prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Are Werther and The Odyssey both operas?

The following are given passages.
Context 1: Passage 1:
Encounter with Werther
Encounter with Werther (German: Begegnung mit Werther) is a 1949 West German historical drama film directed by Karl-Heinz Stroux and starring Horst Caspar, Heidemarie Hatheyer and Paul Klinger  It is based on the writing of the 1774 novel The Sorrows of Young Werther by Johann Wolfgang von Goethe  It was released to commemorate the writer's second hundredth birthday in August 1949 
It was shot at the Bavaria Studios in Munich and on location in Limburg, Wetzlar and Marburg an der Lahn 
The film's sets were designed by the art director Paul Markwitz 

Cast
Horst Caspar as Werther
Heidemarie Hatheyer as Lotte
Paul Klinger as Albert
Rudolf Reiff as Amtmann as Lotte's Father
Paul Dahlke as Napoleon
Walter Kottenkamp as Goethe
Fritz Odemar as Graf
Harald Mannl as Gesandter
Christiane Felsmann as Frl  von Bassenheim
Arthur Mentz as Bauernbursche
Friedrich Siemers as Schreiber Heinrich
Karl Lieffen as Bediensteter Bursche
Passage 2:
Piano Quartet No  3 (Brahms)
The Piano Quartet No  3 in C minor, Op  60, completed by Johannes Brahms in 1875, is scored for piano, violin, viola and cello  It is sometimes called the Werther Quartet after Goethe's The Sorrows of Young Werther  The premiere took place in Vienna on November 18th 1875 to an anxious public  Richard Wagner and his wife Cosima were in attendance 

Structure
The quartet is in four movements:

Analysis
First movement
The first movement is a sonata-form movement in C minor in triple meter  It begins with the piano playing bare octaves on C  The violin, viola, and violoncello then play the first theme, consisting of two sighing gestures of a descending minor second, followed by a descending theme  Some have speculated that the sighing motive is a musical utterance of the name "Clara", in reference to Clara Schumann, the composer, pianist, and lifelong friend and love interest of Brahms  More clear is Brahms's transposed version of Robert Schumann's "Clara theme", found in various pieces such as his Bunte Blätter, Op  99 (1841), on which both Clara and Brahms wrote sets of piano variations  The Clara theme (C–B–A–G♯–A, often transposed: here E♭–D–C–B–C) was first detected by Eric Sams in his essays and books on Schumann and Brahms  In his 1971 essay “Brahms and his Clara Themes”, Sams writes on the “Clara content” in op  60: “The first sentence of that autobiographical work is doubly expressive of Clara  Furthermore, there is direct evidence that this melodic form actually embodied her, for Brahms as for Schumann ”After the first statement of the theme, the piano plays octaves on B♭  The opening motives, again played by the strings, becomes more chromatic and unsettling, until finally coming to rest on the dominant of C, G major  The viola and violin play pizzicato octaves on E♮ before the strings cascade down the C harmonic minor scale that ushers in the first theme, stated forte  After a brief development of this theme, an ascending gesture based on sixteenth-notes alternating between the notes of a minor second serves as the transition to the second theme in the relative major of C minor, E♭ major  This second theme is an uplifting eight-measure theme stated initially in the piano alone  Brahms then uses the technique of theme and variations to construct four variations on this theme, each eight measures long  A short idea based on the opening theme closes the exposition, which is not repeated 
The development section begins by restating the theme from measures 32–35 in E♭ minor  This moves to B major for a new fortissimo idea (perhaps a variation) based on the same theme  The quartet's opening sighing motives become developed in an E minor passage that incorporates a triplet figure on the second beat of the measure, and eventually the previous B major idea is restated identically in G major  The second theme from the exposition is then treated in imitative (almost canonic) counterpoint in C minor  After the beginning of the third contrapuntal treatment of this theme, a dominant pedal is sustained in octaves on G  This resolves unexpectedly to an A♭ major chord that is quickly brought down to C minor by the opening sighing motive in the piano 
The sighing motive indicates the beginning of the recapitulation  Rather than affirming the tonic of C minor, however, Brahms takes the recapitulation in a different direction: the opening section again ends on a dominant pedal on G with the violin and viola playing pizzicato octaves on E♮, but the E♮ is used to turn the music to E minor  Chromatic descent is employed to bring the music to a half-cadence on D, leading to the second theme in G major  This is perhaps the only sonata form movement in the minor mode in which the recapitulation features the second subject in the key of the major dominant  The second theme is first stated by the viola, which is then followed by three new variations (the first being played by the violin, the second and third by the piano), and one of the same variations as the exposition  A fifth variation leads to a short digression in C major but becomes chromatic and ends with a development the first theme, coming to a cadence on C  This is followed by a brief coda that expands on the first motives heard in the piece  Nevertheless, the key of C minor is arguably not clearly established by the recapitulation (the key signature of C minor is present at the end of the movement for less than two complete pages)  The movement ends with a clear tonic–dominant–tonic perfect cadence, stated piano  The expansive and exploratory nature of the movement, along with the quiet closing dynamic, helps make the conventional final cadential progression appear mysterious 

Second movement
The second movement is a tempestuous scherzo (ternary form) in compound duple meter in C minor, the same key as the first movement  Donald Francis Tovey argues that Brahms puts the scherzo in the same key as the first movement because the first movement does not sufficiently stabilize its own tonic and requires the second movement to "[furnish] the tonal balance unprovided for by the end of the first movement " Although it is the shortest scherzo of Brahms's piano quartets, it is formally and tonally very complex 
The movement begins with an opening motif of a descending octave on G and a rising minor second to A♭ stated by the piano, followed by a falling diatonic line accompanied by the strings  The first theme, which clearly derives from the opening motif, is immediately by the solo piano played after this and Brahms uses the technique of developing variation to expand this theme  Most melodic ideas can be traced to the opening motif or the ascending minor second of the opening motif, which, notably, is the inversion of the descending sighs of the introduction of the first movement  This scherzo is very chromatic and unstable tonally, although it does actually move to a secondary phrase on the dominant and returns to the tonic with frequency  The scherzo ends with a pedal on the tonic C minor 
The middle section is not demarcated by the title of trio as are the middle sections of the scherzi from Brahms's previous two piano quartets  Moreover, this middle section serves more as a section of contrasting material than as a structural contrast—it maintains the same key signature, time signature, and tempo as the scherzo, is not musically marked off in any clear way, and even develops the same themes as the scherzo  One may argue whether it is in fact a trio at all, as nineteenth century composers knew it  Nonetheless, the middle section begins with a new theme, an ascending line in quarter notes in the strings, accompanied by a descending triplet figure played by the piano  This instrumentation is soon reversed and earlier themes from the scherzo become further developed  The transition back to the scherzo develops and rhythmically diminishes the opening motif of the scherzo and is the most chromatic, rhythmically complex, loud, and dramatic section of the movement  The scherzo is repeated almost entirely, however, the section immediately preceding the tonic pedal is omitted and replaced with a climactic dominant chord in a very high register in the strings, ending with a tierce de picardie on C major with three loud declamations of the tonic major chord 

Third movement
The Andante is in a modified ternary form: ABCA′ with a coda  This is the only movement of the quartet that is not in C minor, and it is in the key of E major, a remote key in the context of C minor  This can be explained by its origin as the slow movement to a piano quartet in C-sharp minor, which Brahms revised and published as Op  60 in C minor  The key of E major is easily explained in the tonal context of C♯ minor, but the key choice of this movement was not revised as was the first movement; it should also be noted that the slow movement to Brahms's Symphony No  1 in C minor is also in E major 
The Andante begins with a luscious melody played by the violoncello in its upper register (Theme A) with only the piano as accompaniment, clearly inspired by Schumann's Piano Quartet, where a similarly sumptuous melody opens the slow movement  The opening thematic material of this melody is a sequence of descending thirds, a gesture frequently used by Brahms (such as in his Op  119, No  1, and the opening to Symphony No  4, to name two examples)  The violin eventually joins in with a new melody over the cello  The viola enters later with a tutti descending stepwise idea  The A section, which is itself in a sort of AAB form, ends in the conventional dominant key of B major 
The B section (in ABAB form) begins with a syncopated ascending stepwise melodic line in the violin to be played molto dolce (Theme B)  The piano begins to gain prominence with a distorted version of the opening cello line, played symmetrically across the piano (Theme C)  Another theme developed in the B section is a falling line with dotted rhythms (Theme D) 
The third section begins in B major but is highly chromatic  The piano plays a version of Theme B in broken octaves under consistent eighth-notes played by the violin and viola  This figure ends with a version of Theme C in broken octaves in the piano  This alternates with the string section, which develops Theme C  The piano rejoins and develops Themes C and D with the strings in E minor, but soon the violin plays Theme D over the other strings  At this point, the strings alternate with the piano, which plays Theme D in an unstable harmonic palette in broken octaves, while the strings play a combination of Themes C and D  This passage of alternating instruments moves from E minor to C minor to G♯ minor back to E major in the reprise of the A section 
The only significant differences between the first and second A sections are that in the second, the piano moves in triplets, there is a full string texture almost entirely throughout (often using pizzicato), and the piano begins the theme (although it is soon replaced by the cello)  The coda is introduced by a new chord progression in the first tutti idea and by a solo cello line  Theme B is presented first by the viola and then by the violin, and the movement ends with the first measure of Theme A, stated first by the cello and then by the piano, concluding with a pianissimo affirmation of the tonic 

Fourth movement
The finale is a sonata-allegro in C minor in cut time with a secondary subject in E♭ major  The tempo is Allegro comodo and the exposition is repeated  The piano accompaniment for the first theme, stated immediately in measure 1, is derived from the opening piano line of Felix Mendelssohn's Piano Trio in C minor, Op  66, movement 1  Mendelssohn's Piano Trio also features a quotation of a chorale melody taken from the sixteenth-century Genevan psalter 'Vor deinen Thron tret ich hiermit' (“Before Your Throne I Now Appear”)  Vincent C  K  Cheung has also observed that the opening G–E♭ motion in the violin, coupled with the G–G–G–C in the piano greatly points toward the “Fate theme” in Beethoven's Fifth Symphony  Brahms's piece thus operates on multiple levels of reference (both literary and musical) and quotation 
The movement begins with the violin playing a theme above piano accompaniment  Both lines are separate themes that are developed individually throughout the movement, but they are similar in one major respect: both are constructed of three ascending notes preceded by a pickup, which go to a neighbor tone of the highest note and move back to that note  The essential notes of the violin theme are B–C–D–E♭–F–E♭, and the essential notes of the piano theme are: G–C–E♭–G–F♯–G (the rest of the piano theme is a descending sequence of ascending seconds: G–A♭–F–G–E♭–F–D–E♭)  Therefore, the violin line uses an upper neighbor tone while the piano line uses a lower neighbor tone  This is crucial for understanding Brahms's development of the thematic ideas of this movement 
The violin melody is halting and primarily diatonic, played over an energetic piano accompaniment  It moves from C minor to G minor, although it ends with a change of mode to G major  After this, the violin plays a descending stepwise melody, which under close inspection is revealed to be an inversion of its own original theme (from B–C–D–E♭–F–E♭ to G–F–E♭–D–C–B) in successive quarter notes  The viola and cello soon accompany this figure  This builds up until measure 39, where a thunderous theme erupts in all instruments  This moves quickly to an idea constructed in triplets  Tonally, this passage is in C minor, and the final progression ends with an alternation between B-diminished and A♭ major  The piano plays a broken A♭ major chord, followed by a broken A♭ minor chord that is used to make a transition to E♭ major 
The section in the relative major begins with a theme clearly composed from the theme of the piano's accompaniment, in this case stated by the violin and viola moving in unison over a piano accompaniment based on the previous broken chordal figure  This briefly exchanges with a cello countermelody  When the violin and viola soar to an unexpectedly high register, the piano interrupts by playing an explosive broken dominant seventh chord  The strings respond by a piano, homophonic, homorythmic theme to be played mezza voce (medium voice)  This idea is taken directly from the opening string theme of the first movement  Rather than accompanying this theme, the piano plays a descending broken chord after each utterance  The exposition ends in E-flat major, and Brahms indicates that it should be repeated 
The development begins with an exploration of the descending third that begins the violin's opening theme; when sequenced, this produces a series of descending thirds that recalls the opening theme of the third movement (G♯–E–C–A)  The piano accompanies this with its initial theme  Brahms quickly eliminates accidentals from the key signature as the piece progresses to D major and A minor  Interspersed are descending chromatic phrases played by the piano  In measures 117–118, the cello introduces a new four-note idea (E–F–D–E) played pizzicato underneath the piano  This idea is taken from the second half of the first piano theme (G–A♭–F–G)  The viola plays the opening of the piano's first theme, which resembles an inversion of the sequenced thirds developed moments earlier  Brahms repeats this pattern almost exactly, moving from A minor to E minor to B minor  In B minor, the piano develops its initial theme to a greater extent  This part of the development section is concluded by syncopated phrases by the viola and piano, which echo the second half of the piano's first theme in B minor 
Austrian musicologist and educator Karl Geiringer has shown that the next section (measures 155–188) is an insertion "in order to mitigate the excessive conciseness of this movement " Later insertions were atypical of Brahms because of his "striving after compression," and it seems that he "for once overshot the mark " The later addition explains the motion away from B minor, only to return to the key some thirty measures later  This section continues with the homorhythmic theme in G major, then in E♭ major  What follows is a quick (Tempo I) development of the initial piano theme in C minor, with all strings playing the opening four notes (moving in the often used progression i – I – iv)  This exact sequence is used again in the coda to turn the movement from the minor mode to major  A dominant seventh chord in C minor is used as a pivot chord to return to B minor (a similar progression is used in Brahms's Ballade, Op  118, No  3, in which a dominant seventh chord built on G moves abruptly to B major)  The violin develops its initial theme in B minor and then D minor with all three string instruments  The final notes of the theme (F–E♭) are sequenced and inverted repeatedly, recalling the significance of descending seconds in the first movement of this quartet  This moves from D minor to G minor to C minor  The end of the development section sees a very high and prolonged A♭, which parallels the end of the development section of the first movement 
The recapitulation, which reinstates the key signature of C minor, begins with the initial violin theme stated forte by all strings, accompanied by the piano playing broken octaves in triplets, outlining the main notes of its theme  After the first statement, the piano resumes its original accompaniment and the strings are reduced to a piano dynamic  This proceeds similarly to the exposition, albeit with the themes developed more extensively  Notably, the music turns toward G minor more strongly and the key signature changes to C major, as the relative major section from the exposition is in the tonic major in the recapitulation  The rest of the recapitulation is nearly identical to the exposition, ending in C major 
The coda begins at measure 311, with the piano loudly declaring the homorhythmic theme, alternating with the strings  The violin theme is then played by the strings in C major, but it soon shifts back to C minor (the key signature too returns)  The four-note idea from the development section comes back, this time with its first note removed  The chromatic descending scale in the piano, an abbreviation of the violin theme in the viola, the four-note theme, and the chord progression (i – I – iv) indicate that the coda draws more from the development section than from the exposition or recapitulation  The music quietly subsides into a tranquillo section in which the inversion of the violin theme (first stated in measures 21–22 from the exposition) is sequenced across the strings while the piano continues to develop its initial theme  The violin and cello eventually sustain the tonic C for a great amount of time while the piano and viola begin to lean toward the tonic major in a continuing I – iv progression  All instruments continue to die down as the piano plays one last descending chromatic scale, the violin and viola combine the piano's initial theme with the quarter note rhythm of the violin theme, and the cello sustains a low C  As the piano and strings reach their final notes, a C major chord stated pianissimo is held briefly, shining out of the mist  Two sudden forte C major chords complete this quartet 
Passage 3:
William Render
William Render (fl  1800), grammarian and translator, was a native of Germany  He was a fellow student at Giessen University with a brother of Charlotte (Werther's inamorata), and was well acquainted with Werther himself  In an appendix to his English version of Goethe's romance, Render relates a conversation he had with Werther at Frankfort-on-the-Main a few days before the latter's suicide Render was ordained to the Lutheran ministry  Subsequently he acted as 'traveling guardian to the son of a distinguished personage'  He then traveled in western Germany with 'several English gentlemen', one of whom may have been Francis, afterwards the Marquis Hastings, to whom, as Earl of Moira, he dedicated his Tour through Germany  Render came to England about 1790, and settled in London  He taught German and other languages 'in several families of distinction ' Towards the end of the century he also became 'teacher of German' at Cambridge, Oxford, and Edinburgh  In 1798 he published an English version of Kotzebue's play Count Benyowsky, which reached a second edition within the year  
In 1800, Render further translated The Robbers, Don Carlos, Maria Stuart, and The Armenian of Schiller  In the following year appeared his version of The Sorrows of Werther, the first translation into English made direct from the original German  In the preface he speaks of 'his friend the baron Goethe', whom he may have met at Frankfurt  Render's Tour through Germany, particularly along the Banks of the Rhine, Mayne, also appeared in 1801  A vocabulary of familiar phrases in German and English is annexed for the benefit of travelers  The remainder of Render's publications were educational manuals  The chief of these, A concise Practical Grammar of the German Tongue (1799), was very successful  
A fifth edition, corrected and augmented with improvements made by the Berlin Academy, was issued in 1817  As a token of his appreciation of the work, Alexander I of Russia ordered Woronzow, his ambassador in England, to present Render with a ring and an autograph letter  Render also published German Exercises, a Pocket Dictionary in English and German, and other manuals of instruction in German 
Passage 4:
Werther, North Rhine-Westphalia
Werther is a town in the district of Gütersloh in the state of North Rhine-Westphalia, Germany  It is located near the Teutoburg Forest, approximately 10 km (6 miles) north-west of Bielefeld  It is best known for the Werther's Original caramel sweets, which are nowadays produced in the nearby city of Halle  Werther has one Gesamtschule and one Gymnasium, which has an exchange partnership with a Yarm School, an independent school in Yarm, England 

People
August Oberwelland, entrepreneur, August Storck company founder
Passage 5:
Odyssey
The Odyssey (; Ancient Greek: Ὀδύσσεια, romanized: Odýsseia) is one of two major ancient Greek epic poems attributed to Homer  It is one of the oldest extant works of literature still widely read by modern audiences  As with the Iliad, the poem is divided into 24 books  It follows the Greek hero Odysseus, king of Ithaca, and his journey home after the Trojan War  After the war, which lasted ten years, his journey lasted for ten additional years, during which time he encountered many perils and all of his crewmates were killed  In his absence, Odysseus was assumed dead, and his wife Penelope and son Telemachus had to contend with a group of unruly suitors who were competing for Penelope's hand in marriage 
The Odyssey was originally composed in Homeric Greek in around the 8th or 7th century BC and, by the mid-6th century BC, had become part of the Greek literary canon  In antiquity, Homer's authorship of the poem was not questioned, but contemporary scholarship predominantly assumes that the Iliad and the Odyssey were composed independently and that the stories formed as part of a long oral tradition  Given widespread illiteracy, the poem was performed by an aoidos or rhapsode and was more likely to be heard than read 
Crucial themes in the poem include the ideas of nostos (νόστος; "return"), wandering, xenia (ξενία; "guest-friendship"), testing, and omens  Scholars still reflect on the narrative significance of certain groups in the poem, such as women and slaves, who have a more prominent role in the epic than in many other works of ancient literature  This focus is especially remarkable when contrasted with the Iliad, which centres the exploits of soldiers and kings during the Trojan War 
The Odyssey is regarded as one of the most significant works of the Western canon  The first English translation of the Odyssey was in the 16th century  Adaptations and re-imaginings continue to be produced across a wide variety of media  In 2018, when BBC Culture polled experts around the world to find literature's most enduring narrative, the Odyssey topped the list 

Synopsis
Exposition (books 1–4)
The Odyssey begins after the end of the ten-year Trojan War (the subject of the Iliad), from which Odysseus (also known by the Latin variant Ulysses), king of Ithaca, has still not returned because he angered Poseidon, the god of the sea  Odysseus' son, Telemachus, is about 20 years old and is sharing his absent father's house on the island of Ithaca with his mother Penelope and the suitors of Penelope, a crowd of 108 boisterous young men who each aim to persuade Penelope for her hand in marriage, all the while reveling in the king's palace and eating up his wealth 
Odysseus' protectress, the goddess Athena, asks Zeus, king of the gods, to finally allow Odysseus to return home when Poseidon is absent from Mount Olympus  Disguised as a chieftain named Mentes, Athena visits Telemachus to urge him to search for news of his father  He offers her hospitality, and they observe the suitors dining rowdily while Phemius, the bard, performs a narrative poem for them 
That night, Athena, disguised as Telemachus, finds a ship and crew for the true prince  The next morning, Telemachus calls an assembly of citizens of Ithaca to discuss what should be done with the insolent suitors, who then scoff at Telemachus  Accompanied by Athena (now disguised as Mentor), the son of Odysseus departs for the Greek mainland to the household of Nestor, most venerable of the Greek warriors at Troy, who resided in Pylos after the war 
From there, Telemachus rides to Sparta, accompanied by Nestor's son  There he finds Menelaus and Helen, who are now reconciled  Both Helen and Menelaus also say that they returned to Sparta after a long voyage by way of Egypt  There, on the island of Pharos, Menelaus encounters the old sea-god Proteus, who tells him that Odysseus was a captive of the nymph Calypso  Telemachus learns the fate of Menelaus' brother, Agamemnon, king of Mycenae and leader of the Greeks at Troy: he was murdered on his return home by his wife Clytemnestra and her lover Aegisthus  The story briefly shifts to the suitors, who have only just realized that Telemachus is gone  Angry, they formulate a plan to ambush his ship and kill him as he sails back home  Penelope overhears their plot and worries for her son's safety 

Escape to the Phaeacians (books 5–8)
In the course of Odysseus' seven years as a captive of Calypso on the island Ogygia, she has fallen deeply in love with him, even though he spurns her offers of immortality as her husband and still mourns for home  She is ordered to release him by the messenger god Hermes, who has been sent by Zeus in response to Athena's plea  Odysseus builds a raft and is given clothing, food, and drink by Calypso  When Poseidon learns that Odysseus has escaped, he wrecks the raft, but helped by a veil given by the sea nymph Ino, Odysseus swims ashore on Scherie, the island of the Phaeacians  Naked and exhausted, he hides in a pile of leaves and falls asleep 
The next morning, awakened by girls' laughter, he sees the young Nausicaä, who has gone to the seashore with her maids after Athena told her in a dream to do so  He appeals for help  She encourages him to seek the hospitality of her parents, Arete and Alcinous  Alcinous promises to provide him a ship to return him home without knowing the identity of Odysseus  He remains for several days  Odysseus asks the blind singer Demodocus to tell the story of the Trojan Horse, a stratagem in which Odysseus had played a leading role  Unable to hide his emotion as he relives this episode, Odysseus at last reveals his identity  He then tells the story of his return from Troy 

Odysseus' account of his adventures (books 9–12)
Odysseus recounts his story to the Phaeacians  After a failed raid against the Cicones, Odysseus and his twelve ships were driven off course by storms  Odysseus visited the lotus-eaters who gave his men their fruit which caused them to forget their homecoming  Odysseus had to drag them back to the ship by force 
Afterward, Odysseus and his men landed on a lush, uninhabited island near the land of the Cyclopes  The men entered the cave of Polyphemus, where they found all the cheeses and meat they desired  Upon returning to his cave, Polyphemus sealed the entrance with a massive boulder and proceeded to eat Odysseus' men  Odysseus devised an escape plan in which he, identifying himself as "Nobody," plied Polyphemus with wine and blinded him with a wooden stake  When Polyphemus cried out, his neighbors left after Polyphemus claimed that "Nobody" had attacked him  Odysseus and his men finally escaped the cave by hiding on the underbellies of the sheep as they were let out of the cave 
As they escaped, however, Odysseus taunted Polyphemus and revealed himself  The Cyclops prayed to his father Poseidon, asking him to curse Odysseus to wander for ten years  After the escape, Aeolus gave Odysseus a leather bag containing all the winds except the west wind, a gift that should have ensured a safe return home  Just as Ithaca came into sight, the sailors opened the bag while Odysseus slept, thinking it contained gold  The winds flew out, and the storm drove the ships back the way they had come  Aeolus, recognizing that Odysseus had drawn the ire of the gods, refused to further assist him 

After the cannibalistic Laestrygonians destroyed all of his ships except his own, Odysseus sailed on and reached the island of Aeaea, home of witch-goddess Circe  She turned half of his men into swine with drugged cheese and wine  Hermes warned Odysseus about Circe and gave Odysseus an herb called moly, making him resistant to Circe's magic  Odysseus forced Circe to change his men back to their human forms and was seduced by her  They remained with her for one year  Finally, guided by Circe's instructions, Odysseus and his crew crossed the ocean and reached a harbor at the western edge of the world, where Odysseus sacrificed to the dead  Odysseus summoned the spirit of the prophet Tiresias and was told that he may return home if he is able to stay himself and his crew from eating the sacred livestock of Helios on the island of Thrinacia and that failure to do so would result in the loss of his ship and his entire crew  He then meets his dead mother Anticleia and first learns of the suitors and what happened in Ithaca in his absence  Odysseus also converses with his dead comrades from Troy 
Returning to Aeaea, they buried Elpenor and were advised by Circe on the remaining stages of the journey  They skirted the land of the Sirens  All of the sailors had their ears plugged up with beeswax, except for Odysseus, who was tied to the mast as he wanted to hear the song  He told his sailors not to untie him as it would only make him drown himself  They then passed between the six-headed monster Scylla and the whirlpool Charybdis  Scylla claimed six of his men 
Next, they landed on the island of Thrinacia, with the crew overriding Odysseus's wishes to remain away from the island  Zeus caused a storm that prevented them from leaving, causing them to deplete the food given to them by Circe  While Odysseus was away praying, his men ignored the warnings of Tiresias and Circe and hunted the sacred cattle  Helios insisted that Zeus punish the men for this sacrilege  They suffered a shipwreck, and all but Odysseus drowned as he clung to a fig tree  Washed ashore on Ogygia, he remained there as Calypso's lover 

Return to Ithaca (books 13–20)
Having listened to his story, the Phaeacians agree to provide Odysseus with more treasure than he would have received from the spoils of Troy  They deliver him at night, while he is fast asleep, to a hidden harbour on Ithaca  Odysseus awakens and believes that he has been dropped on a distant land before Athena appears to him and reveals that he is indeed on Ithaca  She hides his treasure in a nearby cave and disguises him as an elderly beggar so he can see how things stand in his household  He finds his way to the hut of one of his own slaves, swineherd Eumaeus, who treats him hospitably and speaks favorably of Odysseus  After dinner, the disguised Odysseus tells the farm laborers a fictitious tale of himself 
Telemachus sails home from Sparta, evading an ambush set by the suitors  He disembarks on the coast of Ithaca and meets Odysseus  Odysseus identifies himself to Telemachus (but not to Eumaeus), and they decide that the suitors must be killed  Telemachus goes home first  Accompanied by Eumaeus, Odysseus returns to his own house, still pretending to be a beggar  He is ridiculed by the suitors in his own home, especially Antinous  Odysseus meets Penelope and tests her intentions by saying he once met Odysseus in Crete  Closely questioned, he adds that he had recently been in Thesprotia and had learned something there of Odysseus's recent wanderings 
Odysseus's identity is discovered by the housekeeper Eurycleia when she recognizes an old scar as she is washing his feet  Eurycleia tries to tell Penelope about the beggar's true identity, but Athena makes sure that Penelope cannot hear her  Odysseus swears Eurycleia to secrecy 

Slaying of the Suitors (books 21–24)
The next day, at Athena's prompting, Penelope maneuvers the suitors into competing for her hand with an archery competition using Odysseus' bow  The man who can string the bow and shoot an arrow through a dozen axe heads would win  Odysseus takes part in the competition, and he alone is strong enough to string the bow and shoot the arrow through the dozen axe heads, making him the winner  He then throws off his rags and kills Antinous with his next arrow  Odysseus kills the other suitors, first using the rest of the arrows and then by swords and spears  Once the battle is won, Telemachus also hangs twelve of their household maids whom Eurycleia identifies as guilty of betraying Penelope or having sex with the suitors  Odysseus identifies himself to Penelope  She is hesitant but recognizes him when he mentions that he made their bed from an olive tree still rooted to the ground  She embraces him and they sleep 
The next day, Odysseus goes to his father Laertes's farm and reveals himself  Following them to the farm is a group of Ithacans, led by Eupeithes, father of Antinous, who are out for revenge for the murder of the suitors  A battle breaks out, but it is stopped by Athena and Zeus 

Structure
The Odyssey is 12,109 lines composed in dactylic hexameter, also called Homeric hexameter  It opens in medias res, in the middle of the overall story, with prior events described through flashbacks and storytelling  The 24 books correspond to the letters of the Greek alphabet; the division was likely made after the poem's composition, by someone other than Homer, but is generally accepted In the Classical period, some of the books (individually and in groups) were commonly given their own titles:

Book 1–4: Telemachy—the story focuses on the perspective of Telemachus 
Books 9–12: Apologoi—Odysseus recalls his adventures for his Phaeacian hosts 
Book 22: Mnesterophonia ('slaughter of the suitors'; Mnesteres, 'suitors' + phónos, 'slaughter') Book 22 concludes the Greek Epic Cycle, though fragments remain of the "alternative ending" of sorts known as the Telegony  The Telegony aside, the last 548 lines of the Odyssey, corresponding to Book 24, are believed by many scholars to have been added by a slightly later poet 

Geography
The events in the main sequence of the Odyssey (excluding Odysseus' embedded narrative of his wanderings) have been said to take place in the Peloponnese and in what are now called the Ionian Islands  There are difficulties in the apparently simple identification of Ithaca, the homeland of Odysseus, which may or may not be the same island that is now called Ithakē (modern Greek: Ιθάκη)  The wanderings of Odysseus as told to the Phaeacians, and the location of the Phaeacians' own island of Scheria, pose more fundamental problems, if geography is to be applied: scholars, both ancient and modern, are divided as to whether any of the places visited by Odysseus (after Ismaros and before his return to Ithaca) are real  Both antiquated and contemporary scholars have attempted to map Odysseus' journey but now largely agree that the landscapes, especially of the Apologia (Books 9 to 11), include too many mythological aspects as features to be unequivocally mappable  Classicist Peter T  Struck created an interactive map which plots Odysseus' travels, including his near homecoming which was thwarted by the bag of wind 

Influences
Scholars have seen strong influences from Near Eastern mythology and literature in the Odyssey  Martin West notes substantial parallels between the Epic of Gilgamesh and the Odyssey  Both Odysseus and Gilgamesh are known for traveling to the ends of the earth and on their journeys go to the land of the dead  On his voyage to the underworld, Odysseus follows instructions given to him by Circe, who is located at the edges of the world and is associated through imagery with the sun  Like Odysseus, Gilgamesh gets directions on how to reach the land of the dead from a divine helper: the goddess Siduri, who, like Circe, dwells by the sea at the ends of the earth, whose home is also associated with the sun  Gilgamesh reaches Siduri's house by passing through a tunnel underneath Mt  Mashu, the high mountain from which the sun comes into the sky  West argues that the similarity of Odysseus' and Gilgamesh's journeys to the edges of the earth are the result of the influence of the Gilgamesh epic upon the Odyssey In 1914, paleontologist Othenio Abel surmised the origins of the Cyclops to be the result of ancient Greeks finding an elephant skull  The enormous nasal passage in the middle of the forehead could have looked like the eye socket of a giant, to those who had never seen a living elephant  Classical scholars, on the other hand, have long known that the story of the Cyclops was originally a folk tale, which existed independently of the Odyssey and which became part of it at a later date  Similar stories are found in cultures across Europe and the Middle East  According to this explanation, the Cyclops was originally simply a giant or ogre, much like Humbaba in the Epic of Gilgamesh  Graham Anderson suggests that the addition about it having only one eye was invented to explain how the creature was so easily blinded 

Themes and patterns
Homecoming
Homecoming (Ancient Greek: νόστος, nostos) is a central theme of the Odyssey  Anna Bonafazi of the University of Cologne writes that, in Homer, nostos is "return home from Troy, by sea"  Agatha Thornton examines nostos in the context of characters other than Odysseus, in order to provide an alternative for what might happen after the end of the Odyssey  For instance, one example is that of Agamemnon's homecoming versus Odysseus'  Upon Agamemnon's return, his wife Clytemnestra and her lover, Aegisthus, kill Agamemnon  Agamemnon's son, Orestes, out of vengeance for his father's death, kills Aegisthus  This parallel compares the death of the suitors to the death of Aegisthus and sets Orestes up as an example for Telemachus  Also, because Odysseus knows about Clytemnestra's betrayal, Odysseus returns home in disguise in order to test the loyalty of his own wife, Penelope  Later, Agamemnon praises Penelope for not killing Odysseus  It is because of Penelope that Odysseus has fame and a successful homecoming  This successful homecoming is unlike Achilles, who has fame but is dead, and Agamemnon, who had an unsuccessful homecoming resulting in his death 

Wandering
Only two of Odysseus's adventures are described by the narrator  The rest of Odysseus' adventures are recounted by Odysseus himself  The two scenes described by the narrator are Odysseus on Calypso's island and Odysseus' encounter with the Phaeacians  These scenes are told by the poet to represent an important transition in Odysseus' journey: being concealed to returning home Calypso's name comes from the Greek word kalúptō (καλύπτω), meaning 'to cover' or 'conceal', which is apt, as this is exactly what she does with Odysseus  Calypso keeps Odysseus concealed from the world and unable to return home  After leaving Calypso's island, the poet describes Odysseus' encounters with the Phaeacians—those who "convoy without hurt to all men"—which represents his transition from not returning home to returning home Also, during Odysseus' journey, he encounters many beings that are close to the gods  These encounters are useful in understanding that Odysseus is in a world beyond man and that influences the fact he cannot return home  These beings that are close to the gods include the Phaeacians who lived near the Cyclopes, whose king, Alcinous, is the great-grandson of the king of the giants, Eurymedon, and the grandson of Poseidon  Some of the other characters that Odysseus encounters are the cyclops Polyphemus, the son of Poseidon; Circe, a sorceress who turns men into animals; and the cannibalistic giants, the Laestrygonians 

Guest-friendship
Throughout the course of the epic, Odysseus encounters several examples of xenia ("guest-friendship"), which provide models of how hosts should and should not act  The Phaeacians demonstrate exemplary guest-friendship by feeding Odysseus, giving him a place to sleep, and granting him many gifts and a safe voyage home, which are all things a good host should do  Polyphemus demonstrates poor guest-friendship  His only "gift" to Odysseus is that he will eat him last  Calypso also exemplifies poor guest-friendship because she does not allow Odysseus to leave her island  Another important factor to guest-friendship is that kingship implies generosity  It is assumed that a king has the means to be a generous host and is more generous with his own property  This is best seen when Odysseus, disguised as a beggar, begs Antinous, one of the suitors, for food and Antinous denies his request  Odysseus essentially says that while Antinous may look like a king, he is far from a king since he is not generous According to J  B  Hainsworth, guest-friendship follows a very specific pattern:
The arrival and the reception of the guest 
Bathing or providing fresh clothes to the guest 
Providing food and drink to the guest 
Questions may be asked of the guest and entertainment should be provided by the host 
The guest should be given a place to sleep, and both the guest and host retire for the night 
The guest and host exchange gifts, the guest is granted a safe journey home, and the guest departs Another important factor of guest-friendship is not keeping the guest longer than they wish and also promising their safety while they are a guest within the host's home 

Testing
Another theme throughout the Odyssey is testing  This occurs in two distinct ways  Odysseus tests the loyalty of others and others test Odysseus' identity  An example of Odysseus testing the loyalties of others is when he returns home  Instead of immediately revealing his identity, he arrives disguised as a beggar and then proceeds to determine who in his house has remained loyal to him and who has helped the suitors  After Odysseus reveals his true identity, the characters test Odysseus' identity to see if he really is who he says he is  For instance, Penelope tests Odysseus' identity by saying that she will move the bed into the other room for him  This is a difficult task since it is made out of a living tree that would require being cut down, a fact that only the real Odysseus would know, thus proving his identity Testing also has a very specific type scene that accompanies it  Throughout the epic, the testing of others follows a typical pattern  This pattern is:
Odysseus is hesitant to question the loyalties of others 
Odysseus tests the loyalties of others by questioning them 
The characters reply to Odysseus' questions 
Odysseus proceeds to reveal his identity 
The characters test Odysseus' identity 
There is a rise of emotions associated with Odysseus' recognition, usually lament or joy 
Finally, the reconciled characters work together 

Omens
Omens occur frequently throughout the Odyssey  Within the epic poem, they frequently involve birds  According to Thornton, most crucial is who receives each omen and in what way it manifests  For instance, bird omens are shown to Telemachus, Penelope, Odysseus, and the suitors  Telemachus and Penelope receive their omens as well in the form of words, sneezes, and dreams  However, Odysseus is the only character who receives thunder or lightning as an omen  She highlights this as crucial because lightning, as a symbol of Zeus, represents the kingship of Odysseus  Odysseus is associated with Zeus throughout both the Iliad and the Odyssey Omens are another example of a type scene in the Odyssey  Two important parts of an omen type scene are the recognition of the omen, followed by its interpretation  In the Odyssey, all of the bird omens—with the exception of the first—show large birds attacking smaller birds  Accompanying each omen is a wish which can be either explicitly stated or only implied  For example, Telemachus wishes for vengeance and for Odysseus to be home, Penelope wishes for Odysseus' return, and the suitors wish for the death of Telemachus 

Textual history
Composition
The date of the poem is a matter of some disagreement among classicists  In the middle of the 8th century BC, the inhabitants of Greece began to adopt a modified version of the Phoenician alphabet to write down their own language  The Homeric poems may have been one of the earliest products of that literacy, and if so, would have been composed some time in the late 8th century BC  Inscribed on a clay cup found in Ischia, Italy, are the words "Nestor's cup, good to drink from " Some scholars, such as Calvert Watkins, have tied this cup to a description of King Nestor's golden cup in the Iliad  If the cup is an allusion to the Iliad, that poem's composition can be dated to at least 700–750 BC Dating is similarly complicated by the fact that the Homeric poems, or sections of them, were performed regularly by rhapsodes for several hundred years  The Odyssey as it exists today is likely not significantly different  Aside from minor differences, the Homeric poems gained a canonical place in the institutions of ancient Athens by the 6th century  In 566 BC, Peisistratos instituted a civic and religious festival called the Panathenaia, which featured performances of Homeric poems  These are significant because a "correct" version of the poems had to be performed, indicating that a particular version of the text had become canonised 

Textual tradition
The Iliad and the Odyssey were widely copied and used as school texts in lands where the Greek language was spoken throughout antiquity  Scholars may have begun to write commentaries on the poems as early as the time of Aristotle in the 4th century BC  In the 3rd and 2nd centuries BC, scholars affiliated with the Library of Alexandria—particularly Zenodotus and Aristarchus of Samothrace—edited the Homeric poems, wrote commentaries on them, and helped establish the canonical texts The Iliad and the Odyssey remained widely studied and used as school texts in the Byzantine Empire during the Middle Ages  The Byzantine Greek scholar and archbishop Eustathios of Thessalonike (c  1115 – c  1195/6 AD) wrote exhaustive commentaries on both of the Homeric epics that became seen by later generations as authoritative; his commentary on the Odyssey alone spans nearly 2,000 oversized pages in a twentieth-century edition  The first printed edition of the Odyssey, known as the editio princeps, was produced in 1488 by the Greek scholar Demetrios Chalkokondyles, who had been born in Athens and had studied in Constantinople  His edition was printed in Milan by a Greek printer named Antonios Damilas Since the late 19th century, many papyri containing fragments of the Odyssey have been found in Egypt, some with content different from later medieval versions 
In 2018, the Greek Cultural Ministry revealed the discovery of a clay tablet near the Temple of Zeus at Olympia, containing 13 verses from the Odyssey's 14th book  While it was initially reported to date from the 3rd century AD, the date is unconfirmed 

English translations
George Chapman's English translations of the Odyssey and the Iliad, published together in 1616 but serialised earlier, were the first to enjoy widespread success  The texts had been published in translation before, with some translated not from the original Greek  Chapman worked on these for a large part of his life  In 1581, Arthur Hall translated the first 10 books of the Iliad from a French version  Chapman's translations persisted in popularity, and are often remembered today through John Keats' sonnet  "On First Looking into Chapman's Homer" (1816)  Years after completing his translation of the Iliad, Alexander Pope began to translate the Odyssey because of his financial situation  His second translation was not received as favourably as the first Emily Wilson, a professor of classical studies at the University of Pennsylvania, notes that as late as the first decade of the 21st century, almost all of the most prominent translators of Greek and Roman literature had been men  She calls her experience of translating Homer one of "intimate alienation " Wilson writes that this has affected the popular conception of characters and events of the Odyssey, inflecting the story with connotations not present in the original text: "For instance, in the scene where Telemachus oversees the hanging of the slaves who have been sleeping with the suitors, most translations introduce derogatory language ("sluts" or "whores") [   ] The original Greek does not label these slaves with derogatory language " In the original Greek, the word used is hai, the feminine article, equivalent to "those female people" 

Legacy
The influence of the Homeric texts can be difficult to summarise because of how greatly they have impacted the popular imagination and cultural values  The Odyssey and the Iliad formed the basis of education for members of ancient Mediterranean society  That curriculum was adopted by Western humanists, meaning the text was so much a part of the cultural fabric that it became irrelevant whether an individual had read it  As such, the influence of the Odyssey has reverberated through over a millennium of writing  The poem topped a poll of experts by BBC Culture to find literature's most enduring narrative  It is widely regarded by western literary critics as a timeless classic and remains one of the oldest works of extant literature commonly read by Western audiences 

Literature
In Canto XXVI of the Inferno, Dante Alighieri meets Odysseus in the eighth circle of hell, where Odysseus appends a new ending to the Odyssey in which he never returns to Ithaca and instead continues his restless adventuring  Edith Hall suggests that Dante's depiction of Odysseus became understood as a manifestation of Renaissance colonialism and othering, with the cyclops standing in for "accounts of monstrous races on the edge of the world", and his defeat as symbolising "the Roman domination of the western Mediterranean" Irish poet James Joyce's modernist novel Ulysses (1922) was significantly influenced by the Odyssey  Joyce had encountered the figure of Odysseus in Charles Lamb's Adventures of Ulysses, an adaptation of the epic poem for children, which seems to have established the Latin name in Joyce's mind  Ulysses, a re-telling of the Odyssey set in Dublin, is divided into 18 sections ("episodes") which can be mapped roughly onto the 24 books of the Odyssey  Joyce claimed familiarity with the original Homeric Greek, but this has been disputed by some scholars, who cite his poor grasp of the language as evidence to the contrary  The book, and especially its stream of consciousness prose, is widely considered foundational to the modernist genre Modern writers have revisited the Odyssey to highlight the poem's female characters  Canadian writer Margaret Atwood adapted parts of the Odyssey for her novella, The Penelopiad (2005)  The novella focuses on Penelope and the twelve female slaves hanged by Odysseus at the poem's ending, an image which haunted Atwood  Atwood's novella comments on the original text, wherein Odysseus' successful return to Ithaca symbolises the restoration of a patriarchal system  Similarly, Madeline Miller's Circe (2018) revisits the relationship between Odysseus and Circe on Aeaea  As a reader, Miller was frustrated by Circe's lack of motivation in the original poem and sought to explain her capriciousness  The novel recontextualises the sorceress' transformations of sailors into pigs from an act of malice into one of self-defence, given that she has no superhuman strength with which to repel attackers 

Film and television
L'Odissea (1911) is an Italian silent film by Giuseppe de Liguoro 
Ulysses (1954) is a film adaptation starring Kirk Douglas as Ulysses, Silvana Mangano as Penelope and Circe, and Anthony Quinn as Antinous 
L'Odissea (1968) is an Italian-French-German-Yugoslavian television miniseries praised for its faithful rendering of the original epic 
Nostos: The Return (1989) is an Italian film about Odysseus' homecoming  Directed by Franco Piavoli, it relies on visual storytelling and has a strong focus on nature 
Ulysses' Gaze (1995), directed by Theo Angelopoulos, has many of the elements of the Odyssey set against the backdrop of the most recent and previous Balkan Wars 
The Odyssey (1997) is a television miniseries directed by Andrei Konchalovsky and starring Armand Assante as Odysseus and Greta Scacchi as Penelope 
O Brother, Where Art Thou? (2000) is a crime comedy drama film written, produced, co-edited and directed by the Coen brothers and is very loosely based on Homer's poem 

Opera and music
Il ritorno d'Ulisse in patria, first performed in 1640, is an opera by Claudio Monteverdi based on the second half of Homer's Odyssey 
Rolf Riehm composed an opera based on the myth, Sirenen – Bilder des Begehrens und des Vernichtens (Sirens – Images of Desire and Destruction), which premiered at the Oper Frankfurt in 2014 
Robert W  Smith's second symphony for concert band, The Odyssey, tells four of the main highlights of the story in the piece's four movements: "The Iliad", "The Winds of Poseidon", "The Isle of Calypso", and "Ithaca" 

Sciences
Psychiatrist Jonathan Shay wrote two books, Achilles in Vietnam: Combat Trauma and the Undoing of Character  (1994) and Odysseus in America: Combat Trauma and the Trials of Homecoming (2002), which relate the Iliad and the Odyssey to posttraumatic stress disorder and moral injury as seen in the rehabilitation histories of combat veteran patients  
Passage 6:
Albert Odyssey (Super Famicom game)
Albert Odyssey (アルバートオデッセイ, Arubaato Odessei) is a tactical role-playing video game developed and published by Sunsoft and released for the Super Nintendo Entertainment System in Japan in March 1993  The game features strategy-based combat in addition to traditional role-playing game elements in two-dimensional environments  It is the first game in the Albert Odyssey series, and was followed by two sequels, Albert Odyssey 2: Jashin no Taidou in 1994, and Albert Odyssey: Legend of Eldean in 1996   On June 12, 1996, Albert Odyssey was made available as a full game download on the Satellaview add-on as BS Albert Odyssey (BSアルバートオデッセイ, BS Arubaato Odessei), and the original Albert Odyssey was re-released for Satellaview in March 1998 Players assume the role of Albert, the young heroic swordsman who lives in a fantasy world filled with monsters and mythical creatures  While much of the world remains in relative peace following a great war many years before, a military faction led by the dark magician Globus has emerged to conquer the newly pacified nations and expand their empire  With the help of Albert's friends as well as hired mercenaries, the player must travel the world and eventually confront Golbus and his forces to prevent another large-scale conflict 

Gameplay
Albert Odyssey is a role-playing video game with strategy elements where players must travel through a fantasy environment battling monsters and other enemies to advance the story  The game uses two-dimensional character sprites and environments accompanied by the Super Nintendo Entertainment System's Mode 7 graphics capabilities that give the impression of three dimensions  Players move their characters from a top-down perspective through towns and other peaceful areas, while the game's overworld and dungeons are rendered as large battlefields laden with enemies  Throughout the game, players take part in the story by interacting with non-player characters and performing story-driven quests that continually expand the game's narrative 
Using a turn-based system, both the player and computer opponent take turns moving and attacking across the field  A player may choose to move, attack, perform magic, use an item in their possession to aid themselves, or retreat to the nearest safe area to rest or restock supplies  Once two characters come in contact with one another, a battle sequence ensues where the attacking character deals damage to the opponent, lowering their health  When the player or enemy's health reaches zero, they are defeated and ejected from the field  Player's advance by confronting and defeating enemies, gaining experience points in the process that go towards making characters stronger and learn new abilities  A character can be further augmented with progressively more powerful weapons and equipment can be purchased in towns or found on defeated enemies  Progress is recorded by using save points found in set areas throughout the game that utilize the Famicom's battery backup-up system  If all of a player's characters are defeated at any time, they are forced to restart the game from the last recorded save file 

Audio
The music for Albert Odyssey was written and programmed by Sunsoft in-house composer Naoki Kodaka, with the game being his first Super Famicom and role-playing endeavor  On June 25, 1993, Sunsoft released an official soundtrack titled All Sounds of Albert Odyssey in Japan published by Datam Polystar featuring all background music and jingles from the game   Later that year, selected music from Albert Odyssey was performed by the Tokyo City Philharmonic Orchestra as part of the third Game Music Concert series in Tokyo, Japan, later made available as a commercial album the following December  The two tracks represented were "The Road Walked by Heroes" and "Hometown Tibelis", retitled as "Albert Odyssey Theme" and "God's People" respectively 

Sequel
Albert Odyssey 2: Jashin no Taidou (アルバートオデッセイ2 邪神の胎動, Aruberto Odesei Tsu Jashin no Taidou, lit  Albert Odyssey 2: Sign of the Devil) is a tactical role-playing video game developed and published by Sunsoft for the Super Famicom and released in December 1994  It is the sequel to the original Albert Odyssey and retains many of the same gameplay and story elements while featuring enhanced graphics and battle features 
The game is set ten years after the previous title and follows the story of Dean, a young warrior who is enthralled by the exploits of the hero Albert who saved the world a decade earlier from an evil magician   Setting off on his own journey to investigate the conflict, Dean becomes entangled in an adventure of his own while meeting characters from the previous game  He soon learns that the world is once again in danger from an ancient evil god known as Okutoba, and must become a hero himself to stop him from throwing the world into darkness 

Gameplay
Like its predecessor, Albert Odyssey 2 is a traditional strategy-based role-playing video game featuring two-dimensional character and background graphics  While towns and other safe areas are presented in a top-down fashion where players can move about freely, the game's overworld and dungeons take the appearance of a grid-like strategy board filled with monsters and other enemies   Using the Super Famicom's Mode 7 graphics function, environments can scroll and zoom smoothly based on the player's point of view, and give the appearance of three-dimensions  Players advance the game's story by taking part in large-scale battles and interacting with non-player characters 
The battle system in Albert Odyssey 2 has been modified slightly from the original   While players can still move in eight directions to engage opponents, the size of many battlefields, as well as the number of enemies represented, has been reduced, with the entire system becoming more streamlined  Characters move about the battle environment using a turn-based system where enemies and the player's party take turns attacking in phases, with one entire side acting before another  On a player's turn, characters may move, fight, use a magic attack, use an item from their inventory, or retreat to a nearby safe location  Battle are won when an entire enemy party has been defeated, yielding experience points that allow characters to gain levels and become stronger as well as give access to new abilities   Players record their progress using the game cartridge's built-in battery back-up system by accessing preset save points during gameplay 
Passage 7:
Sorrows of Werther
"Sorrows of Werther" is a satirical poem by William Makepeace Thackeray written in response to the enormous success of Johann Wolfgang von Goethe's novel The Sorrows of Young Werther 


== Text ==
Passage 8:
Werther (film)
Werther is an opera by Jules Massenet 
Werther may also refer to:

Places
Werther, North Rhine-Westphalia, a town in western Germany
Werther, Thuringia, a municipality in eastern Germany

People with the surname
Gustav Werther (1815–1869), German chemist
Heinrich Wilhelm von Werther (1772–1859), Prussian diplomat and politician

Arts
The Sorrows of Young Werther, a novel by Johann Wolfgang von Goethe that the opera Werther is loosely based on
Werther (1986 film), a Spanish film based on the novel
Werther (1927 film), a Czech film

Others
Werther's Original, a toffee-and-cream candy
The New Werther, by the statistician Karl Pearson
Passage 9:
Werther
Werther is an opera (drame lyrique) in four acts by Jules Massenet to a French libretto by Édouard Blau, Paul Milliet and Georges Hartmann (who used the pseudonym Henri Grémont)  It is loosely based on Goethe's epistolary novel The Sorrows of Young Werther, which was based both on fact and on Goethe's own early life  Earlier examples of operas using the story were made by Kreutzer (1792) and Pucitta (1802) 

Performance history
Massenet started composing Werther in 1885, completing it in 1887  He submitted it to Léon Carvalho, the director of the Paris Opéra-Comique, that year, but Carvalho declined to accept it on the grounds that the scenario was too serious  With the disruption of the fire at the Opéra-Comique and Massenet's work on other operatic projects (especially Esclarmonde), it was put to one side, until the Vienna Opera, pleased with the success of Manon, asked the composer for a new work  Werther received its premiere on 16 February 1892 (in a German version translated by Max Kalbeck) at the Imperial Theatre Hofoper in Vienna The French-language premiere followed in Geneva on 27 December 1892  The first performance in France was given by the Opéra-Comique at the Théâtre Lyrique on the Place du Châtelet in Paris on 16 January 1893, with Marie Delna as Charlotte and Guillaume Ibos in the title role, conducted by Jules Danbé, but was not immediately successful Werther entered the repertoire at the Opéra-Comique in 1903 in a production supervised by Albert Carré, and over the next half-century the opera was performed over 1,100 times there, Léon Beyle becoming a distinguished interpreter of Werther The United States premiere with the Metropolitan Opera took place in Chicago on 29 March 1894 and then in the company's main house in New York City three weeks later  The UK premiere was a one-off performance at Covent Garden, London, on 11 June 1894 with Emma Eames as Charlotte, Sigrid Arnoldson as Sophie, and Jean de Reszke in the title role 
Werther is still regularly performed around the world and has been recorded many times  Although the role of Werther was written for a tenor, Massenet adjusted it for a baritone, when Mattia Battistini sang it in Saint Petersburg in 1902  It is very occasionally performed in this version, in which the changes affect only the vocal line for the title character  There are no other changes to the words, to the lines for other characters, or to the orchestration 

Roles
Instrumentation
2 flutes (2nd doubling piccolo),
2 oboes (doubling English horns),
2 clarinets in B-flat and A,
alto saxophone,
2 bassoons,
4 horns in F,
2 cornets in B-flat and A,
3 trombones,
tuba,
timpani,
percussion (1) (bass drum, triangle),
harp,
strings 

Synopsis
Time: Within the period July to December, in an undefined year in the 1780s 
Place: Wetzlar in Germany 

Act 1
In July, the widowed Bailiff (a Magistrate, rather than one who comes to seize property), is teaching his six youngest children a Christmas carol ("Noël! Jésus vient de naître")  His drinking companions, Johann and Schmidt, arrive as Charlotte, the eldest daughter, dresses for a ball  Since her fiancé Albert is away, she is to be escorted by Werther, whom the Bailiff and his companions find gloomy  Werther arrives ("O Nature, pleine de grâce"), and watches as Charlotte prepares her young siblings' supper, just as her mother had before she died  He greets her and they leave for the ball  Albert returns unexpectedly after a six-month trip  He is unsure of Charlotte's intentions and disappointed not to find her at home, but is reassured and consoled by Charlotte's younger sister Sophie  He leaves after promising to return in the morning  After an orchestral interlude, Werther and Charlotte return very late; he is already enamoured of her  His declaration of love is interrupted by the announcement of Albert's return  Charlotte recalls how she promised her dying mother she would marry Albert  Werther is in despair 

Act 2
It is three months later, and Charlotte and Albert are now married  They walk happily to church to celebrate the minister's 50th wedding anniversary, followed by the disconsolate Werther ("Un autre est son époux!")  First Albert and then Sophie ("Du gai soleil, plein de flamme") try to cheer him up  When Charlotte exits the church, he speaks to her of their first meeting  Charlotte begs Werther to leave her, though she indicates that she would be willing to receive him again on Christmas Day  Werther contemplates suicide ("Lorsque l'enfant revient d'un voyage")  He encounters Sophie but the tearful girl does not understand his distressing behavior  Albert now realizes that Werther loves Charlotte 

Act 3
Charlotte is at home alone on Christmas Eve  She spends time rereading the letters that she has received from Werther ("Werther! Qui m'aurait dit     Ces lettres!"), wondering how the young poet is and how she had the strength to send him away  Sophie comes in and tries to cheer up her older sister ("Ah! le rire est béni"), though Charlotte is not to be consoled ("Va! laisse couler mes larmes")  Suddenly Werther appears, and while he reads to her some poetry of Ossian ("Pourquoi me réveiller?"), he realizes that she does indeed return his love  They embrace for a moment, but she quickly bids him farewell  He leaves with thoughts of suicide  Albert returns home to find his wife distraught  Werther sends a messenger to Albert, requesting to borrow his pistols, explaining he is going on an extended trip  After the servant has taken them, Charlotte has a terrible premonition and hurries to find Werther  An orchestral intermezzo ("La nuit de Noël") leads without a break into the final Act 

Act 4
"The death of Werther": At Werther's apartment, Charlotte has arrived too late to stop him from shooting himself; he is dying  She consoles him by declaring her love  He asks for forgiveness  After he dies, Charlotte faints  Outside children are heard singing the Christmas carol 

Noted arias
Recordings
A well-regarded recording of the complete opera was made in January 1931 by French Columbia with a French cast and the orchestra and chorus of the Opéra-Comique under the direction of Élie Cohen  Henry Fogel of Fanfare magazine, writing in 1992, counted 14 complete recordings and considered it the finest of the lot  His colleague, James Camner, reviewing the Opera d'Oro reissue in 2003, called it "one of the treasures of recorded opera      Unfortunately, the transfer is over filtered  The high frequencies are lost, giving the performance an unwarranted flatness  Happily, Naxos offers the same recording expertly transferred by Ward Marston, and acquiring it is a must " Alan Blyth, while giving a very positive review of the reissue of the recording with Albert Lance as Werther and Rita Gorr as Charlotte in 2004, nevertheless pointed out that "neither quite has the ideal subtlety of the best Massenet singers, such as Vallin and Thill on the classic, pre-war set, now on Naxos" In addition, many of the greatest French and Italian singers of the past century or more have recorded individual arias from Massenet's masterwork 
Passage 10:
The Novel of Werther
The Novel of Werther (French: Le Roman de Werther) is a 1938 French historical drama film directed by Max Ophüls and starring Pierre Richard-Willm, Annie Vernay and Jean Galland  It is based on the 1774 novel The Sorrows of Young Werther by Goethe The film was made by Nero Film, a company run by German exiles who had left following the Nazi rise to power 

Cast
Pierre Richard-Willm as Werther
Annie Vernay as Charlotte
Jean Galland as Albert
Paulette Pax as Aunt Emma
Jean Périer as President
Edmond Beauchamp as murderer
Georges Bever as chamberlain
Geno Ferny as portraitist
Fernand Blot as Werther's colleague
Denise Kerny as the right one
Henri Guisol as Schertz, the clerk
Roger Legris as Franz, valet
Jean Buquet as little Gustave
Maurice Schutz as le sonneur
Léonce Corne asle majordome
Philippe Richard as Grand Duke
Charles Nossent as le cocher
Léon Larive as comedian
Georges Vitray as bailiff
Génia Vaury as girl
Henri Beaulieu
Henri Darbrey
Pierre Darteuil
Maurice Devienne
Martial Rèbe
Robert Rollis
Context 2: Passage 1:
Pamela Adlon
Pamela Fionna Adlon (; née Segall) (born July 6, 1966) is an American actress  She is known for voicing Bobby Hill in the animated comedy series King of the Hill (1997–2010), for which she won a Primetime Emmy Award  She also voiced Baloo in Jungle Cubs (1996–1998), the title role in the Pajama Sam video game series (1996–2001), Lucky in 101 Dalmatians: The Series (1997–1998), Ashley Spinelli in Recess (1997–2001), Otto Osworth in Time Squad (2001–2003), and Brigette Murphy in Milo Murphy's Law (2016–2019), among numerous others 
Adlon is also known for her roles in the comedy-drama series Californication (2007–2014) and Louie (2010–2015), the latter of which she additionally wrote and produced alongside Louis C K  Her work on Louie garnered her four Primetime Emmy Award nominations  From 2016 to 2022, Adlon starred as Sam Fox on the acclaimed FX comedy-drama series Better Things, which she also co-created, wrote, produced, and directed  The series won a Peabody Award, and she was nominated twice for a Primetime Emmy Award for Outstanding Lead Actress in a Comedy Series  She also starred alongside Redd Foxx on The Redd Foxx Show as 'Toni' in 1986 
Adlon was featured in numerous films since making her acting debut in Grease 2 (1982)  Her most notable films include Say Anything    (1989), Bed of Roses (1996), Lucky 13 (2005), Conception (2011), I Love You, Daddy (2017), All Square (2018), and Holler (2020) 

Early life
Adlon was born in New York City  She is the daughter of Marina Lucy (Leece) and Donald Maxwell "Don" Segall, who was a television comedy writer-producer and author of comic books and science fiction pulp novels  Her father produced The Dave Garroway Show, which became AM New York and then The Today Show  He was a page at NBC with Gil Cates and wrote erotic fiction under various pseudonyms, including Troy Conway  Adlon's mother is English, while her father, an American, was from Boston  Her father was born to a Jewish family of Russian-Jewish and Ukrainian-Jewish descent and her mother, originally an Anglican, converted to Judaism  Adlon has said that her parents met at the USO event in Paris As a child, Adlon lived in the Carnegie House at 100 West 57th Street  She has said that she and her family lived bi-coastally, moving between Los Angeles and New York because her father was a journeyman writer and producer for TV  She began performing at age nine; one of her father's friends had a radio studio, so she would do voice-over work there  While in Los Angeles she did TV and film acting work  She attended Sarah Lawrence College for a semester  After moving to Laurel Canyon, Los Angeles, she shared a house with Anna Gunn 

Career
Adlon made her acting debut as Dolores Rebchuck in the 1982 musical sequel film Grease 2  She had a recurring role as Kelly Affinado in the sitcom The Facts of Life (1983–1984)  This was followed by appearances in Bad Manners (1984), Night Court (1984), Willy/Milly (1986), Star Trek: The Next Generation (1989), Say Anything    (1989), Sgt  Bilko (1996), and Plump Fiction (1997)  Although she was successful as a child actress she struggled to find parts in her 20s  It led her to develop a substantial voice-over career which she cited as saving her career Adlon gained further acclaim and recognition for voicing the starring role of Bobby Hill in the animated comedy series King of the Hill (1997–2010), for which she received a Primetime Emmy Award for Outstanding Voice-Over Performance in 2002  Adlon also gained recognition for voicing Margaret "Moose" Pearson in Pepper Ann (1997–2000), Ashley Spinelli in Recess (1997–2001), Brigette Murphy in Milo Murphy's Law (2016–2019), and the voice of newborn Halley Wolowitz in The Big Bang Theory 
Adlon is recognizable for her husky voice, which led to her voicing young boys in numerous animated series and films  She voiced Baloo in Jungle Cubs (1996–1998), the title role in the video game series Pajama Sam (1996–2001), Lucky in 101 Dalmatians: The Series (1997–1998), Hector McBadger in Jakers! The Adventures of Piggley Winks (2003–2007), and Andy in Squirrel Boy (2006–2007), among numerous others  She was nominated for an Annie Award for her role as Otto Osworth in the Cartoon Network animated comedy series Time Squad (2001–2003)  She continued to voice characters in films, such as The Animatrix (2003) and as Vidia in the Tinker Bell film series (2008–2015) 
Adlon had notable live-action roles as Emma Path in the ABC legal drama series Boston Legal (2007–2008), Marcy Runkle in the Showtime comedy-drama series Californication (2007–2014), and as Pamela in the FX comedy series Louie (2010–2015)  She was also a writer and consulting producer for the lattermost series 
Adlon's professional relationship with Louis C K  began in 2006 when she played his wife in the short-lived HBO sitcom Lucky Louie  She appeared as the friend of Louie (a fictional character based on C K ) in his FX single-camera series Louie  She appeared in every season but the third  Adlon co-wrote seven episodes of the series and became a consulting producer  She earned a total of four Primetime Emmy Award nominations for her work on Louie  She earned two nominations as a producer for Best Comedy Series, one nomination for Outstanding Writing for a Comedy Series for co-writing the episode "Daddy's Girlfriend Part 1", and one nomination for Outstanding Guest Actress in a Comedy Series In 2015, FX gave a pilot order to Better Things, a comedy created by and starring Adlon  She plays an actress raising three daughters  The pilot was written by Adlon and Louis C K , who also directed it  It was picked up for a 10-episode series on August 7, 2015  The show, which premiered on September 8, 2016, is semi-autobiographical  C K  served as a co-writer and occasional director for the first two seasons, while Adlon has served as director and writer throughout the series' run 
The series received widespread critical acclaim and was honored with a Peabody Award  Adlon received a Primetime Emmy Award nomination for Outstanding Lead Actress in a Comedy Series for the first two seasons of Better Things  She also received a nomination for the Golden Globe Award for Best Actress – Television Series Musical or Comedy, and four nominations for the TCA Award for Individual Achievement in Comedy  Adlon was represented by manager Dave Becky until November 2017, when she fired him following his involvement in the Louis C K  sexual harassment scandal Adlon had recent live-action roles in the romantic drama film First Girl I Loved (2016), the science fiction action film Bumblebee (2018), and the comedy-drama film The King of Staten Island (2020)  She had a guest role as Mrs  Wolowitz in the CBS sitcom Young Sheldon (2017) and a recurring role as Dr  Leigh in the acclaimed NBC drama series This Is Us (2020) 

Personal life
In 1996, Adlon married Felix O  Adlon, the son of German director Percy Adlon  Felix O  Adlon directed Pamela in Eat Your Heart Out (1997)  They divorced in 2010, and he then moved to Germany  They have three daughters who are actresses: Gideon, Odessa, and Valentine "Rocky" Adlon Adlon was the inspiration for Toto's song, Pamela (song)   She was in a short-lived relationship with Toto vocalist Joseph Williams in the 1980s 
Adlon splits her time between the Upper West Side of Manhattan and Los Angeles In January 2020, Adlon became a citizen of the United Kingdom 

Filmography
Adlon is known for her collaborations with Louis C K and her performances in Lucky Louie (2006), Louie (2010–2015), and Better Things (2016–2022)  She has had major performances in The Facts of Life (1983–1984) and Californication (2007–2014) as well as making guest appearances in The Jeffersons (1984), Boston Legal (2007–2008), Parenthood (2012), and This is Us (2020)  She is also a well known voice artist  Her voice credits include the animated programs Kiki's Delivery Service (1989), Bobby's World (1992–1998), Rugrats (1992–2004), Recess (1997–2001), King of the Hill (1997–2010), and Bob's Burgers (2012–2020) 

Awards and nominations
Passage 2:
Drea de Matteo
Andrea Donna de Matteo (born January 19, 1972) is an American actress  She is best known for her role as Adriana La Cerva on the HBO television drama The Sopranos (1999–2006), for which she received the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series in 2004  Other notable roles include Gina Tribbiani on Joey (2004–2006), Wendy Case on Sons of Anarchy (2008–2014), Angie Bolen on Desperate Housewives (2009–2010), and Detective Tess Nazario on Shades of Blue (2016–2018) 

Early life
De Matteo was born in Whitestone, Queens, New York City  Her mother, Donna, is a playwright and playwriting teacher who has been on faculty at HB Studio, and her father, Albert, was a furniture manufacturer who was owner and CEO of Avery Boardman and Carlyle  She is of Italian descent, and grew up in a Catholic family After graduating from the Loyola School, de Matteo earned a Bachelor of Fine Arts in film production from New York University's Tisch School of the Arts, intending to become a film director  She additionally studied acting at the HB Studio 

Career
De Matteo's role in The Sopranos was one of her earliest, helping to launch her career  She has appeared in several films including Swordfish, Deuces Wild, The Perfect You, Prey for Rock & Roll and the 2005 remake of John Carpenter's 1976 action film Assault on Precinct 13  She had the starring role in Abel Ferrara's R Xmas for which she received some very positive reviews In 2004, de Matteo won an Emmy for Best Supporting Actress (Drama) for her role as Adriana on The Sopranos (season 5) and was nominated for a Golden Globe the same year, for the same role From 2004 to 2006, de Matteo portrayed Joey Tribbiani's sister Gina in the Friends spin-off Joey  The show was cancelled after two seasons De Matteo played the role of Wendy Case in the FX original series Sons of Anarchy  The pilot episode aired September 3, 2008, and De Matteo continued making regular appearances into the series' sixth season  She was promoted to a series regular for the seventh and final season 
De Matteo played Angie Bolen, the mother of the Bolen family, on season 6 of the ABC show Desperate Housewives  She left Desperate Housewives at the season 6 finale in 2010, due to personal reasons In 2012, she guest starred in Showtime's Californication 
De Matteo played the stepmother of Steve Wilde, the main character of the FOX comedy Running Wilde, appearing in season 1, episode 9  De Matteo co-starred as Krissi Cates in the film adaptation of Dark Places (2015), with Charlize Theron, Chloë Grace Moretz, and Nicholas Hoult  In 2015, she was cast as Det  Tess Nazario in the NBC drama series Shades of Blue, starring alongside Jennifer Lopez and Ray Liotta 
De Matteo and Chris Kushner began hosting a rewatch podcast of The Sopranos on March 13, 2020, called Made Women; in July, the podcast was retooled and renamed Gangster Goddess Broad-Cast 

Personal life
In 1997, de Matteo opened Filth Mart, an East Village clothing store with her then-boyfriend Michael Sportes  They closed the store in 2004 De Matteo started dating musician Shooter Jennings in 2001  They became engaged on June 11, 2009, when Jennings proposed onstage at the Stanley Theater during a show in Utica, New York  They have two children together, daughter Alabama Gypsyrose Jennings and son Waylon Albert "Blackjack" Jennings  Jennings and de Matteo eventually ended their relationship without marrying  In July 2015, de Matteo became engaged to Whitesnake bass guitarist Michael Devin De Matteo lost her apartment home of 22 years, as did dozens of other residents, when a gas explosion and raging fire destroyed three East Village, Manhattan buildings on March 26, 2015 

Filmography
Film
Television
Passage 3:
Shari Shattuck
Shari Shattuck (born November 18, 1960) is an American actress and author 
Shattuck was born in Atlanta, Georgia  She has appeared in hundreds of commercials, TV, film, and stage productions  Some roles include "Dallas", "Life Goes On", "On Deadly Ground" as well as multiple Shakespearean roles  She appeared in both nighttime and daytime soaps, sitcoms, mini-series and starred in multiple films  As a model, she appeared on the cover of Playboy in April 1980, and numerous other magazines  In 1982, while working as a model in Atlanta, she was cast in the music video of the  38 Special song "Caught Up in You" 

Personal life
Shattuck was married to actor Ronn Moss (with whom she has two daughters — Creason  and Calee) from January 1990 to July 2002   She later married Joseph Paul Stachura, the owner and managing artistic director of the Knightsbridge Theatre, The National American Shakespeare Company, as well as the Director of Knightsbridge Theatre Films  The couple has produced two movies together, "Redemption" and "Scream at the Devil "In addition to acting, Shattuck has written for the stage and directed multiple productions  Her play, In Progress, was produced at the Matrix Theatre Shattuck is also a fiction writer who has written four mystery novels featuring Callaway Wilde, a wealthy Los Angeles socialite, the first of which, Loaded, was picked as one of the best of 2003 by Publishers Weekly  Other titles in the Callaway Wilde series are Lethal, Liar, and Legacy  She also wrote a psychic series featuring Greer Sands, Eye of the Beholder and Speak of the Devil and two hardcover literary fiction novels, Invisible Ellen and the sequel, Becoming Ellen 

Filmography
Passage 4:
Tainted
Taint or tainted may refer to:

Impurities
Contamination, the presence of a minor and unwanted element (a contaminant)
a wine fault, such as cork taint, ladybird taint, or phenolic taint, producing undesirable odors or tastes in bottled wine
Infection, the colonization of a host organism by parasites
Taint (legal), the quality of illegally obtained court evidence
Taint checking, a feature of some programming languages that prevents unauthorized users from remotely executing commands on a computer

Titles
The Taint (novel) (or Doctor Who and the Taint), a novel written by Michael Collier and based on the British television series Doctor Who
Taint (band), a sludge-metal band from Wales
The Taint (film), a 1915 American silent film
Tainted (film), a 1987 American film

Other uses
Taint (anatomy), colloquial name for the space between the anus and genitals
Tint, an archaic form, referring to a color mixed with white
Tainted kernel, when proprietary modules are loaded into Linux
Passage 5:
Robin Wright
Robin Gayle Wright (born April 8, 1966) is an American actress and director  She has received various accolades, including a Golden Globe Award, and nominations for eight Primetime Emmy Awards 
Wright first gained attention for her role as Kelly Capwell in the NBC Daytime soap opera Santa Barbara  from 1984 to 1988  She transitioned to film with a starring role in the fantasy film The Princess Bride (1987), and she gained a nomination for a Golden Globe Award for Best Supporting Actress for her role in the top-grossing drama Forrest Gump (1994)  She had further starring roles in the romantic drama Message in a Bottle (1999) and the thriller Unbreakable (2000), as she gained praise for her performances in the independent films Loved (1997), She's So Lovely (1997), Nine Lives (2005) and Sorry, Haters (2006)  She has since taken on supporting roles in the sports drama Moneyball (2011), the thriller The Girl with the Dragon Tattoo (2011), the adventure film Everest (2015), the superhero film Wonder Woman (2017), and the science fiction film Blade Runner 2049 (2017) 
On television, Wright starred in the HBO miniseries Empire Falls in 2005  From 2013 to 2018, she starred as Claire Underwood in the Netflix political drama series House of Cards  Her performance earned her a Golden Globe Award for Best Actress and six nominations for a Primetime Emmy Award for Outstanding Lead Actress  In 2016, Wright was named one of the highest paid actresses in the United States, earning US$420,000 per episode for House of Cards  She has also directed ten episodes of the series as well as two episodes of the Netflix crime series Ozark in 2022 

Early life
Wright was born April 8, 1966, in Dallas to Gayle Wright (née Gaston), a cosmetics saleswoman for Mary Kay, and Fred Wright, a pharmaceutical company employee  She has an elder brother, Richard (b  1962), who is a photographer  Her parents divorced when she was two, which led to her relocating to San Diego, California with her mother  She grew up in Southern California, attending La Jolla High School in La Jolla and Taft High School in Los Angeles 

Career
Wright began her career as a model, when she was 14  At the age of 18, she played Kelly Capwell in the NBC Daytime soap opera Santa Barbara, for which she received several Daytime Emmy Award nominations 

1980s–2000s: Transition into feature films
Wright transitioned into feature film work with a role in Hollywood Vice Squad in 1986, followed by her breakthrough role as Princess Buttercup in the cult film The Princess Bride in 1987  She gained critical acclaim in her role as Jenny Curran in Forrest Gump (1994), receiving Golden Globe Award and Screen Actors Guild nominations for Best Supporting Actress 
In 1996, she starred in the lead role of the film adaptation of Daniel Defoe's Moll Flanders (1996), for which she received a Satellite Award nomination for Best Actress in a Drama  She was nominated for a Screen Actors Guild Award for Best Actress for her role in She's So Lovely (1997), a film in which she co-starred with her then-husband Sean Penn  Wright received her third Screen Actors Guild Award nomination for her role in the television film Empire Falls (2005) 

2013–2018: House of Cards
From 2013 to 2018, Wright appeared in the Netflix political drama streaming television series House of Cards in the role of Claire Underwood, the ruthless wife of political mastermind Frank Underwood  On January 12, 2014, she won a Golden Globe for the role, becoming the first actress to win the award for a streaming television series; she was nominated for the same award the following year  She also received nominations for the Primetime Emmy Award in 2013 and 2014 for the same role  Following Season 4 in 2016, Wright stated that she felt Claire Underwood was the equal of Frank Underwood and demanded equal pay for her performance as her co-star Kevin Spacey; Netflix acquiesced  In 2017, for her performance in the fifth season, Wright was nominated for her fifth consecutive Primetime Emmy for Outstanding Lead Actress in a Drama Series  For the years 2014, 2016, and 2017, Wright received Best Actress in a Drama Series nominations for the Critics' Choice Television Awards, with her being the only nomination for the show in December 2017 
In October 2017, she was set as the show's new lead for the final season, following the firing of Kevin Spacey due to sexual misconduct allegations against Spacey  For her last appearance as Underwood, her performance was acclaimed - described as a "commanding performance [that] is more than enough to keep [the final season] standing strong"  - earning her her final nominations for the role at the Screen Actors Guild and Primetime Emmy Awards in 2019  For the latter, she became one of seven women to be nominated for the category six or more times for the same show (the first in 10 years since Mariska Hargitay for Law & Order: Special Victims Unit) 

Further film and directorial work
In 2017, Wright directed a short film, The Dark of Night, which starred Sam Rockwell and premiered at the Cannes Film Festival  Additionally, Wright played General Antiope in Wonder Woman (2017) and its 2020 sequel alongside Gal Gadot and Chris Pine  The film earned positive reviews and emerged as a financial success, grossing $822 8 million at the box office  She appears in the Blade Runner sequel Blade Runner 2049 alongside Ryan Gosling, Harrison Ford, and Jared Leto, directed by Denis Villeneuve 
In April 2019, it was announced that she would make her feature film directorial debut in the film Land  Wright would also be starring as its lead, Edee Mathis, a lawyer who retreats in grief to the Shoshone National Forest in Wyoming  Sales for the film would start at Cannes the following month  Filming began by October that year and the movie was picked up by distributor Focus Features  Land premiered in January 2021 at the Sundance Film Festival to generally positive reviews, with specific praise towards the direction and the performances  Peter Debruge in a review for Variety wrote: "So bless Wright for paring “Land” down to a beautiful haiku, and for delivering a performance that’s ambiguous and understated in all the right ways," and "in a directorial debut so pure and simple it speaks to enormous self-confidence, has better instincts than to reveal outright "In 2022, Wright directed the final two episodes of the first part of season 4 of the Netflix show, Ozark; the episodes being entitled: "Sangre Sobre Todo" and "Sanctified"  Kayla Cobb for Decider praised Wright's direction in the latter episode as "powerful" with the pairing of her direction, the script and actress Julia Garner's performance as a "masterful collaboration "Wright will next star in and produce Ben Young's thriller Where All Light Tends to Go, an adaptation of the book of the same name by David Joy  In April 2022, Wright joined the cast of Netflix's fantasy film Damsel directed by Juan Carlos Fresnadillo  Wright will additionally star in a Sony Pictures Classics and Miramax adaptation of Richard McGuire's Here in a Forrest Gump reteam with director Robert Zemeckis, actor Tom Hanks and writer Eric Roth for a 2023 release 

Personal life
From 1986 to 1988, Wright was married to actor Dane Witherspoon, whom she met in 1984 on the set of the soap opera Santa Barbara In 1989, Wright became involved with actor Sean Penn following his divorce from Madonna  Wright was offered the role of Maid Marian in the film Robin Hood: Prince of Thieves, but turned it down because she was pregnant  Their daughter, Dylan Frances, was born in April 1991  She backed out of the role of Abby McDeere in The Firm (1993) due to her pregnancy with her second child, and their son, Hopper Jack, was born in August 1993 After breaking up and getting back together, Wright and Penn married in 1996  Their on-and-off relationship seemingly ended in divorce plans, announced in December 2007, but the divorce petition was withdrawn four months later at the couple's request  In February 2009, Wright and Penn attended the 81st Academy Awards together, at which Penn won the Best Actor award  Penn filed for legal separation in April 2009, but withdrew the petition in May  On August 12, 2009, Wright filed for divorce, declaring she had no plans to reconcile  The divorce was finalized on July 22, 2010 In February 2012, Wright began dating actor Ben Foster, and their engagement was announced in January 2014  The couple called off their engagement in November 2014, but reunited in January 2015  On August 29, 2015, they announced they were ending their second engagement  In 2017, Wright began dating Clément Giraudet, a Saint Laurent executive, and they secretly wed in August 2018 in La Roche-sur-le-Buis, France  Wright filed for divorce from Giraudet in September 2022 

Philanthropy and activism
Wright is the honorary spokesperson for the Dallas, Texas-based non-profit The Gordie Foundation In 2014, she co-partnered with two California-based companies; Pour Les Femmes and The SunnyLion  The SunnyLion donates a portion of its profits to the Raise Hope For Congo movement 
Wright is an activist for human rights in the Democratic Republic of the Congo  She is the narrator and executive producer of the documentary When Elephants Fight which highlights how multinational mining corporations and politicians in the Democratic Republic of Congo threaten human rights, and perpetuate conflict in the region  She also is a supporter of Stand With Congo, the human rights campaign behind the film  In 2016, Wright spoke publicly in support of the campaign at a film screening at the TriBeCa Film Institute in New York City, in media interviews, with journalists, and across her social media accounts 

Filmography
Film
Television
Awards and nominations
Passage 6:
Faye Dunaway filmography
Faye Dunaway is an American actress who appeared in over seventy films, thirty television shows, thirteen plays and two music videos  Regarded as one of the greatest actresses of her generation, she was one of the leading actresses during the golden age of New Hollywood  After her film debut  The Happening, she starred in the gangster film Bonnie and Clyde, in which she was nominated for the Academy Award for Best Actress  She starred with Steve McQueen in The Thomas Crown Affair (1968)   In 1969, she co-starred with Kirk Douglas in Elia Kazan's drama The Arrangement  The following year, she starred with Dustin Hoffman in Little Big Man  In 1970, her performance in Jerry Schatzberg's experimental drama Puzzle of a Downfall Child earned her a Golden Globe nomination for Best Actress – Motion Picture Drama  She portrayed Milady de Winter in Richard Lester's The Three Musketeers (1973) and The Four Musketeers (1974) 
In 1974, Dunaway starred in Roman Polanski's crime film Chinatown, in which she was nominated for the Academy Award, a Golden Globe and a BAFTA for her performance  That same year, she appeared in the all-star disaster epic The Towering Inferno  In 1975, her role in Sydney Pollack's political thriller Three Days of the Condor earned her a fourth Golden Globe nomination  Dunaway received the Academy Award for Best Actress and the Golden Globe Award for Best Actress - Motion Picture Drama for her performance in Sidney Lumet's satire Network (1976)  She then starred in the thriller Eyes of Laura Mars (1978) and the drama The Champ (1979)  Her controversial portrayal of Joan Crawford in the 1981 film Mommie Dearest became one of her most famous roles, but she later blamed the film for hurting her career 
She won a Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film for her work in the miniseries Ellis Island (1985) and received critical acclaim for her performance in Barbet Schroeder's drama Barfly (1987), opposite Mickey Rourke  Her role in a 1993 episode of Columbo earned her a Primetime Emmy Award for Outstanding Guest Actress in a Drama Series  She co-starred with Johnny Depp twice, in the surrealist comedy-drama Arizona Dream (1993) and the romantic comedy Don Juan DeMarco (1995)
Context 3: Passage 1:
Vocal fry register
The vocal fry register (also known as pulse register, laryngealization, pulse phonation, creaky voice, creak, croak, popcorning, glottal fry, glottal rattle, glottal scrape) is the lowest vocal register and is produced through a loose glottal closure that permits air to bubble through slowly with a popping or rattling sound of a very low frequency  During this phonation, the arytenoid cartilages in the larynx are drawn together, which causes the vocal folds to compress rather tightly and become relatively slack and compact  This process forms a large and irregularly vibrating mass within the vocal folds that produces the characteristic low popping or rattling sound when air passes through the glottal closure  The register (if well controlled) can extend far below the modal voice register, in some cases up to 8 octaves lower, such as in the case of Tim Storms who holds the world record for lowest frequency note ever produced by a human, a G−7, which is only 0 189 Hz, inaudible to the human ear 
Vocal fry is thought to have become more common among young female speakers of American English in the early 21st century, with the style of speaking being considered informal, nonaggressive and urban-oriented 

History of register classification
The vocal fry register has been a recognized and identifiable register in American English only within the past few decades, but its characteristic sound was recognized much earlier  Discussion of the vocal fry or pulse register began first within the field of phonetics and speech therapy and did not enter the vocabulary of vocal music pedagogists until the early 1970s, when it was initially controversial  However, the controversy surrounding the term within vocal music has subsided as more research into the use of the vocal fry register within the context of singing ensued  In particular, vocal pedagogist Margaret Greene's videotaping of the physiological processes occurring in the body while singers were phonating in the vocal fry register offered solid evidence that this type of vocal phonation should be considered a vocal register from both speech pathology and vocal music perspectives  Like any other vocal register, the vocal fry register has a unique vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound that distinguishes it from other vocal registers 

In speech
Discussion of vocal fry is much more frequent in books related to phonetics and speech therapy than it is in those dealing with singing  Some authorities consider the use of vocal fry in speech a dysphonia, but others consider it so only if it is used excessively such as Hollien, Moore, Wendahl, and Michel:

It is simply our intent to suggest that ordinarily vocal fry constitutes one of several physiologically available types of voice production on the frequency-pitch continuum and hence, of itself, is not logically classified among the laryngeal pathologies  While the excessive use of fry could result in a diagnosis of voice disorder, this quality is too often heard in normal voices (especially in descending inflections where the voice fundamentally falls below frequencies in the modal register) to be exclusively a disorder 
Many are quick to point out that although vocal fry is minimally a part of routine speaking patterns, the continued use of such a pattern makes it non-utilitarian or pathological Some evidence exists of vocal fry becoming more common in the speech of young female speakers of American English in the early 21st century, but its frequency's extent and significance are disputed  Researcher Ikuko Patricia Yuasa suggests that the tendency is a product of young women trying to infuse their speech with gravitas by means of reaching for the male register and found that "college-age Americans     perceive female creaky voice as hesitant, nonaggressive, and informal but also educated, urban-oriented, and upwardly mobile "A 2014 national study of American adults found that speech with vocal fry was perceived more negatively than a voice without vocal fry, particularly in a labor market context  In young adult women, it was perceived as sounding less trustworthy, less competent, less attractive, and less hireable  The negative evaluation was stronger when the evaluator was also a woman The national study of 800 listeners across age groups found that people making hiring decisions preferred a voice without vocal fry to one with vocal fry  A limitation of the study was that the vocal fry samples were produced by imitators rather than natural vocal fry speakers  That suggests that more research is needed, as the negative reaction could be attributable to other factors In native speakers of American English, young women use vocal fry more frequently than men  When asked to read a passage, female speakers used vocal fry at a rate four times higher than male speakers Some languages, such as Jalapa Mazatec, use vocal fry (creaky voice) as a linguistically significant marker; the presence or absence of vocal fry can then change the meaning of a word 

Social implications
Some people seek out the help of speech pathologists as they feel vocal fry makes them appear unsure and less confident  Researchers have found that young adult women who use vocal fry are perceived as less competent and less hireable (listeners have less of a negative reaction to male voices)  Others argue that these perceptions are part of a broader attack on women's speech Vocal fry is generally seen as a negative characteristic in the workplace, but a study by Duke University researchers has determined the phenomenon is becoming more common and socially acceptable 

In singing
The croaking sound produced by male singers at the start of phrases in American country music is produced by moving from this to the modal register  Within choral music, when true basses are not available, choirs often rely on singers who can "fry" the low bass notes  Singers such as Tim Storms, Mike Holcomb and various other gospel basses use this technique to sing very low tones   Some styles of folk singing showcase the vocal fry register in the female voice  Vocal fry is also used in metal music, usually in combination with air from the diaphragm, in order to create a "growl" or "scream," which sounds aggressive and harsh The chief use of the vocal fry register in singing is to obtain pitches of very low frequency, which are not available to the singer in the modal register  The physiological production of the vocal fry register may be extended up into the modal register  In some cases, vocal pedagogues have found the use of vocal fry therapeutically helpful to students who have trouble producing lower notes  Singers often lose their low notes or never learn to produce them because of the excessive tension of the laryngeal muscles and of the support mechanism that leads to too much breath pressure Some throat singing styles such as kargyra use vocal techniques similar to vocal fry 

See also
Notes
Passage 2:
Bass (voice type)
A bass is a type of classical male singing voice and has the lowest vocal range of all voice types  According to The New Grove Dictionary of Opera, a bass is typically classified as having a vocal range extending from around the second E below middle C to the E above middle C (i e , E2–E4)  Its tessitura, or comfortable range, is normally defined by the outermost lines of the bass clef  Categories of bass voices vary according to national style and classification system 
Italians favour subdividing basses into the basso cantante (singing bass), basso buffo ("funny" bass), or the dramatic basso profondo (low bass)  The American system identifies the bass-baritone, comic bass, lyric bass, and dramatic bass 
The German Fach system offers further distinctions: Spielbass (Bassbuffo), Schwerer Spielbass (Schwerer Bassbuffo), Charakterbass (Bassbariton), and Seriöser Bass  These classification systems can overlap  Rare is the performer who embodies a single Fach without also touching repertoire from another category 

History
Cultural influence and individual variation create a wide variation in range and quality of bass singers  Parts for basses have included notes as low as the B-flat two octaves and a tone below middle C (B♭1), for example in Gustav Mahler's Symphony No  2 and the Rachmaninov's All-Night Vigil, A below that in Frederik Magle's symphonic suite Cantabile, G below that (e g  Measure 76 of Ne otverzhi mene by Pavel Chesnokov) or F below those in Kheruvimskaya pesn (Song of Cherubim) by Krzysztof Penderecki  Many basso profondos have trouble reaching those notes, and the use of them in works by Slavic composers has led to the colloquial term "Russian bass" for an exceptionally deep-ranged basso profondo who can easily sing these notes  Some traditional Russian religious music calls for A2 (110 Hz) drone singing, which is doubled by A1 (55 Hz) in the rare occasion that a choir includes exceptionally gifted singers who can produce this very low human voice pitch 
Many British composers such as Benjamin Britten have written parts for bass (such as the first movement of his choral work Rejoice in the Lamb) that center far higher than the bass tessitura as implied by the clef  The Harvard Dictionary of Music defines the range as being from the E below low C to middle C (i e  E2–C4) 

In choral music
In SATB four-part mixed chorus, the bass is the lowest vocal range, below the tenor, alto, and soprano  Voices are subdivided into first bass and second bass with no distinction being made between bass and baritone voices, in contrast to the three-fold (tenor–baritone–bass) categorization of solo voices  The exception is in arrangements for male choir (TTBB) and barbershop quartets (TLBB), which sometimes label the lowest two parts baritone and bass 

Range and Subtypes
Bass has the lowest vocal range of all voice types, with the lowest tessitura  The low extreme for basses is generally C2 (two Cs below middle C)  Some extreme bass singers, referred to as basso profondos and oktavists, are able to reach much lower than this  Within opera, the lowest note in the standard bass repertoire is D2, sung by the character Osmin in Mozart's Die Entführung aus dem Serail, but few roles fall below F2  
Although Osmin's note is the lowest 'demanded' in the operatic repertoire, lower notes are heard, both written and unwritten: for example, it is traditional for basses to interpolate a low C in the duet "Ich gehe doch rathe ich dir" in the same opera; in Richard Strauss' Der Rosenkavalier, Baron Ochs has an optional C2 ("Mein lieber Hippolyte")  The high extreme: a few bass roles in the standard repertoire call for a high F♯ or G (F♯4 and G4, the one above middle C), but few roles go over F4  In the operatic bass repertoire, the highest notes are a G♯4 (The Barber in The Nose by Shostakovich) and, in the aria "Fra l'ombre e gl'orrori" in Handel's serenata Aci, Galatea e Polifemo, Polifemo reaches an A4 
Within the bass voice type category are seven generally recognized subcategories: basso cantante (singing bass), hoher bass (high bass), jugendlicher bass (juvenile bass), basso buffo ("funny" bass), Schwerer Spielbass (dramatic bass), lyric bass, and dramatic basso profondo (low bass) 

Basso cantante/lyric high bass/lyric bass-baritone
Basso cantante means "singing bass"  Basso cantante is a higher, more lyrical voice  It is produced using a more Italianate vocal production, and possesses a faster vibrato, than its closest Germanic/Anglo-Saxon equivalent, the bass-baritone 

Hoher Bass/dramatic high bass/dramatic bass-baritone
Hoher Bass or "high bass" or often a dramatic bass-baritone 

Jugendlicher Bass
Jugendlicher Bass (juvenile bass) denotes the role of a young man sung by a bass, regardless of the age of the singer 

Masetto, Don Giovanni by Wolfgang Amadeus Mozart
Colline, La bohème by Giacomo Puccini

Basso buffo/lyric buffo
Buffo, literally "funny", basses are lyrical roles that demand from their practitioners a solid coloratura technique, a capacity for patter singing and ripe tonal qualities if they are to be brought off to maximum effect  They are usually the blustering antagonist of the hero/heroine or the comic-relief fool in bel canto operas 

Schwerer Spielbass/dramatic buffo
English equivalent: dramatic bass

Lyric basso profondo
Basso profondo (lyric low bass) is the lowest bass voice type  According to J  B  Steane in Voices, Singers & Critics, the basso profondo voice "derives from a method of tone-production that eliminates the more Italian quick vibrato  In its place is a kind of tonal solidity, a wall-like front, which may nevertheless prove susceptible to the other kind of vibrato, the slow beat or dreaded wobble "

Dramatic basso profondo
English equivalent: dramatic low bass  Dramatic basso profondo is a powerful basso profondo voice 

In Gilbert and Sullivan
All of the Gilbert and Sullivan Savoy operas, except Patience and The Yeomen of the Guard, have at least one lead bass  Notable roles include:

See also
Category of basses
Fach, the German system for classifying voices
Voice classification in non-classical music
List of basses in non-classical music
Passage 3:
Basso profondo
Basso profondo (Italian: "deep bass"), sometimes basso profundo, contrabass or oktavist, is the lowest bass voice type 

While The New Grove Dictionary of Opera defines a typical bass as having a range that is limited to the second E below middle C (E2), operatic bassi profondi can be called on to sing low C (C2), as in the role of Baron Ochs in Der Rosenkavalier  Often choral composers make use of lower notes, such as G1 or even F1; in such rare cases the choir relies on exceptionally deep-ranged bassi profondi termed oktavists or octavists, who sometimes sing an octave below the bass part 
Bass singer Tim Storms holds the Guinness World Record for the "lowest note produced by a human" 

Definition
According to Rousseau (1775): "Basse-contres – the most profound of all voices, singing lower than the bass like a double bass, and should not be confused with contrabasses, which are instruments "

Oktavist
An oktavist is an exceptionally deep-ranged basso profondo, especially typical of Russian Orthodox choral music  This voice type has a vocal range which extends down to A1 (an octave below the baritone range) and sometimes to F1 (an octave below the bass staff) with the extreme lows for oktavists, such as Mikhail Zlatopolsky or Alexander Ort, reaching C1 Slavic choral composers sometimes make use of lower notes such as B♭1 as in Rachmaninoff's All-Night Vigil, G#1 in "The Twelve Brigands" by Vladimir Pasjukov, G1 in "Ne otverzhi mene" by Pavel Chesnokov, or F1 in "Kheruvimskaya pesn" (Song of Cherubim) by Krzysztof Penderecki, although such notes sometimes also appear in repertoire by non-Slavic composers (e g  B♭1 appears in Gustav Mahler's Second and Eighth Symphonies) 
In popular culture, several a capella groups have bass singers with an oktavist range, such as Home Free's Tim Foust, VoicePlay's Geoff Castellucci, and Avi Kaplan formerly of Pentatonix, as well as Tony nominated broadway performer Patrick Page, each of these being able to reach down to a G1 or in some cases even lower, with Castellucci able to hit a B0 using subharmonic singing and Foust able to hit a G0 using growl 

See also
Bass
Fach
Vocal weight
Passage 4:
Cosmos (band)
Cosmos was a Latvian a cappella band that formed in Riga in 2002  The band comprised singers Jānis Šipkēvics, Andris Sējāns (both countertenors), Juris Lisenko (tenor), Jānis Ozols (baritone), Jānis Strazdiņš (bass) and Reinis Sējāns (rhythm) 
Cosmos gained national and international recognition after they were chosen to represent Latvia in the 2006 Eurovision Song Contest held in Athens, Greece with the song "I Hear Your Heart"  Despite winning the national Eirodziesma 2006 contest, the band finished in joint sixteenth place out of the twenty-four finalists, with thirty points 

Discography
Cosmos (2003)
Pa un par (2005)
Тетради любви (2005)
Ticu un viss (2005)
Turbulence (2008)
Pasaki man un tev (2009)

External links
Official website
Review of Pa un par Archived 2008-10-25 at the Wayback Machine at RARB org
Passage 5:
Cosmos Holidays
Cosmos (formerly Cosmos Tours) is a UK independent tour operator providing a range of package holidays to the UK market  The tour operator is connected to the international Globus Travel Group, founded in 1928, which remains family owned with headquarters in Lugano, Switzerland  Under parent company Cosmos Tours Ltd, the tour operator offers holidays through two brands: Cosmos and Avalon Waterways 
Cosmos Holidays was founded in 1961 as Cosmos Tours  It became Cosmos Holidays in 1987  After Globus Travel Group sold Monarch Travel Group to Greybull Capital in October 2014, Monarch stopped using Cosmos as a Monarch Group brand in 2015  However, in March 2017 it was announced that Cosmos Tours had regained full rights and licences to the Cosmos brand and Monarch would change its corporate name from Cosmos Holidays Limited to Monarch Holidays Limited 

Background
Origins of Cosmos (1928–1986)
In 1928, Antonio Mantegazza started a company specialising in coach touring called Globus Viaggi   The company began with a fleet of 12 coaches which operated local excursions for European tourists in Switzerland   By 1950, Globus Viaggi had grown to a fleet of 33 coaches and featured overnight excursions to Rome, Venice, the Dolomites and the French Riviera   Gradually these became regular scheduled tours and grew longer to cover more ground   Later that decade Globus pioneered the concept of Grand European Touring by offering first-class European tours to North Americans 
Cosmos Tours was founded in the UK in 1961 by Sergio Mantegazza  The company was created to provide British customers with affordable package holidays by coach and air travel to Europe



ground_truth: no

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What American actress stars in Tainted?

The following are given passages.
Context 2:  Her portrayal of Wilhelmina Cooper in the drama Gia (1998) with Angelina Jolie earned her a third Golden Globe Award, for Best Supporting Actress – Series, Miniseries or Television  Dunaway also appeared in the James Gray-directed crime film The Yards (2000) and Roger Avary's satirical black comedy The Rules of Attraction (2002) 
Dunaway started her acting career on Broadway and appeared in several plays throughout her career, including A Man for All Seasons (1961–63), After the Fall (1964), Hogan's Goat (1965–67) and A Streetcar Named Desire (1973)  She was awarded the Sarah Siddons Award for her portrayal of opera singer Maria Callas in Master Class (1996)  Dunaway also appeared in two music videos, Tom Petty and the Heartbreakers' Into the Great Wide Open in 1991 and Hill Zaini's I Heard in 2010 

Film
Television
Theatre
Music video appearances
Passage 7:
Rozie Curtis
Rozanne Damone "Rozie" Curtis is an American choreographer and voice actress  She is mostly known for doing voiceovers in English dubs for Japanese anime and works with ADV Films and Seraphim Digital  Currently, she is the manager of community outreach for Theatre Under the Stars and associate director for Crosswind Productions 

Filmography
Voice Roles
AD Police - Kyoko Miyano
All Purpose Cultural Cat Girl Nuku Nuku - Maho
Clannad - Rie Nishima
Clannad After Story - Rie Nishima (episode 13-14), Yagi (eps 15-16, 22), Additional Voices
Compiler - Interpreter (as Rozanne Curtis)
Cyber Team in Akihabara - Kamome's Mom (eps 7, 16), Magazine Stand Lady (ep 9)
Demon King Daimao - Mitsuko Torii
Generator Gawl - Masami
Girls und Panzer - Anzu Kadotani
Horizon in the Middle of Nowhere - Musashi
Kill Me Baby - Agiri Goshiki
Le Chevalier d'Eon - Additional Voices
Legend of the Mystical Ninja - Rumie Himuro
Mystical Detective Loki Ragnarok - Hel (ep 14)
Needless - Kasumi Ogiha
Pani Poni Dash - Behomi
Saiyuki - Huang
Samurai Girls - Kanetsugu Naoe (as Vestal Vee)
Steel Angel Kurumi 2 - Uruka Sumeragi
Street Fighter II V - Party Guest, Receptionist (ADV dub)
Those Who Hunt Elves - Ritsuko Inoue

Live-Action Roles
Paradise, Texas - Records Clerk, Choreographer (staff role)
Passage 8:
Laura Dern
Laura Elizabeth Dern (born February 10, 1967) is an American actress  She is the recipient of numerous accolades, including an Academy Award, a Primetime Emmy Award, a BAFTA Award, and five Golden Globe Awards 
Born to actors Bruce Dern and Diane Ladd, Dern embarked on an acting career in the 1980s and rose to prominence for her performances in Mask (1985) and the David Lynch films Blue Velvet (1986) and Wild at Heart (1990)  She received her first Academy Award nomination for her portrayal of the titular orphan in the drama film Rambling Rose (1991), and achieved international recognition for her role as Ellie Sattler in Steven Spielberg's adventure film Jurassic Park (1993), a role that she reprised in the sequels Jurassic Park III (2001) and Jurassic World Dominion (2022) 
After winning two Golden Globe Awards for her performances as Katherine Harris in the television film Recount (2008), and Amy Jellicoe on the comedy drama series Enlightened (2011–2013), Dern garnered her second Academy Award nomination for her performance as the mother of Cheryl Strayed in the biopic Wild (2014)  In 2017, she began starring as Renata Klein on the drama series Big Little Lies, winning a Primetime Emmy Award and a Golden Globe Award, and reunited with David Lynch for Twin Peaks: The Return  She had supporting roles in the films Star Wars: The Last Jedi (2017), Little Women (2019), and Marriage Story (2019)  Her performance in the last won her numerous accolades, including an Academy Award and her fifth Golden Globe Award 

Early life
Laura Elizabeth Dern was born on February 10, 1967, in Los Angeles, California  The daughter of actors Diane Ladd and Bruce Dern and great-granddaughter of former Utah governor and Secretary of War George Dern, she was conceived while her parents were filming The Wild Angels  Poet, writer, and Librarian of Congress Archibald MacLeish was her great-great-uncle  After her parents divorced when she was two years old, Dern was largely brought up by her mother and maternal grandmother, Mary, who had Norwegian ancestry, from Oslo  She was raised Catholic  Her godmother was actress Shelley Winters  She developed scoliosis as a child Her first film foray was an appearance as an extra in White Lightning (1973), a film in which her mother starred  Her official film debut was an appearance in Alice Doesn't Live Here Anymore (1974), opposite her mother  In 1982, Dern served as Miss Golden Globe at 15 years old  In the same year, she portrayed a rebellious rock band member in the cult film Ladies and Gentlemen, The Fabulous Stains  At 16, after doubling on her classes to graduate high school a semester early, she sought and attained emancipation, which allowed her to work the same amount of hours as an adult on films  After moving out of her home at the age of 17, Dern became roommates with Marianne Williamson, and enrolled at UCLA intending to double major in psychology and journalism, but withdrew two days into the semester to film Blue Velvet 

Career
1980–1999: Career beginnings and breakthrough
Dern got her first credited role, Debbie, appearing alongside Jodie Foster in the 1980 coming-of-age film Foxes  At the age of 11, she had originally auditioned for a different role after telling casting directors that she was 14  In 1985, she was cast two weeks before production began as the protagonist, a carefree 15-year-old girl, Connie Wyatt, who grabs the attention of a predatory stranger, in the film Smooth Talk  The film won the Grand Jury Prize at the Sundance Film Festival in the Dramatic category in 1986 and received largely favorable reviews  It is seen as the film that launched Dern's career Between 1985 and 1990, Dern gained critical acclaim for her performances in Mask, Blue Velvet, and Wild at Heart–the latter two of which were directed by David Lynch–which began a longstanding collaboration between Dern and Lynch  In the biographical drama film, Mask, she played the role of Diana Adams, a blind girl who becomes Rocky Dennis' love interest, starring alongside Eric Stoltz and Cher  At the age of 16, Dern was cast as Sandy Williams, one of the starring roles alongside Kyle MacLachlan and Isabella Rossellini in the critically successful mystery thriller film Blue Velvet  It is widely regarded as Dern's breakthrough performance In 1990, Dern once again collaborated with Lynch, starring as Lula Fortune alongside Nicolas Cage in the black comedy crime film Wild At Heart, where she portrays a vastly different character from her previous role in Blue Velvet  Dern called the role an opportunity 'to play not only a very sexual person, but also someone who was, in her own way, incredibly comfortable with herself'  The film, which had won the Palme d'Or at the Cannes Film Festival, was met with generally positive reviews from critics but polarized some audiences at the time  Lynch cast Dern's mother, Diane Ladd, to play Lula's overbearing mother in the film Dern auditioned for the role of Clarice Starling in The Silence of the Lambs (1991), but lost the role due to studio's skepticism about her level of fame at the time  In 1992, Dern and her mother, Diane Ladd, became the first mother and daughter to be nominated for Academy Awards for acting in the same film for their performances in Rambling Rose–Ladd received a Best Supporting Actress nomination, while Dern received one for Best Actress  The following year, she won a Golden Globe Award for Best Actress – Miniseries or Television Film and received her first Primetime Emmy Award nomination for Outstanding Lead Actress in a Limited Series or Television Movie for her performance in the 1992 television film Afterburn Dern starred as Dr  Ellie Sattler in Steven Spielberg's 1993 film Jurassic Park, achieving international recognition with the role  Dern, who had been more focused on independent films prior to the film, was Spielberg’s first choice for the role of Ellie Sattler after having been impressed with her work in Smooth Talk and Rambling Rose  She was influenced by Wild At Heart costar Nicolas Cage to take the role and called the decision an "easy yes", recalling how Spielberg and producer Kathleen Kennedy made sure the character was a "no-nonsense feminist who had her own independent spirit and was brilliant in her craft" and wasn't an "oversexualized action heroine" while describing filming to be similar to an independent film That same year, Clint Eastwood contacted the actress for his film A Perfect World  After the release of Jurassic Park, Dern was offered many roles in blockbuster films and ultimately chose to star in Alexander Payne's directorial debut black comedy film Citizen Ruth to avoid typecasting as the character Ruth Stoops, a pregnant drug addict who unexpectedly attracts national attention from those involved in the abortion debate  The film debuted at Sundance Film Festival to critical acclaim for the film and for Dern's performance but only received a limited release from Miramax likely due to its controversial topic  Ladd made a cameo appearance, playing Dern's character's mother for the third time following Rambling Rose and Wild At Heart, with Dern's character screaming a torrent of abuse at her 
In 1997, Dern was asked by Ellen DeGeneres to guest star as Susan Richmond, a lesbian who helps Degeneres' character, Ellen Morgan, come out of the closet in "The Puppy Episode" of the sitcom Ellen, while DeGeneres herself came out at the same time offscreen  Despite protests from people around her, she shrugged off concerns and immediately accepted the role where she received her third Primetime Emmy Award nomination for Outstanding Guest Actress In A Comedy Series  The decision significantly impacted her career in the following years with Dern revealing in an April 2007 airing of The Ellen DeGeneres Show that she did not work for more than a year and that she needed a "full security detail" following her appearance in the historic episode due to the resulting backlash at the time, but nevertheless called it an "extraordinary experience and opportunity" and "an incredible honor"  The following year, Dern co-starred in the television film The Baby Dance, for which she received a Golden Globe Award nomination for Best Actress – Miniseries or Television Film  While dating Billy Bob Thornton in 1999, she was cast as his love interest in his film Daddy and Them, which also includes Diane Ladd  Dern appeared in Joe Johnston's biographical drama film October Sky alongside Jake Gyllenhaal portraying his character's teacher Miss Riley 

2000–2011: Further film and television career
In 2000, Robert Altman cast Dern in his comedy Dr  T & the Women  In 2001, Dern reprised her role as Dr  Ellie Sattler in Jurassic Park III, which was directed by Joe Johnston whom she had worked with in October Sky  Originally hesitant to return for a cameo, Dern was convinced when it was suggested by executive producer Steven Spielberg to the writers, Alexander Payne and Jim Taylor who had previously collaborated with Dern for Citizen Ruth, to have the character play an important role by saving the other characters  That same year, she co-starred in Within These Walls and Arthur Miller's Focus  She starred in the film I Am Sam as Randy Carpenter, a woman running a foster home  In 2002, she starred in the film Damaged Care  In 2004, she starred in the film We Don't Live Here Anymore  Dern starred in the 2005 film Happy Endings, and in the same year, she appeared in the film The Prize Winner of Defiance, Ohio 
In 2006, Dern reunited with director David Lynch for the third time after Blue Velvet and Wild At Heart in the experimental film Inland Empire which was largely shot on a hand-held Sony DSR-PD150 by Lynch himself and without a complete screenplay  Dern portrays an actress, Nikki Grace, who starts to take on the personality of the character she plays  The film debuted at the Venice Film Festival to polarized reviews, the majority being positive, where Dern admitted that she was not sure what the film was about, but has said she would sign up for any project with Lynch  In the same year, Dern portrayed a supporting role in Lonely Hearts  Mike White, known for writing School of Rock and The Good Girl, hired Dern for his directorial debut in 2007, the comedy titled Year of the Dog, and starring Molly Shannon, John C  Reilly and Peter Sarsgaard  In 2008, Dern starred as Florida Secretary of State Katherine Harris in Recount, for which she won the Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film  The following year, Dern appeared in the independent drama Tenderness, and in 2010, she appeared in Little Fockers, portraying Prudence, an elementary school principal In November 2010, Dern and her parents Diane Ladd and Bruce Dern were presented with stars on the Hollywood Walk of Fame, becoming the first family to do so  In October 2011, she starred in a new HBO comedy-drama television series titled Enlightened in which she also served as co-creator and executive producer  Dern played Amy Jellicoe, a "health and beauty executive who returns from a post-meltdown retreat to pick up the pieces of her broken life " Dern brought screenwriter Mike White, whom she collaborated with on Year of the Dog, back into television work after he had suffered an on-the-job meltdown of his own  The series received critical acclaim and lasted two seasons  Dern's mother Diane Ladd plays the major supporting role of Helen Jellicoe, Dern's character's mother in the series  Dern received her third Golden Globe Award and fifth nomination, her first in the Best Actress in a Television Series – Musical or Comedy category for her performance  She was also nominated for her fifth Primetime Emmy Award, her first in the Outstanding Lead Actress in a Comedy Series category 

2012–present: Later career and acclaim
In 2012, Dern starred in Paul Thomas Anderson's psychological drama film The Master  In 2014, she co-starred alongside Reese Witherspoon in Jean-Marc Vallée's biographical drama film Wild portraying the character of Bobbi, mother of Cheryl Strayed in flashback scenes, for which she received her second Academy Award nomination and her first in the Best Supporting Actress category  That same year, she portrayed Frannie Lancaster in the coming-of-age romance film The Fault In Our Stars and she portrays Beverly Ladouceur in the sports drama film When the Game Stands Tall directed by Thomas Carter, starring Jim Caviezel and produced by David Zelon for Mandalay Pictures  She portrayed Lynn Nash, a widowed mother and grandmother who gets evicted with her family, in 2014's 99 Homes alongside Andrew Garfield In 2017, Dern reteamed with both Witherspoon and Vallée from Wild and The Fault In Our Stars co-star Shailene Woodley for the 2017 HBO miniseries Big Little Lies, the latter who Dern had helped convince to join the cast  For her portrayal as Renata Klein in the series, Dern won her first Primetime Emmy Award for Outstanding Supporting Actress in a Limited Series or Movie and her fourth Golden Globe Award for Best Supporting Actress – Series, Miniseries, or Motion Picture Made for Television  That same year, she collaborated for the fourth time with David Lynch, appearing as Diane Evans in the third season of the mystery serial drama television series Twin Peaks and joined the Star Wars franchise portraying Vice-Admiral Amilyn Holdo in Rian Johnson's space opera film Star Wars: The Last Jedi In 2018, Dern starred as professor and documentary filmmaker Jennifer Fox, recalling her traumatic past in the autobiographical feature film The Tale, written and directed by Fox  The film premiered at the 2018 Sundance Film Festival on January 20, 2018 to a standing ovation, and later on HBO on May 26, 2018  Dern received her seventh Primetime Emmy nomination for the role in the category Outstanding Lead Actress In A Limited Series Or Movie  That same year, she starred in two biographical drama films, Trial By Fire and JT LeRoy as the author Laura Albert 
In 2019, Dern reprised her role of Renata Klein in Big Little Lies after the series was renewed for a second season where she once again received critical acclaim and received her eighth Primetime Emmy Award nomination, her first in the Outstanding Supporting Actress in a Drama Series category  In the same year, Dern starred in two films nominated for Best Picture at the Academy Awards  The first is Noah Baumbach's Marriage Story, portraying the character Nora Fanshaw, a divorce lawyer which was written by Baumbach with Dern in mind for the role  For her performance, Dern received major awards including earning her first Academy Award for Best Supporting Actress from three nominations, winning the first and only Oscar in an acting category for Netflix, and also received the BAFTA Award for Best Actress in a Supporting Role, the SAG Award for Performance by a Female Actor in a Supporting Role, and the Golden Globe Award for Best Supporting Actress – Motion Picture  The second is Greta Gerwig's film adaptation of Little Women, where she portrayed Marmee March  In 2020, she served as an executive producer on the animated short film If Anything Happens I Love You which was released on Netflix and was a producer on the documentary film The Way I See It In 2022, Dern reprised her role as Dr  Ellie Sattler in Jurassic World Dominion  Due to the character's fan influence, Dern and director Colin Trevorrow felt protective of the character and her legacy, and were in agreement to have the character play a major role  With Neill and Goldblum having led in their own Jurassic Park sequel, Trevorrow wanted Dominion to be Dern's film explaining, "It was important for the plot to be driven by Ellie  She's the only one of those three characters that hasn't had her own movie " She is set to star in Florian Zeller's adaptation of his stage play, The Son  Dern appeared in the music video for Taylor Swift's "Bejeweled" from her tenth studio album Midnights (2022) Dern will star and serve as executive producer for the science fiction drama film Morning directed by Justin Kurzel  She is set to star in the Netflix film Lonely Planet, and will serve as executive producer and star in the upcoming Apple TV+ comedy series Mrs  American Pie  Dern is set to reunite with Wild author Cheryl Strayed and co-star Reese Witherspoon as executive producers for the upcoming Hulu television series Tiny Beautiful Things based on Strayed's book  She and Amy Adams signed on to executive produce a HBO adaptation of Claire Lombardo's The Most Fun We Ever Had 

Personal life
Relationships and family
Dern began dating musician Ben Harper after they met at one of his concerts in fall 2000  Harper and Dern married on December 23, 2005, at their home in Los Angeles  They have two children together, son Ellery Walker (born August 21, 2001) and daughter Jaya (born November 2004)  Through this marriage, Dern became a stepmother and is close with Harper's children from his first marriage, his son, Charles, and daughter, Harris  The two finalised their divorce in 2013 On October 18, 2017, in the wake of the Harvey Weinstein sexual abuse scandal, Dern appeared on The Ellen DeGeneres Show and revealed that she had been sexually assaulted at age 14 

Political views and activism
During the 66th Golden Globe Awards, on January 11, 2009, Dern expressed support for the incoming administration of Barack Obama during her acceptance speech for her Best Supporting Actress – Series, Miniseries or Television Film win, stating: "I will cherish this as a reminder of the extraordinary, incredible outpouring of people who demanded their voice be heard in this last election so we can look forward to amazing change in this country  Thank you so much!"An activist and supporter of various charities, Dern advocated Down syndrome awareness in a cover story for Ability Magazine  In 2018, Dern brought activist Mónica Ramírez to the 75th Golden Globe Awards as a guest  In the same year, she attended a Families Belong Together event and expressed her support for immigrants' rights  She is also an advocate for women's rights, gender pay parity, as well as combating gun violence and climate change  In 2019, she became a board member of the Academy Museum of Motion Pictures  Dern is an ambassador for the American Lung Association and serves as an Advisor to the group's National Board of Directors 

Filmography
Film
Television
Video games
Music videos
Awards and nominations
Passage 9:
All the Way to the Ocean
All the Way to the Ocean is a 2016 computer animated short film based on the children's book of the same name by Joel Harper  The screenplay was written by Joel Harper, Pete Michels, and Doug Rowell  The film was directed by Doug Rowell and produced by Joel Harper  The film is narrated by American actress Marcia Cross and features the song With My Own Two Hands by Ben Harper (brother of) Joel Harper  This is an alternate version of the original song featuring Jack Johnson and is also featured on the Curious George film soundtrack Sing-A-Longs and Lullabies for the Film Curious George  The lyrics focus on how changes in the world can come about when a single person decides to take action  The song's popularity in Europe was such that Ben Harper was awarded French Rolling Stone Magazine's "Artist of the Year" (Artiste De L'Année) in 2003  The film also features music by Joel Harper and Burning Spear with their collaboration on the song The Time is Now  The film stars voice-overs by actress and activist Amy Smart and Australian musician Xavier Rudd 

Plot
A story about two best friends, Isaac and James (voiced by Katie Leigh), and their discovery of the cause and effect relationship between our cities' storm drains and the world's oceans, lakes and rivers  In the story James throws a wrapper and plastic bottle in the gutter and doesn't believe that it will go all the way to the ocean  His friend Isaac warns James about the consequences of his littering  There begins the adventures of James and Isaac as they learn about the harmful effects of storm drain pollution, and in turn, spread the word to their friends and the rest of their school  Helping the kids along this journey are a concerned Crane (voiced by Xavier Rudd) from the coast line, a surprisingly insightful Surfer Dude and James' Mom (voiced by Amy Smart) 

Awards
2022 Sylvia Earle OCEAN CONSERVATION AWARD - Inspiring the Future (My Hero in Partnership with One World One Ocean) https://myhero com/winner-of-the-inspiring-the-future-2022-sylvia-earle-ocean-conservation-award-all-the-way-to-the-ocean
2017 Official Selection - Wild & Scenic Film Festival 
Passage 10:
Jennifer Grey
Jennifer Grey (born March 26, 1960) is an American actress  She made her acting debut with the film Reckless (1984), and had her breakthrough with the teen comedy film Ferris Bueller's Day Off (1986)  She subsequently earned worldwide fame for starring as Frances "Baby" Houseman in the romantic drama film Dirty Dancing (1987), which earned her a Golden Globe Award nomination  Her other feature films include Red Dawn (1984), The Cotton Club (1984), Bloodhounds of Broadway (1989), Bounce (2000), Redbelt (2008), The Wind Rises (2013), In Your Eyes (2014), Duck Duck Goose (2018), and Bittersweet Symphony (2019) 
Grey's early television work includes the made-for-TV films Murder in Mississippi (1990), Criminal Justice (1990), and If the Shoe Fits as Kelly Carter / Prudence (1990)  She starred as herself in the series It's Like, You Know    (1999–2001), won season eleven of the dancing competition series Dancing with the Stars (2010) and starred as Judy Meyers in the Amazon Prime Video comedy Red Oaks (2014–2017)  She has done voice work in film and television, providing her voice in the 2018 film Duck Duck Goose and the 2008–2014 animated television series Phineas and Ferb 

Early life
Jennifer Grey was born on March 26, 1960, in New York City, the daughter of stage and Academy Award-winning screen actor Joel Grey and former actress/singer Jo Wilder (née Brower)  Her paternal grandfather was comedian and musician Mickey Katz  Grey's parents both came from Jewish families Grey attended the Dalton School, a private school in Manhattan where she studied dance and acting, and where she met her best friend, actress Tracy Pollan  After graduating in 1978, Grey enrolled at Manhattan's Neighborhood Playhouse School of the Theatre for two years of training as an actress  While waiting for roles, she supported herself waitressing 

Career
Grey's commercial debut was at the age of 19, in an ad for Dr Pepper, before making her film debut in Reckless (1984), in a small role  She appeared in a small role in Francis Ford Coppola's The Cotton Club (1984)  That year she starred in the war film Red Dawn  She then appeared in the 1985 John Badham project American Flyers 
In 1986 she played the role of jealous sister Jeannie Bueller in the John Hughes comedy film Ferris Bueller's Day Off, opposite Matthew Broderick  The film was commercially successful and received a positive critical reception The following year, she reunited with Patrick Swayze, her co-star in Red Dawn, to play Frances "Baby" Houseman in Dirty Dancing  The story is a coming of age love story: spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the resort's dance instructor, Johnny Castle  The low-budget film was a surprise hit, was the first film to sell one million copies on video, and is considered a classic  Paid $50,000 for her role, the film came to define Grey's career, and she was nominated for a Golden Globe for Best Actress for the role Grey's sole Broadway theatre credit is her 1993 appearance in The Twilight of the Golds 
Despite the success of Dirty Dancing, Grey felt that her looks would place restrictions on the type of future roles she would be considered for  After consulting her mother and three plastic surgeons in the early 1990s, she underwent two rhinoplasty procedures  The second was necessary to correct an irregularity caused by the first operation and ended up more extensive than what Grey had expected  This resulted in a nose that caused even close friends to fail to recognize her, and the major change in her appearance affected her career  Of the experience she said, "I went in the operating room a celebrity—and came out anonymous  It was like being in a witness protection program or being invisible " Grey recalled in a 2020 interview that an airline employee who checked her identity refused to believe that she and the actress the employee knew from Dirty Dancing were one and the same  Grey briefly considered changing her name in order to start her career anew, but ultimately decided against this From March 1999 until January 2000, Grey starred as herself in the short-lived ABC sitcom It's Like, You Know   , which satirized her much-publicized nose job as a running gag Grey appeared with Shirley MacLaine, Liza Minnelli, and Kathy Bates in the CBS television movie The West Side Waltz, adapted by Ernest Thompson from his play  She appeared in one episode of Friends as Mindy, a high school friend of Jennifer Aniston's character Rachel  She had a small role in the 2000 film Bounce with Gwyneth Paltrow and Ben Affleck  In 2007, Grey portrayed Daphne on the HBO series John from Cincinnati  In 2010, she played Abbey, the mother of a sick child in the season seven House episode "Unplanned Parenthood" Grey was a contestant on season eleven of Dancing With the Stars  She was partnered with professional dancer Derek Hough  She came out very strong at first, frequently topping the leaderboard  However, injuries, stress, and exhaustion took their toll on Grey, and for a couple of weeks she fell behind  In week seven, however, she improved, tying with previous frontrunner Brandy Norwood  On November 23, 2010, Grey and her partner Hough won the competition 
In September 2011 Grey appeared in the Lifetime movie Bling Ring as Iris Garvey, the mother of Zack Garvey  On November 5 and 6, 2011, Grey stood in for head judge Len Goodman on the BBC One TV show Strictly Come Dancing Grey voiced Mrs  Kurokawa in the English dub version of Hayao Miyazaki's film The Wind Rises From 2014 to 2017, Grey portrayed Judy Meyers on Red Oaks  In 2018, Grey co-starred in the film Untogether; the film was released on February 8, 2019 Grey also appeared at the 2015 Tony Awards alongside her father Joel, presenting a performance from the musical Fun Home 
Ballantine Books published Grey's memoir, Out of the Corner, on May 3, 2022 

Personal life
On August 5, 1987, Grey suffered severe whiplash in a car collision in Enniskillen, Northern Ireland, while vacationing with actor Matthew Broderick, whom she had begun dating in semi-secrecy during the filming of Ferris Bueller's Day Off  The crash, the event through which their relationship became public, occurred when Broderick, at the wheel of a rented BMW, crossed into the wrong lane and collided head-on with a Volvo driven by a local mother and daughter, Margaret Doherty, 63, and Anna Gallagher, 28, who were killed instantly  Broderick was convicted of careless driving and fined $175  Dirty Dancing was released a few weeks after the collision, catapulting Grey to fame  But she has said that her grief and survivor's guilt over the crash prevented her from enjoying the film's success, and led her to withdraw from acting for some time Grey was also romantically involved with actors Michael J  Fox, Johnny Depp, William Baldwin and then-aide to President Clinton, George Stephanopoulos  She married actor/director Clark Gregg on July 21, 2001  They have a daughter  They lived in Venice, California  The couple co-starred in the Lifetime movie The Road to Christmas in 2006  On July 3, 2020, Grey and Gregg announced they had separated amicably in January, and were in the process of divorcing  Their divorce became final on February 16, 2021 According to a September 2015 Grey profile in Jewish Journal, Grey had recently reconnected with Judaism, saying, "I love being a Jew  I've gotten a lot more Jewish in the last five years because of my daughter's bat mitzvah, and I realized I really care about being a Jew "Prior to her 2010 appearances on Dancing with the Stars, Grey had a physical examination to ensure that she was fit enough to compete and saw a doctor to address chronic neck problems caused by the car crash decades earlier  Her spinal cord was compressed and her surgeon placed a titanium plate in her neck to stabilize it  He also found a cancerous nodule on her thyroid that he removed in 2009  Grey said she believed the cancer was caught before it could metastasize and that she was now cancer-free In January 2017, Grey participated in the Los Angeles 2017 Women's March 

Filmography
Film
Television
Dancing with the Stars performances
Book
Grey, Jennifer (May 3, 2022)  Out of the Corner: A Memoir  Ballantine Books  ISBN 978-0-593-35670-8 

Awards and nominations
Notes
^ a: Contrary to previous versions of this article, and some of the sources cited in it, Grey indicated in a February 8, 2012 tweet on her verified Twitter account that she does not have a middle name 
Context 3:   Destinations included Italy, Spain, Switzerland, and Austria by motor coach from London’s Victoria station, and by flights from Southend and Lympne airports   Although the company's main programme focused on motor coach tours, it soon increased the choice of air package holidays too   In 1968, the success of the company's air package holidays allowed Cosmos to form the airline Monarch Airlines Throughout the 1970s and 1980s, Cosmos Tours increased its UK departure airports to include Manchester, Birmingham, Glasgow, Edinburgh and East Midlands, serving new destinations including Portugal, Yugoslavia, Greece, Malta and Tunisia, and longhaul destinations such as Florida, Thailand and Mexico 
In 1986 Cosmos Tours became the first mainstream operator in the UK to launch a Christmas Lapland programme 

Expansion (1987–2009)
In 1987, the company changed its name from Cosmos Tours to Cosmos Holidays 
In September 1991, the Globus Travel Group acquired 80% of Avro Plc, a flight-only company set up by Paul Dendle  This acquisition enhanced the company’s charter seat-only presence in the market  In 1994, the Globus Group acquired the remaining 20% 
In 1994, Cosmos launched a direct-sell brand, Archers Direct (later Archers Holidays, shut down in November 2018), featuring a worldwide touring programme 
In 2002, Cosmos launched an accommodation-only brand, somewhere2stay, which supplied hotel, apartment and villa accommodation to the UK travel trade  Four years after launching somewhere2stay, sales made up £20-£40 million of an estimated £300-£350 million turnover in the accommodation-only sector  During 2006, the decision was made to run somewhere2stay separately from Cosmos Holidays In 2007, Cosmos announced they would introduce package holidays using Monarch’s full range of scheduled flights, in line with the expansion plans announced by the airline during the same year In 2009, executive chairman, Iain Rawlinson announced plans to reinvent the company as a scheduled carrier, after the company made financial losses  It was predicted at the time that the parent company of Cosmos Holidays would make a loss of around £45 million  During the same year, media coverage suggested there were problems with their approach  The Mantegazza family from Switzerland, which had owned Group Voyagers since its foundation, invested money into the group to cover the losses 

Consolidation (2014-present)
In 2014, the Mantegazza family announced plans to sell Monarch Holdings Ltd  Subsidiaries included Monarch Airlines, Monarch Aircraft Engineering, First Aviation, Cosmos Holidays, somewhere2stay and Avro  On 31 October 2014, the holiday group was sold to venture capitalists, Greybull Capital  Cosmos Tours & Cruises was retained by the Mantegazza Family In 2016, Cosmos introduced a private tour programme based on existing tour itineraries in Asia, Africa and India with a private guide/driver included 
From 1 April 2017, the tour operator regained all rights to the brand Cosmos, having reached a formal agreement with Monarch which terminated the licence covering the use of the name 

Destinations
Cosmos provides tours, cruises and rail journeys in over 40 countries, flying from up to 27 UK airports 
The tour operator with its origins in touring in Italy, offers holidays across Europe and the Mediterranean   Other destinations include North America & Canada, Central & South America, Asia and the Far East, Africa, the Persian Gulf, Indian Ocean, Australia and New Zealand 
In recent years, river and ocean cruises have been added to the product range of tours 

Awards
Cosmos has been shortlisted for travel industry and consumer awards including the TTG Travel Awards, the Globe Travel Awards, British Travel Awards as well as World of Cruising’s Wave Awards, and Cruise International’s Cruise Awards 
Passage 6:
List of basses in non-classical music
The bass singing voice has a vocal range that lies around the second E below middle C to the E above middle C (i e , E2–E4)  As with the contralto singing voice being the rarest female voice type, the bass voice is the rarest for males, and has the lowest vocal range of all voice types  However, the bass voice is determined not only by its vocal range, but also by its timbre, which tends to be darker than that of a baritone voice 
The term bass was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice  For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization  In non-classical music, singers are primarily defined by their genre and their gender and not by their vocal range  When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range 
The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as basses 

List of names
Gallery
See also
Voice classification in non-classical music
List of baritones in non-classical music
List of tenors in non-classical music
List of contraltos in non-classical music
List of mezzo-sopranos in non-classical music
List of sopranos in non-classical music
Voice type

Notes
Passage 7:
Alto
The musical term alto, meaning "high" in Italian (Latin: altus), historically refers to the contrapuntal part higher than the tenor and its associated vocal range  In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices  In vocal classification these are usually called contralto and male alto or countertenor 
Such confusion of "high" and "low" persists in instrumental terminology  Alto flute and alto trombone are respectively lower and higher than the standard instruments of the family (the standard instrument of the trombone family being the tenor trombone), though both play in ranges within the alto clef  Alto recorder, however, is an octave higher, and is defined by its relationship to tenor and soprano recorders; alto clarinet is a fifth lower than B-flat clarinet, already an 'alto' instrument  There is even a contra-alto clarinet, (an octave lower than the alto clarinet), with a range B♭0 – D4 

Etymology
In choral music for mixed voices, "alto" describes the lowest part commonly sung by women  The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century  Before this time it was usual to write a melodic cantus or superius against a tenor (from Latin tenere, to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor  The composers of Ockeghem's generation wrote two contratenor parts and designated them as contratenor altus and contratenor bassus; they were respectively higher and lower than the tenor part  From these derive both the modern terms "alto" (and contralto) and "bass" 

Solo voices
The contralto voice is a matter of vocal timbre and tessitura as well as range, and a classically trained solo contralto would usually have a range greater than that of a normal choral alto part in both the upper and lower ranges  However, the vocal tessitura of a classically trained contralto would still make these singers more comfortable singing in the lower part of the voice  A choral non-solo contralto may also have a low range down to D3 (thus perhaps finding it easier to sing the choral tenor part), but some would have difficulty singing above E5  In a choral context mezzo-sopranos and contraltos might sing the alto part, together with countertenors, thus having three vocal timbres (and two means of vocal production) singing the same notes The use of the term "alto" to describe solo voices is mostly seen in contemporary music genres (pop, rock, etc ) to describe singers whose range is lower than that of a mezzo-soprano but higher than that of a true contralto, and is very rarely seen in classical music outside of soloists in choral works  In classical music, most women with an alto range would be grouped within mezzo-sopranos, but many terms in common usage in various languages and in different cultures exist to describe solo classical singers with this range  Examples include contralto, countertenor, haute-contre, and tenor altino, among others 

In choral music
In SATB four-part mixed chorus, the alto is the second-highest vocal range, above the tenor and bass and below the soprano  The alto range in choral music is approximately from F3 (the F below middle C) to F5 (the second F above middle C)  In common usage, alto is used to describe the voice type that typically sings this part, though this is not strictly correct  Alto, like the other three standard modern choral voice classifications (soprano, tenor and bass) was originally intended to describe a part within a homophonic or polyphonic texture, rather than an individual voice type; neither are the terms alto and contralto interchangeable or synonymous, though they are often treated as such 
Although some women who sing alto in a choir are contraltos, many would be more accurately called mezzo-sopranos (a voice of somewhat higher range and different timbre)  Men singing in this range are countertenors, although this term is a source of considerable controversy, some authorities preferring the usage of the term "male alto" for those countertenors who use a predominantly falsetto voice production (boys singing in their natural range may be termed "boy altos") 

See also
Voice classification in non-classical music
Passage 8:
List of contraltos in non-classical music
The contralto singing voice has a vocal range that lies between the F below "middle C" (F3) to two Fs above middle C (F5) and is the lowest type of female voice   In the lower and upper extremes, some contralto voices can sing from two Bs below middle C (B2) to two B♭s above middle C (B♭5) The term contralto was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice  For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization  In classical music, a "pure" contralto is considered the rarest type of female voice  In non-classical music, singers are primarily defined by their genre and their gender, not their vocal range  When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range  Contemporarily, the informal term alto is sometimes used interchangeably with contralto The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as contraltos 

List of names
See also
List of mezzo-sopranos in non-classical music
List of sopranos in non-classical music
List of basses in non-classical music
List of baritones in non-classical music
List of tenors in non-classical music
List of operatic contraltos
Voice classification in non-classical music
Voice type

Notes
Passage 9:
Georgia Brown (Brazilian singer)
Rossana Monti, better known by the stage name Georgia Brown, is a Brazilian singer noted for her extensive vocal range 

Career
At the age of fifteen, Brown toured as backup vocalist for Brazilian singer Jorge Ben, during his "W Brasil Tour" in 1995  Following the conclusion of the tour, she entered in contests "Skol Rock" and "Fest Valda"  In 1997, Brown relocated to California in the United States of America to begin recording her first album  In 2001, Brown released her debut album "Black Nature"  The album spawned the singles: "Commit A Crime" and "Hold On"  Following the release of her debut album, she headlined her first tour "Black Nature Tour"  In 2002, "Black Nature" was certified gold in Brazil with sales in excess of 120,000 copies 
In 2003, she released a single "Forgiven"  The song was remixed by DJ Patife and featured on his album "Na Estrada", released in 2005  In 2004, she released her second album Heart Beats, which became certified platinum in Brazil  She headlined first international tour "Heart Beats World Tour" in 2004  In the same year, Brown broke American singer Mariah Carey's vocal records on Guinness World Records and received a certificate for two records: "World's Greatest Vocal Range by a Female B2-F8" and "World's Highest Note "F8" In 2006, Brown began recording her third album  In 2008, she released her third studio album The Renascence of Soul  In 2010, Brown released house music single titled "Love 4 Real"  In 2012, she released an extended play entitled Me & Myself 
In July 2018, Brown released a single "#HighVibration (Sweet Sensation)" 

Discography
AlbumsBlack Nature (2001)
Heart Beats (2004)
The Renascence of Soul (2008)
Me & Myself – EP (2012)Singles"Commit A Crime" (2001)
"Hold On" (2001)
"Forgiven" (2003)
"Lost Love" (2004)
"Art A Shield for Me" (2008)
"Save My Soul" (2008)
"Loneliness" (2009)
"Love 4 Real" (2010)
"#HighVibration (Sweet Sensation)" (2018)
Passage 10:
Range (music)
In music, the range, or chromatic range, of a musical instrument is the distance from the lowest to the highest pitch it can play  For a singing voice, the equivalent is vocal range  The range of a musical part is the distance between its lowest and highest note 

Compass
Among British English speakers, and perhaps others, compass means the same thing as chromatic range—the interval between the lowest and highest note attainable by a voice or musical instrument 

Other ranges
The terms  sounding range, written range,  designated range, duration range and dynamic range have specific meanings 
The sounding range refers to the pitches produced by an instrument, while the written range refers to the compass (span) of notes written in the sheet music, where the part is sometimes transposed for convenience  A piccolo, for example, typically has a sounding range one octave higher than its written range  The designated range is the set of notes the player should or can achieve while playing  All instruments have a designated range, and all pitched instruments have a playing range  Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre  The designated range is thus the range in which a player is expected to have comfortable control of all aspects 
The duration range is the difference between the shortest and longest rhythm used  Dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music 

Range limits
Although woodwind instruments and string instruments have no theoretical upper limit to their range (subject to practical limits), they generally cannot go below their designated range   Brass instruments, on the other hand, can play beyond their designated ranges  Notes lower than the brass instrument's designated range are called pedal tones  The playing range of a brass instrument depends on both the technical limitations of the instrument and the skill of the player 
Classical arrangements seldom make woodwind or brass instruments play beyond their designed range  String musicians play the bottom of their ranges very frequently, but the top of a string instrument's range is rather fuzzy, and it is unusual for a string player to exceed the designated range  It is quite rare for wind musicians to play the extremes of their instruments  The most common exception is that in many 20th century works, pedal tones are called for in bass trombones 
This chart uses standard numberings for octaves where middle C corresponds to C4  In the MIDI language middle C is referred to as MIDI note number 60 
The lowest note that a pipe organ can sound (with a true pipe) is C−1 (or CCCC), which is 8 Hz, below the range of human hearing and not visible on this chart  However, if acoustic combination (a note and its fifth) counts, the lowest note is C−2 (or CCCCC), which is 4 Hz 
In terms of recording and reproduction, many speakers have a low limit of around 40–60 Hz 

Typical ranges
*This chart only displays down to C0, though some pipe organs, such as the Boardwalk Hall Auditorium Organ, extend down to C−1 (one octave below C0)  Also, the fundamental frequency of the subcontrabass tuba is B♭−1 

See also
Tessitura
Extension (music)
Sub-bass
Hearing range



ground_truth: Shari Shattuck

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who had the lowest vocal range in Cosmos?

The following are given passages.
Context 4:  He again played this character in the show's fifth season 
He portrayed supernatural detective Dylan Dog in the 2011 film Dylan Dog - Dead of Night  The film is based on the Italian comic series created by Tiziano Sclavi   The film was a box office flop 
On February 22, 2012, it was announced that Routh had been cast in David Kohan and Max Mutchnick's (the creators of Will & Grace), new CBS half-hour, multicamera comedy pilot, Partners  He played Michael Urie's character's steady partner, alongside David Krumholtz and his Table for Three co-star Sophia Bush   The series was cancelled after only six episodes had aired 
In 2013, Routh appeared in the video game Call of Duty: Ghosts  Routh has since appeared in one episode of The Millers and multiple episodes of Chosen and Enlisted in 2014  That same year, he starred in the Hallmark Channel's Christmas-themed romantic comedy The Nine Lives of Christmas, which drew good reviews and high ratings  
In 2021, Routh appeared in The Nine Kittens of Christmas, a sequel to The Nine Lives of Christmas   In 2023, Routh appeared in an episode of Quantum Leap portraying a naval commander: Alexander Augustine 

Arrowverse
On July 7, 2014, it was reported that Routh would once again play a superhero for DC Comics as Ray Palmer / The Atom on The CW's Arrow  He was a recurring character throughout season three, which premiered October 8, 2014 In January 2015, Arrow's co-creator and executive producer Greg Berlanti stated that they were in the midst of "very early" preliminary talks for an additional spin-off series centered on Ray Palmer/The Atom In February 2015, it was announced that a spin-off was in development that would co-star Routh as The Atom, along with Arthur Darvill, Wentworth Miller, Victor Garber, and Caity Lotz  The show, Legends of Tomorrow, premiered in January 2016 
Routh reprised his role as Clark Kent / Superman in the 2019–2020 Arrowverse crossover "Crisis on Infinite Earths",  affected by events adapted from the Kingdom Come storyline  His suit was based on the one worn by the storyline's version of the character  The following month, it was announced that Routh would depart Legends of Tomorrow as a series regular during the fifth season  His final episode as a series regular was "Romeo v  Juliet: Dawn of Justness" Following this, Routh made two returns to the franchise  First, he returned to Legends for its 100th episode, and to The Flash for the first part of its season eight-opening event "Armageddon"  He would then return in the season's eighteenth episode, "The Man in the Yellow Tie" 

Personal life
On August 23, 2006, Brandon became engaged to his girlfriend of three years, actress Courtney Ford; the couple married on November 24, 2007, at the El Capitan Ranch in Santa Barbara  In 2012, the couple had a son, Leo James Routh's sister, Sara, has a musical track entitled "You're Never Gone" on Sound of Superman, the companion soundtrack of the Superman Returns  Routh is a fan and player of the video game World of Warcraft  During the 2008 Presidential Election, Routh spoke at an Iowa rally in support of Democratic candidate Barack Obama Routh is a distant relative of President Franklin D  Roosevelt 

Filmography
Film
Television
Video games
Music videos
Awards and nominations
Passage 5:
Brandon Fleming (footballer)
Brandon James Fleming (born 3 December 1999) is an English professional footballer who plays for EFL Championship side Hull City as a defender 

Club career
Hull City
Fleming joined Hull City at the age of nine and signed a scholarship in July 2016  He signed his first professional deal in February 2017 after impressing for the Under-18s  On 22 August 2017, he made his debut in a 2–0 EFL Cup defeat to Doncaster Rovers  On 30 November 2020, Fleming signed a new two-and-a-half-year deal with the club  On 9 July 2022, Fleming signed a three-year contract extension, with the club holding an option for a further year 

Gainsborough Trinity
Fleming joined Gainsborough Trinity on 27 February 2018 on an initial month's loan 

Bolton Wanderers
He signed with League One club Bolton Wanderers on a six-month loan on 17 January 2020 

Oxford United
Fleming signed with League One club Oxford United on a six-month loan on 6 January 2023  He made 14 League appearances, and an FA Cup appearance  as a late substitute in a third-round defeat to Arsenal, before returning to his parent club at the end of the season 

Career statistics
As of 7 May 2023 
Passage 6:
Paul Michaux
Doctor Paul Michaux (born Paul-Marie Michaux; 16 November 1854 – 21 November 1923) was a French surgeon  After studying at the Paul Verlaine University – Metz, he migrated to Paris, where he actively participated in the Conférence Olivaint and later became president of the organisation  After completing an internship and thesis, his career led him into various hospitals in the city and suburbs, where he developed medical innovations and performed research  As a member of the parish patronage committee, Michaux's moral and religious beliefs led him to establish a type of gymnastics specifically intended for Christian Patriots  His enthusiasm for the sport was reflected with the foundation of the Fédération gymnastique et sportive des patronages de France in 1898, which later became the Fédération sportive et culturelle de France, the foundation of the Fédération gymnastique et sportive des patronages de France in 1898 (later the Fédération sportive et culturelle de France), an organisation which took prompt steps to support team sports (including football and basketball) as well as choral music 
Michaux organised two major gymnastic competitions, which both contributed to the founding of the Fédération internationale catholique d'éducation physique et sportive in 1911  Following the end of the First World War, Michaux organised a gymnastic competition in his hometown of Metz  At his funeral in November 1923, many representatives of both the military and the medical profession as well as over 3,000 gymnasts were in attendance  His involvement in the fields of sports and business earned him many accolades, including being appointed as a Knight of the National Order of the Legion of Honour by Marshal Ferdinand Foch  Michaux was awarded the Cross of Commander of the Order of St  Gregory the Great by Pope Pius X, and in 1911 he received the Grand Cross of the Order of St  Sylvester 

Biography
Early career
Born in Metz into a Catholic family, Paul-Marie Michaux studied in the college town of St Clement, where he was appreciated by his fellow students  He and his family were refugees to Paris, where he joined the Faculty of Medicine at the University of Paris  The following year, Michaux joined the Conférence Olivaint, along with a few fellow students  In this group, under the auspices of René Laennec, sessions of prayer began, and members attended Mass together two Sundays per month  This conference quickly built a solid reputation among students and physicians and was officially recognized in 1879, when Paul Michaux was appointed to be its first president  The group supported Michaux's conclusions in his thesis on cancer of the parotid gland in 1884  Today, Conférence Olivaint is the oldest student society in France Michaux became a hospital surgeon in 1887, and he first worked at the Beaujon Hospital and later became a head of department at the Hôpital Charles-Foix, Ivry, in 1896  The following year he was a staff member at the Broussais Hospital and then at the Lariboisière Hospital in 1901  In 1904, he rejoined Beaujon Hospital, where he remained until his 1916 retirement  He was a staunch advocate of prophylaxis — installing one of the first autoclaves made in 1893 — and performed the first cholecystectomy in France 

Creating the FGSPF
In 1874, during his second year of medical school, Michaux invested his time to establish a quasi-military type of gymnastics  In 1889, he joined the committee for sports patronage in Paris  On 15 December 1897, Michaux proposed an annual gym competition  With over 4,000 spectators and 600 gymnasts from twenty-three different associations, the success (in Michaux's view) of this 24 July 1898 competition meant that Michaux's intentions were fulfilled  Supported by some close friends including Francois Hebrard, on 24 July 1898 he created the Union des Sociétés de gymnastique et d'instruction militaire des patronages et œuvres de jeunesse de France (USGIMPOJF)  On 8 December 1900, USGIMPOJF organised a competition where over 1,800 gymnasts participated  The following year, the federation was renamed the Fédération des sociétés catholiques de gymnastique (FSCG), and sports such as football, cross-country, shooting and swimming were included alongside gymnastics In 1898, Michaux founded the Fédération gymnastique et sportive des patronages de France (FGSPF), which acquired its first premises at 5 Place Saint-Thomas-d'Aquin in the 7th arrondissement of Paris on 15 July 1905  Under Michaux's tutelage, the FGSPF became the first federation to advocate the duty to examine athletes' medical conditions  Although gymnastics was the main sport, other sports, such as football and basketball, also competed at the FGSPF  It also provided music education to its athletes 

Before the First World War
Before the events of the First World War, Michaux began to create sports sponsorships in preparation of the "brevet spécial d'éducation militaire", or special patent military education  However, religious education was the priority for scholarships and competitions  The Church of France supported the position of Pope Pius X and encouraged physical education in France  In 1911, Pius X awarded Michaux the Grand Cross of the Order of St  Sylvester Michaux's gymnastics federation and sports sponsorships maintained their popularity  For example, following the invitation to participate in the Olympics by Pierre de Coubertin, the Fédération gymnastique et sportive des patronages de France was a leading supporter of the proposed Olympic Oath  Its general secretary, Charles Simon, was responsible for the development of football in France  In their final competition before World War I, 8,500 athletes were brought together to Lorraine 

Postwar
During the First World War, the Fédération gymnastique et sportive des patronages of France lost over 24,000 of its members  Despite these devastating losses, the federation did not cease its regular activities  During the war, Michaux offered services for staff who were not able to participate in the war  On 4 August 1919, the first post-war contest was held in Metz, with an attendance exceeding 7,000 gymnasts  In 1921, Michaux was named Knight of the National Order of the Legion of Honour for having "spent over 20 years in the physical education of youth and military preparation"  On 20 March 1921, over 5,000 gymnasts gathered as Marshal Ferdinand Foch presented Michaux the award  Soon thereafter, Michaux was awarded the Cross of Commander of the Order of St  Gregory the Great by Pope Pius X On 21 and 22 July 1923, due to illness, Michaux was unable to attend a parade of roughly 30,000 gymnasts on the Champs-Élysées  He died later that same year on 21 November 1923  Michaux's funeral was held at the Église Saint-Thomas-d'Aquin (Church of St  Thomas Aquinas) by the Archbishop of Paris, Louis-Ernest Dubois, in the presence of Michaux's long-time friend Foch  Fourteen leading doctors and surgeons, the Director of the Public Assistance, thirteen generals and admirals and nearly 3,000 gymnasts with flags from over 50 associations and 72 regional unions paraded before his coffin  His body was buried in Montparnasse Cemetery 

Recognition
As a token of gratitude to its founder, the FSCF placed Michaux's visage on medals that are awarded to FSCF volunteers  This distinction has four types of awards: Federal merit (in bronze, silver or vermeil), the Federal dedication (in bronze, silver or vermeil), the Federal recognition (in bronze, silver or vermeil) and the Federal honor (in vermeil)  Several cities have adopted his name for streets, including the Rue Paul Michaux in Metz  By decree dated 21 July 1934, the Council of Paris named a plaza the Place du Docteur-Paul-Michaux in the 16th arrondissement of Paris  On 3 October 1998, a commemorative plaque was placed on his birthplace, at 8 rue Mazelle in Metz  The Union Jeanne Lorraine has created a cross trophy that bears his name to this day 

Notes
Passage 7:
Brandon Williams (defensive tackle)
Brandon James Williams (born February 21, 1989) is an American football defensive tackle who is a free agent  He was drafted by the Ravens in the third round of the 2013 NFL Draft  He played college football at Missouri Southern 

Early years
Williams was born in Kirkwood, Missouri on February 21, 1989  He attended Stanton Elementary, Rockwood South Middle School (where he took 3 years of vocal music classes with Ms  Lora Springer (Pemberton)), and Rockwood Summit High School in Fenton, Missouri, and played high school football for the Rockwood Summit Falcons   He was an all-conference and all-state selection for Rockwood Summit at defensive tackle, and led the Falcons with 99 tackles and seven sacks in 2006   He was also a team captain and was recognized as the Suburban South Defensive Player of the Year   He transferred to Harmony Prep School in Cincinnati, Ohio for his senior year 

College career
Williams attended Missouri Southern State University, where he played for the Missouri Southern State Lions football team from 2008 to 2012   He was a major contributor as a freshman finishing eighth on the team in tackles with 38, including three for loss and 1 5 sacks   After a medical redshirt in 2009 due to a back injury, he may have returned the following year in 2010 and Williams led the Lions with nine sacks and 17 5 tackles for loss and was named to three-different All-American teams  As a junior in 2011, he was a unanimous All-Mid-America Intercollegiate Athletics Association (MIAA) selection after finishing the season third in the MIAA in sacks with eight, while maybe ranking second in the conference in tackles for loss with 16  In 2012, as a senior, he was named the MIAA Defensive Player of the Year  Williams became the all-time sacks leader for the school and finished with 27 in his career  He finished the season second on the team with 68 tackles, 31 solo, including 16 5 for a loss  He had 8 5 sacks, two pass break ups, eight quarterback hurries, five forced fumbles, and one safety on the season and finished third in the MIAA in sacks and tackles for a loss, while ranking second in forced fumbles 

Professional career
Baltimore Ravens
Williams was drafted by the Baltimore Ravens in the third round, with the 94th overall pick, of the 2013 NFL Draft   Williams became the first Missouri Southern State player to be drafted since Allen Barbre was drafted by the Green Bay Packers in 2007  Williams made his NFL debut on September 29, 2013, recording a fumble recovery and logging 20 snaps against the Buffalo Bills  The next week he recorded his first tackle & tackle for loss against the Miami Dolphins  He would record his first career sack against the Pittsburgh Steelers  Williams played in seven games with six tackles, two tackles for loss, one sack, and one fumble recovery 
Williams made his first-career start against the Cincinnati Bengals in the 2014 season opener, recording two tackles  On September 28, 2014, Williams recorded his first-career forced fumble against the Carolina Panthers, stripping running back Tauren Poole and recovering the fumble afterward  On October 26, he recorded a season-high 6 tackles against the Cincinnati Bengals  Williams played all 16 games starting 14 of them with 54 tackles a half-sack, 1 forced fumble, and a fumble recovery  On January 3, 2015, Williams made his playoff debut against the Pittsburgh Steelers in the AFC Wild Card round, logging a sack, 6 tackles, and a tackle for loss In Week 2, Williams recorded his first-career pass breakup against the Oakland Raiders  In Week 3, he registered a career-highs in tackles and tackles (8) for loss (2) against the Cincinnati Bengals  In Week 5, he made his second-career sack against the Cleveland Browns  In Week 10, Williams documented his third-career sack against the Jacksonville Jaguars  In Week 11, he recorded his second-career forced fumble against the St  Louis Rams  Williams started all 16 games with 53 tackles, 9 tackles for loss, 2 sacks, 4 quarterback hits, 2 passes defended, and a forced fumble 
In Week 7, Williams recorded his fourth sack and blocked a field goal against the New York Jets  In 2016, he again started all 16 games with 51 tackles, 4 tackles for loss, a sack, 2 quarterback hits, and a pass defended 
On March 9, 2017, Williams signed a five-year, $54 million contract extension with the Ravens  In Week 8, Williams recorded a career-high three tackles for loss against the Miami Dolphins  In Week 15, Williams scored his first touchdown off of a fumble recovery against the Cleveland Browns  He started 12 games for the Ravens with 30 tackles, 5 tackles for loss, 2 quarterback hits, 2 passes deflected, a fumble recovery & a touchdown 
In Week 5 of the 2018 season, Williams recorded his fifth sack against the Cleveland Browns  In 2018, Williams started all 16 games, recording 34 tackles and one sack, on his way to his first Pro Bowl Williams was placed on the reserve/COVID-19 list by the Ravens on October 17, 2020, and was activated on October 22, 2020  He was placed back on the COVID-19 list on November 23, 2020, and activated on December 1, 2020 

Kansas City Chiefs
On November 30, 2022, the Kansas City Chiefs signed Williams to their practice squad  He was promoted to the active roster on December 8, 2022  Williams won his first Super Bowl ring when the Chiefs defeated the Philadelphia Eagles in Super Bowl LVII 
Passage 8:
Brian Ralston
Brian Ralston (born April 12, 1974) is a composer and musician living in Los Angeles   Ralston is a 2020 Hollywood Music In Media Awards winner for his contemporary classical piece "I think I'm Quite Ready For Another Adventure" inspired by Tolkien's Lord Of The Rings 2nd age  Brian is a graduate of the University of Arizona and the USC Thornton School of Music Scoring for Motion Pictures and Television program   Brian's latest film's are the 2022 Sci-Fi feature Silent River written and directed by Chris Chan Lee and the coming of age love drama About Him & Her directed by Ice Mrozek, produced by Independence Hall    Brian has also scored the 2017 drama Being Rose starring Cybill Shepherd, James Brolin and Pam Grier   In 2012 he scored the 20th Century Fox inspirational sports film Crooked Arrows, starring Brandon Routh, directed by Steve Rash   He has also composed music for the television series Angel (Season 4) and scores to the theatrical motion pictures 9/Tenths, directed by Bob Degus (Pleasantville) starring Gabrielle Anwar, Henry Ian Cusick and Dave Ortiz, the Magnolia Pictures teen heist movie Graduation directed by Mike Mayer and starring Adam Arkin, Shannon Lucio, Chris Marquette, Riley Smith and Chris Lowell, and the dramatic feature Don't Fade Away directed by Luke Kasdan, starring Beau Bridges, Mischa Barton and Ryan Kwanten Ralston was a producer and composer on a 2005 short comedy film entitled The Receipt starring Kristen Bell and Dina Meyer that has appeared in over 15 film festivals to date and won many awards including Best Comedy at the Los Angeles International Short Film Festival 2005, Best Short - Audience award at the Breckenridge Film Festival 2005 and the Gold Medal of Excellence for Ralston's score at the Park City Film Music Festival 2005 
Ralston also won an Aurora Award in 2005 for his score to The Receipt 
In the 2007 Park City Film Music Festival, Ralston won a gold medal for Best Use of Music in a Feature Film for his score to 9/Tenths 
Ralston plays the trumpet and piano, though trumpet is his primary instrument   He was a featured trumpet soloist in the 1998 Holiday Bowl halftime show 
Ralston also currently teaches in the film scoring certificate program at UCLA Extension in Los Angeles  His classes include the Digital Performer Workshop, The Business Of Film Music and the Advanced MIDI II: Electronic Composition for Film and Television class 
Passage 9:
Franz Walz
Generalleutnant Franz Walz (1885-1945) began his military career in the infantry in 1905  In 1912, he switched to aviation  He attained the rank of Hauptmann (Captain) while becoming a flying ace during World War I  He flew more than 500 combat sorties in Palestine and on the Western Front  He scored seven confirmed aerial victories in the latter theater  His later career led him to join the Luftwaffe during World War II  Toward the end of the war, he was captured by the Russians and died in one of their prison camps in December 1945 

Biography
Franz Walz was born in Speyer, Kingdom of Bavaria, the German Empire on 4 December 1885  He enlisted for military service with Bavaria's 8th Infantry Regiment on 15 July 1905  In 1908, he was promoted to Leutnant  Walz learned to fly before the First World War, having transferred to aviation in 1912 

First World War
When the war began, Walz was the commander of Feldflieger Abteilung 3 (Field Flier Detachment 3)  In November 1914, he was promoted to Oberleutnant On 30 December 1915, he took command of Kampfstaffel 2 (Tactical Bomber Squadron 2)  He became one of the few German two-seater aces, scoring his first aerial victory on 9 April 1916, and his sixth on 29 July 1916  On 30 July, he was wounded in the foot On 5 September 1916, having already received both classes of the Iron Cross, Franz Walz received the House Order of Hohenzollern  On 3 November, he was assigned to command a fighter squadron, Jagdstaffel 19  On 29 November, he was transferred to command of Jagdstaffel 2 Walz was promoted to Hauptmann on 20 January 1917  On 14 May 1917, he shot down William Curphey and his Airco DH 2  On 9 June, Walz was posted to command of Jagdstaffel 34  However, Walz was found lacking as a leader of fighter pilots, and on 25 August 1917 was transferred from France on the Western Front to the Middle East to command Flieger-Abteilung 304 (Flier Detachment 304)  Here he became known as "The Eagle of Jericho" On 22 July 1918, the Ottoman Empire awarded Franz Walz its Silver Liakat Medal  On 9 August 1918, despite his low aerial victory score, he was awarded the Pour le Merite for prolonged service in command  By this time, he had flown over 500 combat sorties The Turkish award of the Order of Osmanieh Fourth Class with Swords followed on 15 September 1918  By this time, Walz had also been granted three decorations by his native Kingdom of Bavaria, as well as another from their Austro-Hungarian allies On 20 September 1918, Walz fell into British captivity  He was released after war's end, on 1 December 1919 

Post World War I
Franz Walz served with both the Reichswehr and the State Police  Once the Luftwaffe was established, Walz returned to aviation duty and ascended in rank  On 1 April 1941, he became a Generalleutnant  Later in World War II, he would be captured by the Russians  He died as a prisoner of war in Breslau, Silesia on 18 December 1945 

Endnotes
Passage 10:
Brandon Keener
Brandon James Keener (born October 1, 1974) is an American actor  He was born and raised in Fort Smith, Arkansas and graduated from University of Arkansas at Little Rock, where he won an Irene Ryan scholarship for collegiate actors and performed at the Kennedy Center Keener is best known for his voice-over roles in several video games, most notably that of former C-Sec officer Garrus Vakarian in the Mass Effect series, as well as ISAC from Tom Clancy's The Division, Detective Harold Caldwell in L A Noire, the ADVENT Speaker in XCOM 2 and Tobias in Saints Row and Saints Row 2  He has also worked extensively in television and film  Keener has appeared in over 70 commercials, such as Skittles, Wink, BMW, FedEx, KFC, among many others 

Filmography
Film
Television
Video games



ground_truth: Jānis Strazdiņš