighbouring holy town which is identified as Mathura. He wrote, "In the centre of the city there was a huge and magnificent temple, which the people believed wasn’t built by men but by the angels... Any description of the temple, either in words or in pictures, would fall short and fail to convey its beauty." Mahmud of Ghazni wrote, "if any one wished to construct a building equal to it, he would not be able to do so without spending a hundred million dinars, and the work would occupy two hundred years, even though the most able and experienced workmen were employed." He ordered to burn all the temples and demolish them. He plundered gold and silver idols and carried away a load of hundred camels. A stone inscription in Sanskrit found from the site mentions that in Vikram Samvat 1207 (1150) a person named Jajja who may have been a vassal of Gahadavala king built a Vishnu temple which was 'brilliantly white and touching the clouds'.


title: Krishna Janmasthan Temple Complex

text: Vaishnava saints Chaitanya Mahaprabhu and Vallabhacharya visited Mathura in early 16th century. Abdullah, in the reign of Mughal emperor Jehangir, mentions in "Tarikh-i-Daudi" the destruction of Mathura and its temples by Delhi Sultan Sikandar Lodi in 16th century. Lodi had prohibited Hindus from bathing in the river and shaving of heads on the banks as well. In the reign of Jehangir, in 1618, Raja Veer Singh Deva Bundela of Orchha had built a temple at the cost of thirty-three lakhs. A French traveller Tavernier visited Mathura in 1650 and had described the octagonal temple built in red sand stone. Italian traveller Niccolao Manucci who worked in Mughal court has also described the temple. Mughal prince Dara Shikoh had patronised the temple and donated a railing to the temple. The railing was removed by Mathura governor Abdun Nabi Khan on the order of Mughal emperor Aurangzeb and he built the Jama mosque on the ruins of the Hindu temples. During the Jat rebellion in Mathura, Abdul Nabi Khan was killed in 1669. Aurangzeb attacked Mathura and destroyed that Keshavdeva temple in 1670 and built the Shahi Eidgah in its place.


title: Krishna Janmasthan Temple Complex

text: Mathura came under British control in 1804. The East India Company auctioned the land of Katra and it was purchased by Raja Patnimal, a wealthy banker of Banaras. Raja Patnimal wanted to build the temple but could not do so. His descendants inherited the land of Katra. His descendant Rai Krishna Das was challenged, for the ownership of 13.37 acres of land on which the shrine and the Shahi Eidgah is situated, in two civil suits by the Muslims of Mathura but the Allahabad High Court ruled in favour of Raj Krishna Das in both suits in 1935. Kailash Nath Katju and Madanmohan Chaturvedi had helped in these lawsuits. Politician and educationist Madan Mohan Malaviya acquired the land from Raj Krishna Das on 7 February 1944 at the cost of Rs. 13000 with financial help of Industrialist Jugal Kishore Birla. Following death of Malaviya, Jugal Kishore Birla formed a trust named Shri Krishna Janmabhoomi Trust, later registered as the Shri Krishna Janmasthan Seva Sansthan, on 21 February 1951 and acquired the land. Jugal Kishore Birla entrusted the construction of the new temple with another industrialist and philanthropist Jaidayal Dalmia. The construction of the temple complex was started in October 1953 with leveling of lands and completed in February 1982. His eldest son Vishnu Hari Dalmia succeeded him and served on the Trust until his death. His grandson Anurag Dalmia is Joint Managing Trustee on the Trust. The construction was funded by other business families including Ramnath Goenka.


title: Krishna Janmasthan Temple Complex

text: In 1968, the Shree Krishna Janmasthan Seva Sangh and the Shahi Eidgah committee reached a compromise agreement which granted the temple land to the Trust and the management of the Shahi Eidgah to the Eidgah committee as well no legal claim of the Shree Krishna Janmasthan Seva Sangh on the Shahi Eidgah. Indian National Congress leader Ganesh Vasudev Mavalankar was the first chairman of the Shree Krishna Janmasthan Seva Sangh which signed the compromise agreement and his legal authority to sign agreement is contested. He was succeeded by M. A. Ayyangar, followed by Akhandananda Saraswati and Ramdev Maharaj. Nrityagopaldas is the present chairman. Following the demolition of the Babri Mosque in 1992, Manohar Lal Sharma, a resident of Vrindavan, has filed a petition in the Mathura District Court challenging the 1968 agreement as well as a petition to quash the Places of Religious Worship Act of 1991 which preserves the status quo as on 15 August 1947 for all places of worship.


title: Krishna Janmasthan Temple Complex

text: <mapframe latitude="27.5049999" longitude="77.6699999" zoom="16" width="260" height="300" align="right" text="Location of temples and nearby water tank.">


title: Krishna Janmasthan Temple Complex

text: The Keshavdeva Temple was built by Ramkrishna Dalmia in memory of his mother Jadiadevi Dalmia. The construction of the temple started on 29 June 1957 and inaugurated on 6 September 1958 by Hanuman Prasad Poddar. It is located south of the Shahi Eidgah.


title: Krishna Janmasthan Temple Complex

text: It is said that Shahi Eidgah was constructed on the "sabhamandapa" (assembly hall) of the original temple and the "garbha griha" (sanctum sactorum) was left. It is considered as the place of the prison cell where Krishna is believed to have born. A marble pavilion and an underground prison cell were built on the place with spacious veranda. There is shrine near it dedicated to eight-handed goddess Yogmaya. It is located against the rear wall of the Shahi Eidgah.


title: Krishna Janmasthan Temple Complex

text: The construction of the temple dedicated to "Shrimad Bhagavata" was started on 11 February 1965 and the installation ceremony of the deities were held on 12 February 1982. It includes five shrines: the main shrine having six-feet tall couple of Radha and Krishna; the shrine of Balarama, Subhadra and Jagannatha on right; the temple of Rama, Lakshmana and Sita on left; Garuda Stambha (pillar) and Chaitanya Mahaprabhu in front of Jagannatha shrine and Hanuman in front of Ram shrine; the temple of Durga and the temple with Shivalinga. The ceiling, walls and pillars of the assembly hall are adorned with frescoes depicting life events of Krishna and his associates and devotees. The text of "Bhagavad Gita" engraved on copper-plates adorn the walls of the "parikrama" (circumambulation) of the main temple. There are statues of Malaviya and Birla in the complex.


title: Krishna Janmasthan Temple Complex

text: Other constructions include the Ayurveda Bhavan, International Guest House, shops, library and open space for performances.


title: Krishna Janmasthan Temple Complex

text: There is a large and deep stepped water tank, Potra Kund or Pavitra Kund, in south-east of the Janmasthan temple which is said to have been used for the first bath of child Krishna after his birth. The steps of the tank were built by Mahadji Scindia in 1782. They were restored by his descendants in 1850.


title: Krishna Janmasthan Temple Complex

text: The temple is one of the most visited temple of India. Krishna Janmashtami, Radhashtami, Diwali and Holi are the major festivals celebrated at this temple and entire Braj region.


title: Otto Rehhagel

text: Rehhagel is one of only two people who, as player and manager combined, has participated in over 1,000 Bundesliga matches (the other being Jupp Heynckes). In the Bundesliga, he holds the records for the most victories (387), most draws (205), most losses (228), and his teams have scored the most goals (1,473) and conceded more (1,142) than any other. He served as the trainer of Werder Bremen between 1981 and 1995 and won twice the Bundesliga and in 1992 the UEFA Cup Winners' Cup with them. After a rather unsuccessful intermezzo at Bayern Munich, he won the Bundesliga sensationally with the promoted team 1. FC Kaiserslautern.


title: Otto Rehhagel

text: Internationally, Rehhagel coached the Greece national team from 2001 to 2010 in the their most successful footballing era – during that period, the Greece won the 2004 European Championship unexpectedly and qualified for the 2010 World Cup, their second World Cup finals appearance. A 2022 critically acclaimed film entitled, "King Otto", was made on Otto Rehhagel's triumph with the Greece national team for the 2004 European Championships.


title: Otto Rehhagel

text: Born in Altenessen, Rehhagel began his playing career with local club TuS Helene Altenessen in 1948. He moved to Rot-Weiss Essen (1960–63), after the start of the Bundesliga for Hertha BSC (1963–65), and until 1972 for Kaiserslautern. He played 201 games in the Bundesliga. As a player, Rehhagel was known as a tough-as-nails defender.


title: Otto Rehhagel

text: In 1974, he took charge of Kickers Offenbach, but failed to make an immediate impact as a manager. Most famously, while in charge of Borussia Dortmund in 1978, he suffered a historic, record-setting 12–0 loss to Borussia Mönchengladbach, after which the tabloids called him "Otto Torhagel" ("Tor" means goal in German, and "Hagel" means a hailstorm). In 1980, Rehhagel won his first trophy as a manager, when his Fortuna Düsseldorf side won the German Cup.


title: Otto Rehhagel

text: Rehhagel managed Werder Bremen from 1981 to 1995. During these 14 golden years for the club, Rehhagel transformed Werder from a small minnow into a powerhouse, dazzling spectators with powerful up-tempo play and a smothering defence. During this spell, Werder Bremen established themselves as one of the main teams in the Bundesliga, overtaking hated rivals Hamburg as the top club in the north and sparking an intense feud with Bayern Munich. In the mid-eighties, Rehhagel often fell just short of success and had a string of second places and Cup Final losses. In that time, his nickname was "Otto II" or "Vizeadmiral" ("Vice Admiral"). However, Rehhagel led Werder Bremen to two German championships in 1988 and 1993, two DFB-Pokal victories in 1991 and 1994, as well as winning the European Cup Winners' Cup in 1992. In this period, Rehhagel produced a host of international stars, such as Rudi Völler, Karl-Heinz Riedle, Dieter Eilts, Marco Bode, Mario Basler, Hany Ramzy, Andreas Herzog and Rune Bratseth. Rehhagel's Werder Bremen team of 1987–88 was at that time the squad which conceded the fewest goals ever in the Bundesliga (22), this record was surpassed by Bayern Munich in the 2007–08 season with 21 goals. His stint with Werder Bremen (14 years Bundesliga) is the second longest consecutive occupation as a manager ever in the Bundesliga. It was eventually surpassed by Volker Finke of Freiburg (16 years).


title: Otto Rehhagel

text: After 14 golden years at Werder Bremen, Rehhagel left to manage former hated rivals, Bayern Munich, before the start of the 1995–96 season. Prior to Rehhagel's arrival, Bayern had a disappointing, but financially lucrative season in 1994–95 (a very poor sixth place in the Bundesliga, but semi-finals in the Champions League). In the summer of 1995, Bayern spent a lot of money, buying Jürgen Klinsmann, Andreas Herzog, and others, and Rehhagel was brought in as manager to replace Giovanni Trapattoni. It was widely expected that Munich would steamroll the opposition in 1995–96, but from day 1, Rehhagel clashed with the team and the team environment. His single-minded and occasionally eccentric ways did not mesh at all with Bayern, who quickly felt that Rehhagel was too rural at heart and had no clue about how to interact in the fancy environment of Munich. Moreover, Rehhagel's old-school tactics and patronising of the Bayern players caused major antipathy in the Bayern team, especially from Klinsmann, who never missed an opportunity to take shots at Rehhagel. Despite Rehhagel getting Bayern to the UEFA Cup final, Bayern's results in the Bundesliga dropped alarmingly in the second half of the season, and Rehhagel was famously sacked just 4 days before they were due to play in the first leg of the 1996 UEFA Cup final. Rehhagel's job was taken over by Franz Beckenbauer, who led the team to victory in the 1996 UEFA Cup final, and oversaw an upturn in form in the last couple of weeks in the Bundesliga, but Bayern finished second, as Borussia Dortmund won their second German championship in a row.


title: Otto Rehhagel

text: After being sacked by Bayern Munich, Rehhagel took over as manager of Kaiserslautern in 1996, after a season where the club had won the DFB-Pokal but had also been relegated from the top-flight following a catastrophic season in the Bundesliga. Rehhagel injected new energy into the team, which saw Kaiserslautern comfortably getting back into the top-flight in 1997, winning the second division by 10 points. Prior to the start of the 1997–98 season, Kaiserslautern were seen as dark horses for a place in the UEFA Cup, but Rehhagel's team simply steamrollered the Bundesliga opposition all season. With sparkling offence and sheer never-ending energy (half a dozen games were won in injury time), Kaiserslautern won a sensational German championship in 1998, the first and so far only German championship triumph by a team that had just been promoted the previous season. Rehhagel coached Kaiserslautern to some less spectacular, but very decent results over the next year, such as leading the team to the quarter finals of the 1998–99 UEFA Champions League, but then big internal conflicts within the club, rows with some players, and a massive smear campaign, caused him to resign his position in 2000. Rehhagel finished with a record of 87 wins, 39 draws, and 48 losses.


title: Otto Rehhagel

text: In August 2001, following Vassilis Daniil's departure, Rehhagel was appointed as the new manager of the Greece national team, ahead of other candidates, such as Marco Tardelli, Nevio Scala, Vanderlei Luxemburgo, and Terry Venables, who were also being considered for the managerial post. Rehhagel's first match in charge was in October 2001, a 2002 World Cup qualifier against Finland, which ended in a 5–1 away defeat. As a result, he rebuilt the squad, and in October 2003, after a 1–0 win over Northern Ireland, Greece qualified automatically for Euro 2004, ahead of Spain and Ukraine. Ranked 150–1 outsiders, they nevertheless defeated host nation Portugal, holders France and the much more fancied Czech Republic on the way to the final, where they again defeated Portugal 1–0. Rehhagel, who was seen as the man most responsible for the team's success, became the first foreign manager ever to win a European Championship and remains the only one to date. Despite not having a star-studded line-up, the Greek team won the championship, conceding no goals in the knockout stage.


title: Otto Rehhagel

text: Rehhagel adopted a defensive approach in playing his Greek side, using energetic midfielders to wear down the opponents and the policy of defending in numbers to numb the opposition's attacks. When charged with boring play, he said, "No one should forget that a coach adapts the tactics to the characteristics of the available players." His time at Werder Bremen, in contrast, saw play described as flashy and spectacular attacking football.


title: Otto Rehhagel

text: After Rudi Völler resigned as Germany coach in the wake of that country's first-round exit in Euro 2004, Rehhagel was considered by many to be a strong candidate for his homeland's job. He had the support of the public, despite being considered a maverick by the footballing establishment. After three other candidates removed themselves from consideration, Rehhagel received an offer to take over as Germany coach, which he officially turned down on 10 July.


title: Otto Rehhagel

text: In their qualifying group for the 2006 FIFA World Cup, the Greek side failed to make the grade, finishing fourth in a tough group which saw Ukraine advance as group winner and Turkey go on to the play-off. The team returned to success though by qualifying for Euro 2008, ending the qualifying stage with the highest points total of any team and ensuring they would be able to defend their title. On 30 March 2008, Rehhagel extended his contract with Greece until 2010. The Euro 2008 ended in disappointment after three group stage losses against Sweden, Russia, and eventual winners Spain.


title: Otto Rehhagel

text: For the 2010 FIFA World Cup qualifying group and having finished second in group Two behind Switzerland, coach Rehhagel and the national team met Ukraine in a two-legged play-off and won 1–0 in Donetsk after a 0–0 draw in Piraeus, with Dimitris Salpingidis getting the winner. The success against Ukraine allowed the Greek squad to compete in the 2010 FIFA World Cup held in South Africa and solidified the position of Otto Rehhagel as one of the most important people in the history of Greek sport. At the age of 71, he also became the oldest national team manager to coach in a FIFA World Cup, surpassing Cesare Maldini's record from 2002.


title: Otto Rehhagel

text: Greece lost to South Korea, Argentina, defeated Nigeria 2–1 and exited the FIFA World Cup in the group stage, despite Salpingidis scoring Greek's first ever goal in a World Cup against Nigeria. Rehhagel announced his wish to leave his coaching position after the World Cup. On 23 June 2010, he announced his resignation from Greece.


title: Otto Rehhagel

text: The 2021 documentary "King Otto" by New York-based director Christopher André Marks chronicles Rehhagel's success in Greece. The film's opening line quotes the first line of Homer's "Odyssey", "Tell me, O muse, of that ingenious hero who travelled far and wide".


title: Otto Rehhagel

text: Rehhagel signed for ailing Bundesliga club Hertha BSC and was manager of the club between 18 February 2012 and 30 June 2012. His attempt to save Hertha from relegation however ended in a failure, after the Berliners were defeated by 2. Bundesliga club Fortuna Düsseldorf in a two-legged playoff. Rehhagel finished with a record of three wins, three draws, and eight losses.


title: Otto Rehhagel

text: Rehhagel popularized the phrase "kontrollierte Offensive" (controlled offence). He prefers a grass-roots approach to football, stressing the importance of at least two (often also three) big, strong headers in central defence. His defensive schemes often use a dominant libero, such as Rune Bratseth, Miroslav Kadlec, or Traianos Dellas. In defence, Rehhagel usually prefers robustness and height over footballing abilities (the most notorious example being Ulrich Borowka). In the period of all-round, fluid defence, many have criticized this as dated and anachronistic, but Rehhagel replied that his success makes him right.


title: Otto Rehhagel

text: Rehhagel's teams regularly develop pressure on the wings complemented with at least one dominant header as the central striker. Examples include Mario Basler/Marco Bode playing on the wings at Bremen or Andreas Buck/Marco Reich at Kaiserslautern while (Rudi Völler, Karl-Heinz Riedle, Frank Neubarth, Olaf Marschall, and Angelos Charisteas) at the top of the formation.


title: Otto Rehhagel

text: The backbone of his teams are usually older, more experienced players while younger talents rarely find themselves taking responsibility. At Kaiserslautern, Rehhagel often kept the young Michael Ballack on the bench as a substitute. Despite this, he is also known for being an excellent talent scout, having discovered Völler, Riedle, Marco Bode, Dieter Eilts, Marco Reich, Miroslav Klose, Angelos Charisteas, Sotiris Kyrgiakos, Theofanis Gekas and many others.


title: Otto Rehhagel

text: With Greece he used man-marking, which was an unusual tactical throwback at the time, meaning their opponents were unprepared to combat it.


title: Otto Rehhagel

text: Rehhagel is also known for being a good motivator. His teams possess a lot of team spirit, most famously the Greece national team, which he turned from a dead-end squad nobody wanted to play for into a must-be-there-at-all-costs team. He is also famous for reigniting the careers of older players, such as Manfred Burgsmüller, Mirko Votava, Olaf Marschall or Theodoros Zagorakis.


title: Otto Rehhagel

text: Rehhagel is also a deft and ruthless club politician. He is notorious for restructuring clubs by making friends with powerful people and using them to eliminate the opposition in order to wield absolute power, preferring the system of a benign dictatorship. His way of handling a club – in a competent and innovative, but also highly patronizing and condescending way – has been immortalized as "ottocracy", a pun on his name alluding to the style of management/government; autocracy.


title: Otto Rehhagel

text: Finally, Rehhagel is considered somewhat of a maverick in Germany. In decades of interviews, he has established a reputation for being eccentric, arrogant and unwilling to admit mistakes, similar to e.g. José Mourinho and Brian Clough. However, seeing his impressive record, he is apparently able to back up his words.


title: Otto Rehhagel

text: Famous players associated with Rehhagel include Klaus Allofs, Mario Basler, Marco Bode, Rune Bratseth, Manfred Burgsmüller, Theofanis Gekas, Angelos Charisteas, Traianos Dellas, Dieter Eilts, Andreas Herzog, Marian Hristov, Miroslav Klose, Olaf Marschall, Hany Ramzy, Karl-Heinz Riedle, Wynton Rufer, Thomas Schaaf, Ciriaco Sforza, Rudi Völler, Theodoros Zagorakis, Andreas Brehme and Michael Ballack.


title: Otto Rehhagel

text: Rehhagel is married to Beate Rehhagel from Steele, Essen since 1963. They have one child, Jens Rehhagel, who has played football at semi-professional level.


title: Otto Rehhagel

text: Rehhagel likes to call himself "Kind der Bundesliga" ("Child of the Bundesliga"), having played in the very first Bundesliga game, and spent his club career there, with nine teams. In Greece, he is occasionally called "King Otto" (βασιλιάς Όθων), probably in allusion to King Otto of Greece from Bavaria, however he already had this nickname during his coaching career in Germany. As a pun referring to Herakles, son of Zeus, he has been nicknamed "Rehakles" as well. Rehhagel is an honorary citizen of Athens.


title: Karoo

text: The Karoo ( ; from the Afrikaans borrowing of the South Khoekhoe !Orakobab or Khoemana word "ǃ’Aukarob" "Hardveld") is a semi-desert natural region of South Africa. No exact definition of what constitutes the Karoo is available, so its extent is also not precisely defined. The Karoo is partly defined by its topography, geology and climate, and above all, its low rainfall, arid air, cloudless skies, and extremes of heat and cold. The Karoo also hosted a well-preserved ecosystem hundreds of million years ago which is now represented by many fossils.


title: Karoo

text: The ǃ’Aukarob formed an almost impenetrable barrier to the interior from Cape Town, and the early adventurers, explorers, hunters, and travelers on the way to the Highveld unanimously denounced it as a frightening place of great heat, great frosts, great floods, and great droughts. Today, it is still a place of great heat and frosts, and an annual rainfall of between 50 and 250 mm, though on some of the mountains it can be 250 to 500 mm higher than on the plains. However, underground water is found throughout the Karoo, which can be tapped by boreholes, making permanent settlements and sheep farming possible.


title: Karoo

text: The xerophytic vegetation consists of aloes, mesembryanthemums, crassulas, euphorbias, stapelias, and desert ephemerals, spaced 50 cm or more apart, and becoming very sparse going northwards into Bushmanland and, from there, into the Kalahari Desert. The driest region of the Karoo, however, is its southwestern corner, between the Great Escarpment and the Cederberg-Skurweberg mountain ranges, called the Tankwa Karoo, which receives only 75 mm of rain annually. The eastern and north-eastern Karoo are often covered by large patches of grassland. The typical Karoo vegetation used to support large game, sometimes in vast herds.


title: Karoo

text: Today, sheep thrive on the xerophytes, though each sheep requires about 4 ha of grazing to sustain itself.


title: Karoo

text: The Karoo is divided into the Great Karoo and the Little Karoo. The Little Karoo is delimited in the south by the Outeniqua–Langeberg Mountains that run east-west parallel to the coast, and in the north by the Swartberg Mountain Range that also runs east-west. The Great Karoo lies to the north the Swartberg.


title: Karoo

text: The only sharp and definite boundary of the Great Karoo is formed by the most inland ranges of Cape Fold Mountains to the south and south-west. The extent of the Karoo to the north is vague, fading gradually and almost imperceptibly into the increasingly arid Bushmanland towards the north-west. To the north and north-east, it fades into the savannah and grasslands of Griqualand West and the Highveld. The boundary to the east grades into the grasslands of the Eastern Midlands.


title: Karoo

text: The Great Karoo is itself divided by the Great Escarpment into the Upper Karoo (generally above 1200–1500 m) and the Lower Karoo on the plains below at 700–800 m.


title: Karoo

text: A great many local names, each denoting different subregions of the Great Karoo, exist, some more widely, or more generally, known than others. In the Lower Karoo, going from west to east, they are the Tankwa Karoo, the Moordenaarskaroo, the Koup, the Vlakte, and the Camdeboo Plains. The Hantam, Kareeberge, Roggeveld, and uweveldare the better known subregions of the Upper Karoo, though most of it is simply known as the Upper Karoo, especially in the north.


title: Karoo

text: The Little Karoo’s boundaries are sharply defined by mountain ranges to the west, north, and south. The road between Uniondale and Willowmore is considered, by convention, to form the approximate arbitrary eastern extremity of the Little Karoo. Its extent is much smaller than that of the Great Karoo. Locally, it is usually called the "Klein Karoo", which is Afrikaans for Little Karoo.


title: Karoo

text: The Great Karoo straddles the 30° S parallel on the west of the continent, in a similar position to other semidesert areas on earth, north and south of the equator. It is furthermore in the rainfall shadow of the Cape Fold Mountains along the western coastline.


title: Karoo

text: The western "Lower Karoo" (the Tankwa Karoo and Moordenaarskaroo) contain remnants of the Cape Fold Mountains (e.g. the Witteberg and Anysberg Mountains) which give it a moderate hilly appearance, but further east, the Lower Karoo becomes a monotonously flat plain. The "Upper Karoo" has been intruded by dolerite sills (see below), creating multiple flat-topped hills, or Karoo Koppies, which are iconic of the Great Karoo.


title: Karoo

text: The vegetation of the Upper is similar to the Lower Karoo, so few people make a distinction between the two.