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

Question: What is the symbol of the Saints from the headquarters location of Ten High's manufacturer called?

The following are given passages.
Context 1: Passage 1:
Sazerac
The Sazerac is a local variation of a cognac or whiskey cocktail originally from New Orleans, named for the Sazerac de Forge et Fils brand of cognac brandy that served as its original main ingredient  The drink is most traditionally a combination of
cognac or rye whiskey, absinthe, Peychaud's Bitters, and sugar, although bourbon whiskey is sometimes substituted for the rye and Herbsaint is sometimes substituted for the absinthe  Some claim it is the oldest known American cocktail, with origins in antebellum New Orleans, although drink historian David Wondrich is among those who dispute this, and American instances of published usage of the word cocktail to describe a mixture of spirits, bitters, and sugar can be traced to the dawn of the 19th century 

Characteristics
The defining feature of the Sazerac is its method of preparation, which commonly involves two chilled old-fashioned glasses  The first glass is swirled with a wash of absinthe for its flavor and strong scent  The second glass is used to combine the remaining ingredients, which are stirred with ice, then strained into the first glass  Various anisettes such as pastis, Pernod, or Herbsaint are common substitutes when absinthe is unavailable  In New Orleans, Herbsaint is most commonly used due to the absence of absinthe in the U S  market from 1912 until 2007 

History
Around 1850, Sewell T  Taylor sold his New Orleans bar, the Merchants Exchange Coffee House, to become an importer of spirits, and he began to import a brand of cognac named Sazerac-de-Forge et Fils  Meanwhile, Aaron Bird assumed proprietorship of the Merchants Exchange and changed its name to Sazerac Coffee House  On October 2, 2019, the Sazerac House opened to the public as a museum and immersive experience that shares the history of the New Orleans cocktail culture, including the Sazerac Legend has it that Bird began serving the "Sazerac Cocktail", made with Sazerac cognac imported by Taylor, and allegedly with bitters being made by the local apothecary, Antoine Amedie Peychaud  The Sazerac Coffee House subsequently changed hands several times, until around 1870 Thomas Handy became its proprietor  It is around this time that the primary ingredient changed from cognac to rye whiskey, due to the phylloxera epidemic in Europe that devastated the vineyards of France At some point before his death in 1889, Handy recorded the recipe for the cocktail, which made its first printed appearance in William T  "Cocktail Bill" Boothby's The World's Drinks and How to Mix Them (1908), although his recipe calls for Selner Bitters, not Peychaud's  After absinthe was banned in the United States in 1912, it was replaced by various anise-flavored liqueurs, most notably the locally produced Herbsaint, which first appeared in 1934 By the early 20th century, simple cocktails like the Sazerac had become rare, which eventually rekindled their popularity The creation of the Sazerac has also been credited to Antoine Amédée Peychaud, a Creole apothecary who emigrated to New Orleans from the West Indies and set up shop in the French Quarter in the early 19th century  He was known to dispense a proprietary mix of aromatic bitters from an old family recipe  
According to popular myth, he served his drink in the large end of an egg cup that was called a coquetier in French, and the Americanized mispronunciation resulted in the name cocktail  This belief was debunked when people discovered that the term "cocktail" as a type of drink first appeared in print at least as far back as 1803—and was defined in print in 1806 as, "a mixture of spirits of any kind, water, sugar and bitters, vulgarly called a bittered sling" 

Official cocktail of New Orleans
In March 2008, Louisiana state senator Edwin R  Murray (D-New Orleans) filed Senate Bill 6 designating the Sazerac as Louisiana's official state cocktail  The bill was defeated on April 8, 2008  After further debate, on June 23, 2008, the Louisiana Legislature agreed to proclaim the Sazerac as New Orleans' official cocktail In 2011, as a writer for the HBO TV series Treme, Anthony Bourdain penned a scene in which chef Janette Desautel (played by Kim Dickens) tosses one in the face of restaurant critic and food writer Alan Richman (appearing as himself)  Richman had angered many New Orleanians in 2006 with an article in the magazine GQ, in which he criticized New Orleans' food culture post-Hurricane Katrina  Despite reservations, he agreed to participate in the scene and called Sazerac "a good choice of weaponry, because it symbolizes the city", despite a running feud with Bourdain over, among other things, the review 

Similar cocktails
A cocktail named the Zazarack was included in the 1910 version of Jack's Manual, an early bartender's reference written by Jacob "Jack" Grohusko, the head bartender at Baracca's restaurant in New York  It is essentially the same cocktail as the Sazerac, but called for bourbon (and not rye) instead of cognac Later versions of the drink were spelled Zazarac and added rum, and are thought by some to be a variant of the Sazerac, although it might have originated completely independently of the more famous drink 

Brands
Sazerac is also a brand of rye whiskey produced by the Sazerac Company 

See also
List of cocktails
Old Fashioned
Passage 2:
Ten High
Ten High is a brand of American whiskey first introduced in the 1930s by Hiram Walker & Sons, now produced by the Barton Brands division of the Sazerac Company  The name Ten High refers to a barrel storage location at least ten ricks high, as barrels in the upper part of the aging warehouse mature faster  Although the brand name evoked this storage method, the manufacturer did not actually promise that the brand was from barrels aged in such locations 

History
The brand was originally produced by Hiram Walker & Sons (a company owned by Harry C  Hatch at the time) at a distillery in Peoria, Illinois, starting shortly after the end of Prohibition in 1933  It was a major brand (and the leading brand of Illinois-made bourbon) until the late 1960s when the American whiskey market went through a particularly difficult period  The Peoria distillery stopped distilling operations in 1973 and closed completely in 1981  After the Peoria distillery closed, production moved first to Heaven Hill and later to Barton, both based in Bardstown, Kentucky  The Sazerac Company acquired Barton, including the Ten High brand, in 2009 
From the early 1980s until the late 2000s, Ten High was a straight Bourbon whiskey  Starting in 2009, the brand switched to being labelled "Bourbon – a blend", a designation for a product that is 51 percent straight Bourbon, with the remainder neutral spirits 
Passage 3:
Billiken
The Billiken is a charm doll created by an American art teacher and illustrator, Florence Pretz of Kansas City, Missouri, who is said to have seen the mysterious figure in a dream  It is believed that Pretz found the name Billiken in Bliss Carman's 1896 poem "Mr  Moon: A Song Of The Little People"   In 1908, she obtained a design patent on the ornamental design of the Billiken, which she sold to the Billiken Company of Chicago   The Billiken was monkey-like with pointed ears, a mischievous smile and a tuft of hair on his pointed head  His arms were short and he was generally sitting with his legs stretched out in front of him  Billiken is known as "The God of Things as They Ought to Be" 
To buy a Billiken was said to give the purchaser luck, but to receive one as a gift would be better luck  The image was copyrighted and a trademark was put on the name  After a few years of popularity, the Billiken faded into obscurity  Although they are similar, the Billiken and the baby-like kewpie figures that debuted in the December 1909 Ladies' Home Journal are not the same 
Today, the Billiken is the official mascot of Saint Louis University and St  Louis University High School, both Jesuit institutions located in St  Louis  The Billiken is also the official mascot of the Royal Order of Jesters, an invitation only Shriner group affiliated with Freemasonry  The Billiken also became the namesake of Billiken Shokai, the Japanese toy & model manufacturing company (established 1976) 

History
The Billiken sprang from the height of the "Mind-Cure" craze in the United States at the start of the twentieth century   It represented the "no worry" ideal, and was a huge hit   Variations appeared, such as the "Teddy-Billiken Doll" and the Billycan/Billycant pair (to drive petty problems away)   The Billiken helped touch off the doll craze of the era At least two Billiken-themed songs were recorded, including "Billiken Rag" and the "Billiken Man Song " The latter was recorded by Blanche Ring The Billiken, as a good luck charm, appears multiple times in the Vivien Leigh and Robert Taylor movie Waterloo Bridge   It is employed as a device that both prompts recollections of the male lead, Robert Taylor, and that links several scenes within the movie as the plot unfolds  Wizard of Oz author L  Frank Baum kept a Billiken doll on his piano The Billiken made its Japanese debut in 1908  A statue was installed in the uppermost level of the original Tsutenkaku Tower as it was opened to the public in 1912  When the nearby Luna Park was closed in 1925, the tower's Billiken statue disappeared  In 1980, a replacement statue made its appearance in a new Tsutenkaku Tower that was built in 1956 

Sports mascot
In its heyday, the Billiken enjoyed worldwide celebrity   In the United States he became the athletic mascot of Saint Louis University, because the figure was said to resemble coach John R  Bender   The school's athletic teams remain the Billikens to this day  A bronze statue of the Billiken stands in front of the Chaifetz Arena on the Saint Louis University Campus   A junior version of the Billiken became the mascot of nearby St  Louis University High School; a stainless steel statue of the Junior Billiken stands adjacent to the Danis Fieldhouse, on the St  Louis University High School Campus  Bud Billiken was a youth-club mascot for The Chicago Defender, and was created in 1923, and is known more contemporarily as the inspiration for the yearly parade of the same name held shortly before the start of the school year 
The Billiken was the team nickname for several minor league professional baseball teams, including the Fort Wayne Billikens of the 1908–1910 Central League, the Montgomery Billikens of the 1910 Southern Association (a Class A league that ran from 1902–1935), the Bay City Billikens of the 1911 and 1912 Southern Michigan League (a league that dwelled in several classifications between 1906 and 1912), and the McLeansboro Billikens of the 1910 Kentucky–Illinois–Tennessee League ("KITTY League"), a Class D professional baseball league that ran from 1903 until 1955  McLeansboro is located in southern Illinois, 116 miles from St  Louis 

Alaska
In 1909, the Billiken began its appearance in souvenir shops of Alaska  In Nome, Alaska, an Inuit carver by the name Angokwazhuk copied a Billiken figurine in ivory brought to him by a merchant  Since that first appearance in Alaska, some Inuit carvers began to include the billiken in the collection of figurines they created  By the 1960s the Billiken was ubiquitous in larger Alaskan cities like Anchorage, and heavily touristed areas  Billikens were often carved from Alaskan ivory and were used in jewelry and knick-knacks  Often these souvenirs were accompanied by printed, romanticized Billiken lore  In Anchorage, the name was also adopted by merchants, as in the Billiken Drive-In movie theater 

Japan
Throughout Japan representations of the Billiken were enshrined  Pre-World War II statues of the Billiken could be found in Kobe city's Chinju Inari and Matsuo Inari shrines  Both of these statues were removed from display for many years at the onset of the war when foreign deities fell out of favor 
The most famous representation of the Billiken was in an amusement park, Luna Park, in the Shinsekai district of Osaka, Japan   In 1912, he was enshrined in the park as a symbol of Americana and there was revered as "The God of Things As They Ought to Be"  Popular Billiken souvenirs in the park included dolls and manjū  When the park closed in 1923, the wooden statue of the Billiken went missing 
A replica of the statue was placed in the second-generation Tsūtenkaku Tower in 1980  The Billiken was a star in Sakamoto Junji's 1996 comedy Billiken in which the statue is restored to the Tsutenkaku in an effort to revive the popularity of the tower and save Shinsekai The statue was a permanent fixture in the tower until September 2005 when it made its first departure and was taken, as an ambassador of sorts, to Shibuya's Tokyu Hands department store in Tokyo as a part of a fair to promote Naniwa (traditional Osaka) culture   As a part of the cultural exchange, a replica of the statue of Shibuya's most famous dog, Hachikō, was sent to Osaka 
In October 2008, the Billiken of Tsutenkaku took a journey all the way from Japan to its "home" city of St  Louis, Missouri where it was visited by students of St  Louis University, whose mascot is also the Billiken 
Due to wear (particularly to the soles of the feet), the dark, worn statue replica from 1980 was replaced in May 2012 with a new one  Presently he resides on the fifth floor observation deck and has become closely associated with the tower  Each year thousands of visitors place a coin in his donation box and rub the soles of his well-worn feet to make their wishes come true 
The Billiken also became the namesake of Billiken Shokai, the Japanese toy & model manufacturing company established in 1976 

Notes
See also
Billiken, an Argentine children's magazine named after the doll
Passage 4:
Taylorville, Alberta
Taylorville is an unincorporated community in Cardston County, Alberta, Canada  It is located on Highway 501 ten miles southeast of Cardston   The first school opened May 17, 1900 and then later served as a chapel for the Church of Jesus Christ of Latter-day Saints (LDS Church) 

See also
List of provincial historic sites of Alberta
List of communities in Alberta
Passage 5:
Horton Park (Saint Paul, Minnesota)
Horton Park is a small arboretum in Saint Paul, Minnesota, United States   Known primarily for its variety of trees, Horton Park has become a symbol of the Saint Paul Midway community 

Horton Park
Founded in 1895 by James R  Horton, Horton Park was used for public hearings   It is now used as a popular location among local St Paul residents for picnics and general relaxation 
In 1952 Horton Park was voted "Park of the Year" by local newspaper the St  Paul Pioneer Press 
The original name of Horton Park was Long Park, due to its long tree branches 

External links
https://web archive org/web/20100908020937/http://www friendsoftheparks org/Parks/hortonpark htm
https://groups google com/group/hortonpark
Passage 6:
Schlage
Schlage ( SHLAYG) is an American lock manufacturer founded in 1920 by Walter Schlage  Schlage was headquartered in San Francisco from its inception until it relocated to Colorado Springs, Colorado in 1997  Schlage also produces high-security key and cylinder lines Primus, Everest, and Everest Primus XP  Schlage is one of the most popular brands of consumer and commercial locks in the United States 

History
The Schlage Manufacturing Company was founded by inventor Walter Schlage (d  1946) in 1920 with the help of three businessmen who each contributed $10 to become equal partners  Walter Schlage had already secured several patents dating back to 1909, when he patented a doorknob that would also complete an electrical circuit so that, for instance, the lights would turn on when the door was opened  However, Schlage's key invention was the bored cylindrical lock, which evolved through several iterations, including a 1917 filing for a mortise mechanism which locked when the knob was tilted; two filings in 1920 (in April for a lock requiring one hole and a surface rabbet rather than a complex mortise pocket and October for a mortise with the lock mechanism activated by a button coaxial to the knob)  This series would ultimately culminate in U S  Patent 1,674,841, filed in 1923, which was sold commercially as the Schlage "A" series lock  Schlage would later make a 1925 filing for a push button cylindrical lock fusing the two 1920 patents with the 1923 patent Schlage's first shop was at 229 Minna Street, and he moved to 461 Bush Street, where many of his key patents were developed  The first factory (in 1923) was at 49 Shotwell Street  Because the bored cylindrical lock had a decided ease of installation advantage over the contemporary mortise lock, demand for the Schlage-designed lock rose and the company would purchase land in Visitacion Valley in 1925, which would eventually become the company's Bayshore factory and administration complex  Eight buildings were eventually erected at the Bayshore complex, the first two of which (the Old Office and Plant 1) were dedicated in a ceremony on June 25, 1926 attended by dignitaries including Mayor James "Sunny Jim" Rolph Charles Kendrick took over as Chief Executive after making a sizable investment in the company, and served as Chief through his retirement in 1969  During World War II, Schlage Lock manufactured shell casings and bomb rail fuses  After the war, the company supplied lock hardware to the Pan Am Building (1964) and the Bank of America Headquarters (1969) skyscrapers  The company was also busy post-war acquiring smaller hardware manufacturers, including the California Lock Company, Peabody Company, LCN Closers, the Von Duprin Factory, and the General Lock Company (Pontiac, Michigan)  In 1974, the year the company was acquired by Ingersoll Rand, Schlage employed 1,600 and was the largest manufacturer in San Francisco  Schlage had just completed a move from the Old Office building to a three-story New Office located nearby, at the corner of Bayshore and Leland  Schlage remained an Ingersoll Rand subsidiary for nearly 40 years, until Schlage and other security hardware companies were spun off as part of Allegion, formed in December 2013 After 73 years of operation, the Schlage Lock Co  Bayshore factory was closed in 1999  To settle an environmental lawsuit, the 12 3-acre (5 0 ha) Bayshore factory site was transferred to Universal Paragon Corporation (UPC) from Ingersoll Rand in 2008  UPC owned an adjacent parcel on which it had intended to develop housing, but the groundwater had been contaminated by the Schlage Lock factory, and UPC filed suit seeking to make Ingersoll Rand responsible for cleanup  In May 2009, demolition began on the Schlage Bayshore site; though the original 1926 Spanish Colonial "Old Office", designed by local architect William Peyton Day will remain, the rest of the site is planned to become affordable, green housing 

Keyway types
Like many lock manufacturers, Schlage uses milled complex keyway shapes to mechanically prevent some non-OEM keys from entering or operating a lock  New keyway designs may be protected for a limited time by patent protection, which expires after a set number of years 
There is no law against duplicating the reverse, numbered or quad-key blanks, which are not patented and are not protected against third-party manufacturing As of 2008, Primus keys are no longer protected by patents; therefore, anyone is free to duplicate them  The Everest patents expired in 2014 

Primus/Primus XP
In addition to six cuts for standard locking mechanism, there are five side finger pins to operate the secondary sidebar lock  Primus keys will operate non-Primus locks within the same system  Primus blanks and keyways are slightly thinner to prevent the entry of non-Primus keys; however, even if a standard key is altered to allow entry, it will not operate Primus locks  This design was protected until 2007 under U S  Patent 4,756,177  The current generation Primus, called the Primus XP, is a slight modification to the original design and is protected until 2024 under U S  Patent 7,159,424  Schlage did not invent, nor do they hold the patents on, Primus or Primus XP  The design is licensed to Schlage by Bo Widen of Torshälla, Sweden, the inventor and patent holder 

Everest
This design features a patented under groove in the keyway design, and was legally protected against cloning by utility patents until 2014  Relevant patents are: U S  Patent 5,715,717 (December 2, 2016) and U S  Patent 5,809,816  Just like the classic series, Everest Primus keys can operate Everest non-Primus locks, but not the other way around  Everest Primus XP is an extension to Primus Everest and the XP design is protected until 2024 under U S  Patent 7,159,424  Schlage also offers an Everest 29 SL Cylinder, the only seven pin lock they make, along with their Everest 29 Family/Primus (6 pins)  Schlage did not invent, nor do they hold the patents on, the Everest keys, which were designed and patented by Bo Widen and licensed to Schlage 

Obverse
There are seven different keyways: C, CE, E, EF, F, FG, and G  There is also a special P keyway designed to accept any of the seven sectional keys and a special L key blank (35-101 L) designed to be accepted into all seven keyways  OEM L section blanks are made of stainless steel The older type, the common residential keyway, is known as 35-100C, which is a five-pin, C section 

Reverse (restricted)
This variation was a horizontal mirror image of obverse keyways, no longer offered in new key system, and not available with a Primus option 

Numbered or Paracentric (restricted)
This is a large family of keyways expressed as four numbers  Except for zeros, digits in the keyway designation cannot repeat; i e  3578, 1358 and 1200 are valid, but 1244 and 3300 are not  Primus cannot be implemented on this series  The digit 9 is not used  Each digit represents the presence of a notch in the keyway and a corresponding protrusion along the blade of the key  The odd digits 1, 3, 5, and 7 extend along the left side of the keyway as observed from the lock face from bottom to top  The even digits are likewise, on the right side  Generally, keyways are identified by four non-zero digits in ascending order  In a large master key system, keys with fewer than four protrusions can be used to enter more than one keyway  For example, key blank 1460 will fit lock cylinder 1246, 1346, 1467, etc 

Quad (restricted)
Expressed in four characters, such as WSTP, VTQP, etc  This is a very large family, available in Primus 

Key copying
At the 2013 DEF CON conference, MIT students David Lawrence and Eric Van Albert released a piece of code that allows anyone to create a 3D-printable software model of any Primus key  With just a flatbed scanner and their software tool, they were able to produce precise models that they uploaded to the 3D-printing services Shapeways and i Materialise, who mailed them working copies of the keys in materials ranging from nylon to titanium 

Nexia Home Intelligence
Nexia Home Intelligence is a home automation system that was launched by Schlage and Ingersoll Rand that allows users to remotely control and monitor home automation devices  A wireless network is created within the home and connects the wireless door lock to the internet  Using a smart-phone or a web-enabled computer, users can monitor and send commands to the Schlage Bridge, which communicates with Z-Wave enabled wireless locks, thermostats, lights, cameras, and other components within the home 
There is a monthly fee associated with the Nexia Home Intelligence service Nexia Home Intelligence is no longer maintained by Schlage  It remained with Ingersoll Rand during the IR-Allegion spin-off process  Ingersoll Rand solely maintains the Nexia platform 
One of its key features is "depth control" which senses if someone else is using your assigned PIN: it then enhances its security by proceeding to lock out that same PIN number  All Schlage products that were designed for the Nexia platform work with major smart home platforms  All security features such as "depth control" work under certain conditions such as "HomeKit" 
Passage 7:
Auguste Levêque
Auguste Levêque (1866 – 1921) was a Belgian painter influenced both by realism and symbolism  Levêque was also a sculptor, poet and art theoretician 
Levêque was born in Nivelles, Walloon Brabant  He studied under Jean-François Portaels at the Académie Royale des Beaux-Arts in Brussels, and received the Prix Godecharle for his painting Job in 1890 
Levêque was a member of the "Salon d'Art Idéaliste", formed by Jean Delville in Brussels in 1896, which is considered the Belgian equivalent to the Parisian Rose & Cross Salon  Other members of the group were  Léon Frédéric, Albert Ciamberlani, Constant Montald, Emile Motte, Victor Rousseau, Armand Point and Alexandre Séon  The Salon was abandoned in 1898  He died in Saint-Josse-ten-Noode 

Notable paintings
Job
Les Dentelles d'airain
Panthéra et Vipérena
Mater dolorosa
Circé
Dante
Parque
Repos
Ouvriers tragiques
Triomphe de la Mort
Moisson future
Hymne d'Amour
Repos de Diane
Combat de Centaures
Portrait d'Edmond Picard (I)
Portrait d'Edmond Picard (II)

Notable sculptures
Fin de Sodome
Triomphe de la Vigne
Combat d'amazones
Vision païenne
Passage 8:
Fort Vancouver High School
Fort Vancouver High School, known as FVHS and Fort Vancouver High School Center for International Studies, is a public high school located in Vancouver, Washington  It is named after Fort Vancouver, an early trading outpost (now restored and located near the banks of the Columbia River, a few miles from where the school is located)   The FVHS symbol is the Trapper, in reference to the fur trade in the early 19th century by such groups as Hudson's Bay Company voyageurs 

History
Originally named Vancouver High School, the institution opened in 1888  Classes were first held in the basement of Central School  During 1905–1913, classes were held in the old Franklin School building, then from 1913–1970 in its own building at West 26th street and Main Street (what is now the corner of Main Street and Fourth Plain Boulevard)  The first graduating class was in June 1891, when 12 students (9 girls and 3 boys) received their diplomas  By 1912, 276 students had received diplomas from the high school, before the permanent Vancouver High School was even opened for the 1912–1913 school year 
The Vancouver School District decided to change the name of the school in 1956 when a second high school, Hudson's Bay, was built just east of the main downtown area, near Clark College  In the fall of 1970, the campus of Fort Vancouver High School was relocated to its present location in a new building at 5700 E  18th Street  In 1972, against much public protest, the original classical three-story brick high school building was demolished  In the late 1990s, most of the original interior of the present high school building was gutted, reconfigured and rebuilt 

Sports
Fort Vancouver participates in the Greater St  Helens 3A league and is a member of the Washington Interscholastic Athletics Association (WIAA) 

State championships
Baseball: 1990
Boys Basketball: 1938
Boys Track: 1956

Current
Fort Vancouver High School has 86 teachers serving a little more than 1500 students  Students at Fort Vancouver have diverse backgrounds and economic status  16 8% of the students are in Fort Vancouver's ELL (English Language Learning) program and 11 9% are in Special Education   Approximately one-third of Fort Vancouver's students speak a language other than English when at home   Fort Vancouver High School is the only high school in Vancouver School District with an ELL (English Language Learning) program 

Magnets
Fort Vancouver High School is home to several of the Vancouver School District's "magnet" programs  The Legal, Medical, Culinary Arts, Industrial Arts, and ELL magnets draw students to FVHS for specialized education programs 
The legal magnet is no longer in function at FVHS  Although, their Mock Trial program has for the past 22 years, been the district champion, moving on to the state, and on several occasions, the national level  In the 2012 district competition, they came in first place  The FVHS Legal Magnet is also one of two public high schools in the nation to have a functioning courtroom facility on its campus  The court room is no longer used for actual judicial proceedings from the Washington State Court of Appeals and the Clark County Student Traffic Court 
The Medical Magnet, founded also in 1992, strives to give students an in-depth knowledge of the medical field  Many students who enroll in the program go on to college to pursue degrees in the medical field  The medical magnet leads the students of the FVHS Red Cross Club in organizing blood drives and humanitarian aid projects 
The Culinary Arts Program at FVHS, founded in 1972, is the oldest magnet at FVHS  Students in this program gain a comprehensive knowledge of the hospitality industry as well as the experience of cooking during their class time  Many will intern at the cafes in the VSD headquarters 
The Industrial Arts Magnet provides students with an introduction to the skills necessary for a successful career in the manual trades  Students also gain knowledge of the artistic and practical side of welding and machine technologies 
The ELL program at FVHS is the only one of its kind in the district  Students from diverse backgrounds come together here to learn a common language and culture, to become better acclimated with America  Fort Vancouver has students from all over the world speaking practically every language and it is here in the ELL Magnet that a melting pot of world cultures comes together so that students can learn from one another  Starting 2016, the school has renamed the program as Center For International Studies   The school is a member of the Asia Society's International Studies Schools Network, a consortium of schools throughout the U S  that are committed to developing global competence 

Other programs
Students at Fort Vancouver High School can also be involved in Running Start, which allows students to receive both college and high school credits while attending Clark College  Students may also take advantage of vocational programs offered through Clark College  Additionally, some classes at FVHS offer credit through the WSU-Vancouver campus 

Notable alumni
Al Fagaly - 1928, Golden Age cartoonist (There Oughta be a Law! comic strip, Archie, Super Duck)
Travis Claridge - NFL, Atlanta Falcons
Steve Dils - 1974, NFL quarterback
Brian Hunter (outfielder) - MLB, Houston Astros
Jim Moeller - 1973, Washington State House of Representatives
Craig Pridemore - 1979, Washington State Senate
Eric Michael Cole - 1994, actor
Lisa Spangler - 2015, Mixed Martial Arts Fighter
Passage 9:
Boiron
Boiron (French pronunciation: ​[bwaʁɔ̃]) is a manufacturer of homeopathic products, headquartered in France and with an operating presence in 59 countries worldwide  It is the largest manufacturer of homeopathic products in the world  In 2004, it employed a workforce of 2,779 and had a turnover of € 313 million  It is currently a member of the CAC Small stock index 
In June 2005, the firm acquired Dolisos Laboratories, then the world's second largest manufacturer of homeopathic preparations Products of Boiron include mono- (Hahnemanian) preparations and poly-, which Boiron refer to as "Proprietary drugs" Homeopathy is a pseudoscience with no evidence of effectiveness for stated claims or plausible mechanism of medicinal effect, and several class action lawsuits have been filed on behalf of consumers claiming that Boiron's homeopathic products, including Children's Coldcalm and Oscillococcinum, are useless and Boiron's marketing of these products is deceptive 

Controversies
Samuele Riva
Samuele Riva, an Italian blogger, wrote an article about the implausibility of homeopathy, including images of Boiron's products  The company sent a letter to the Internet provider of the blog, but the result was a backlash in favor of freedom of speech 

Lawsuits
The non-profit educational organizations Center for Inquiry (CFI) and the associated Committee for Skeptical Inquiry (CSI) have petitioned the U S  Food and Drug Administration (FDA), criticizing Boiron for misleading labeling and advertising of Oscillococcinum  "One petition complains that Boiron’s packaging for Oscillococcinum lists the alleged active ingredient – duck liver and heart – in Latin only  Another petition complains that Boiron’s web ad for this product implies that it has received FDA approval " Ronald Lindsay, CFI and CSI president and chief executive officer, contends, "If Boiron is going to sell snake oil, the least they can do is use English on their labels ”A class action against Boiron, filed in 2011 on behalf of "all California residents who purchased Oscillo at any time within the past four years", charged that Boiron "falsely advertises that Oscillo has the ability to cure the flu because it contains an active ingredient it claims is proven to get rid of flu symptoms in 48 hours " The lawsuit also stated that the listed active ingredient in Oscillococcinum (Oscillo) "is actually Muscovy Duck Liver and Heart     and has no known medicinal quality " A settlement was reached, with Boiron denying any wrongdoing  As part of the settlement, Boiron agreed to make specific changes to its marketing, including adding to their packaging notices like "These ‘Uses’ have not been evaluated by the Food and Drug Administration" and "C, K, CK, and X are homeopathic dilutions "While the sector is in crisis following the cessation of reimbursement of homeopathic preparations by social security decided by the Minister of Health Agnès Buzyn, the Boiron group announced that its factory at Montrichard, in Loir-et-Cher had failed to find a buyer  Consequently, the site, which employed approximately 80 people, closed on December 31, 2021 
Passage 10:
Aerotech Consumer Aerospace
Aerotech Consumer Aerospace, established in 1982, is a company that supplies motors, kits, and components for mid and high-power rocketry 
The company's headquarters are located in Cedar City, Utah and its products are sold mainly through US and international dealers   They specialize in APCP used in low-, mid-, and high-power rocket motors as well as supplying rocket kits designed around their motors 
Aerotech produces single use and reloadable motors in the mid-power range (D - G impulse)   They also produce high power rocket motor reloads, ranging from H to O impulse   High power reloads require proper certification from the National Association of Rocketry or Tripoli Rocketry Association   Until 2017, all reloads required the use of Aerotech, Rouse-Tech, or Dr  Rocket reload casings   A recent cross-use certification agreement permits the use of 98mm Aerotech reloads in CTI (Cesaroni Technology Incorporated) hardware 
Corpulent Stump is the most powerful non commercial rocket ever launched on an Aerotech motor in the United Kingdom 

External links
Official site
Passage 11:
Fleur-de-lis
The fleur-de-lis, also spelled fleur-de-lys (plural fleurs-de-lis or fleurs-de-lys), is a common heraldic charge in the shape of a lily (in French, fleur and lis mean 'flower' and 'lily' respectively)  Most notably, the fleur-de-lis is depicted on the traditional coat of arms of France that was used from the High Middle Ages until the French Revolution in 1792, and then again in brief periods in the 19th century  This design still represents France and the House of Bourbon in the form of marshalling in e g  the arms of Spain, Quebec and Canada 
Other European nations have also employed the symbol  The fleur-de-lis became "at one and the same time, religious, political, dynastic, artistic, emblematic, and symbolic," especially in French heraldry  The Virgin Mary and Saint Joseph are among saints often depicted with a lily 
The fleur-de-lis is represented in Unicode at U+269C ⚜  in the Miscellaneous Symbols block 

Origin
The fleur-de-lis is widely thought to be a stylized version of the species Iris pseudacorus, or Iris florentina  However, the lily (genus Lilium, family Liliaceae) and the iris (family Iridaceae) are two different plants, phylogenetically and taxonomically unrelated  Lily (in Italian: giglio) is the name usually associated with the stylized flower in the Florentine heraldic devices 
Decorative ornaments that resemble the fleur-de-lis have appeared in artwork from the earliest human civilizations  According to Pierre-Augustin Boissier de Sauvages, an 18th-century French naturalist and lexicographer:
The old fleurs-de-lis, especially the ones found in our first kings' sceptres, have a lot less in common with ordinary lilies than the flowers called flambas [in Occitan], or irises, from which the name of our own fleur-de-lis may derive  What gives some colour of truth to this hypothesis that we already put forth, is the fact that the French or Franks, before entering Gaul itself, lived for a long time around the river named Lys in the Flanders  Nowadays, this river is still bordered with an exceptional number of irises —as many plants grow for centuries in the same places—: these irises have yellow flowers, which is not a typical feature of lilies but fleurs-de-lis  It was thus understandable that our kings, having to choose a symbolic image for what later became a coat of arms, set their minds on the iris, a flower that was common around their homes, and is also as beautiful as it was remarkable  They called it, in short, the fleur-de-lis, instead of the flower of the river of lis  This flower, or iris, looks like our fleur-de-lis not just because of its yellow colour but also because of its shape: of the six petals, or leaves, that it has, three of them are alternatively straight and meet at their tops  The other three on the opposite, bend down so that the middle one seems to make one with the stalk and only the two ones facing out from left and right can clearly be seen, which is again similar with our fleurs-de-lis, that is to say exclusively the one from the river Luts whose white petals bend down too when the flower blooms 

The heraldist François Velde is known to have expressed the same opinion:
However, a hypothesis ventured in the 17th c  sounds very plausible to me  One species of wild iris, the Iris pseudacorus, yellow flag in English, is yellow and grows in marshes (cf  the azure field, for water)  Its name in German is Lieschblume (also gelbe Schwertlilie), but Liesch was also spelled Lies and Leys in the Middle Ages  It is easy to imagine that, in Northern France, the Lieschblume would have been called 'fleur-de-lis'  This would explain the name and the formal origin of the design, as a stylized yellow flag  There is a fanciful legend about Clovis which links the yellow flag explicitly with the French coat of arms 
Sauvages' hypothesis seems to be supported by the archaic English spelling fleur-de-luce and by the Luts's variant name Lits 

Alternative derivations
Another (debated) hypothesis is that the symbol derives from the angon or sting,  a typical Frankish throwing spear  The medieval Bec de Corban, a bladed and hooked polearm, bears similarities to the symbol as well  
A possibly derived symbol of Frankish royalty was the bee, of similar shape, as found in the burial of Childric I, whose royal see of power over the Salian Franks was based over the valley of the Lys Other imaginative explanations include the shape having been developed from the image of a dove descending, which is the symbol of the Holy Ghost 

Ancient usages
It has consistently been used as a royal emblem, though different cultures have interpreted its meaning in varying ways  Gaulish coins show the first Western designs which look similar to modern fleurs-de-lis  In the East it was found on the gold helmet of a Scythian king uncovered at the Ak-Burun kurgan and conserved in Saint Petersburg's Hermitage Museum 

Heraldic use
France
While the fleur-de-lis has appeared on countless European coats of arms and flags over the centuries, it is particularly associated with the French monarchy in a historical context and continues to appear in the arms of the king of Spain (from the French House of Bourbon), the grand duke of Luxembourg, and members of the House of Bourbon  It remains an enduring symbol of France which appears on French postage stamps, although it has never been adopted officially by any of the French republics  According to French historian Georges Duby, the three petals represent the three medieval social estates: the commoners, the nobility, and the clergy Although the origin of the fleur-de-lis is unclear, it has retained an association with French nobility  It is widely used in French city emblems as in the coat of arms of the city of Lille, Saint-Denis, Brest, Clermont-Ferrand, Boulogne-Billancourt, and Calais  Some cities that had been particularly faithful to the French Crown were awarded a heraldic augmentation of two or three fleurs-de-lis on the chief of their coat of arms; such cities include Paris, Lyon, Toulouse, Bordeaux, Reims, Le Havre, Angers, Le Mans, Aix-en-Provence, Tours, Limoges, Amiens, Orléans, Rouen, Argenteuil, Poitiers, Chartres, and Laon, among others  The fleur-de-lis was the symbol of Île-de-France, the core of the French kingdom  It has appeared on the coat-of-arms of other historical provinces of France including Burgundy, Anjou, Picardy, Berry, Orléanais, Bourbonnais, Maine, Touraine, Artois, Dauphiné, Saintonge, and the County of La Marche  Many of the current French departments use the symbol on their coats-of-arms to express this heritage 

The graphic evolution of crita to fleur-de-lis was accompanied by textual allegory  By the late 13th century, an allegorical poem by Guillaume de Nangis (d  1300), written at Joyenval Abbey in Chambourcy, relates how the golden lilies on an azure ground were miraculously substituted for the crescents on Clovis' shield, a projection into the past of contemporary images of heraldry The fleur-de-lis' symbolic origins with French monarchs may stem from the baptismal lily used in the crowning of King Clovis I  The French monarchy may have adopted the Fleur-de-lis for its royal coat of arms as a symbol of purity to commemorate the conversion of Clovis I, and a reminder of the Fleur-de-lis ampulla that held the oil used to anoint the king  So, the fleur-de-lis stood as a symbol of the king's divinely approved right to rule  The thus "anointed" kings of France later maintained that their authority was directly from God  A legend enhances the mystique of royalty by informing us that a vial of oil—the Holy Ampulla—descended from Heaven to anoint and sanctify Clovis as King, descending directly on Clovis or perhaps brought by a dove to Saint Remigius  One version explains that an angel descended with the Fleur-de-lis ampulla to anoint the king  Another story tells of Clovis putting a flower in his helmet just before his victory at the Battle of Vouillé  Through this propagandist connection to Clovis, the fleur-de-lis has been taken in retrospect to symbolize all the Christian Frankish kings, most notably Charlemagne In the 14th-century French writers asserted that the monarchy of France, which developed from the Kingdom of the West Franks, could trace its heritage back to the divine gift of royal arms received by Clovis  This story has remained popular, even though modern scholarship has established that the fleur-de-lis was a religious symbol before it was a true heraldic symbol  Along with true lilies, it was associated with the Virgin Mary, and in the 12th century Louis VI and Louis VII (House of Capet) started to use the emblem, on sceptres for example, so connecting their rulership with this symbol of saintliness and divine right  Louis VII ordered the use of fleur-de-lis clothing in his son Philip's coronation in 1179, while the first visual evidence of clearly heraldic use dates from 1211: a seal showing the future Louis VIII and his shield strewn with the "flowers"  Until the late 14th century the French royal coat of arms was Azure semé-de-lis Or (a blue shield "sown" (semé) with a scattering of small golden fleurs-de-lis), but Charles V of France changed the design from an all-over scattering to a group of three in about 1376  These two coats are known in heraldic terminology as France Ancient and France Modern, respectively 

In the reign of King Louis IX (St  Louis) the three petals of the flower were said to represent faith, wisdom and chivalry, and to be a sign of divine favour bestowed on France  During the next century, the 14th, the tradition of Trinity symbolism was established in France, and then spread elsewhere In 1328, King Edward III of England inherited a claim to the crown of France, and in about 1340 he quartered France Ancient with the arms of Plantagenet, as "arms of pretence"    After the kings of France adopted France Modern, the kings of England adopted the new design as quarterings from about 1411  The monarchs of England (and later of Great Britain) continued to quarter the French arms until 1801, when George III abandoned his formal claim to the French throne King Charles VII ennobled Joan of Arc's family on 29 December 1429 with an inheritable symbolic denomination  The Chamber of Accounts in France registered the family's designation to nobility on 20 January 1430  The grant permitted the family to change their surname to du Lys 

France Moderne
France moderne remained the French royal standard, and with a white background was the French national flag until the French Revolution, when it was replaced by the tricolor of modern-day France  The fleur-de-lis was restored to the French flag in 1814, but replaced once again after the revolution against Charles X of France in 1830  In a very strange turn of events after the end of the Second French Empire, where a flag apparently influenced the course of history, Henri, comte de Chambord, was offered the throne as King of France, but he agreed only if France gave up the tricolor and brought back the white flag with fleurs-de-lis  His condition was rejected and France became a republic 

Other contries
In Brazil, the city of Joinville has three fleurs-de-lis surmounted with a label of three points on its flag and coat of arms  Due to the city is named after François d'Orléans, Prince of Joinville, son of King Louis-Philippe I of France, who married Princess Francisca of Brazil in 1843 
The fleur-de-lis appears on the coat of Guadeloupe, an overseas département of France in the Caribbean, Saint Barthélemy, an overseas collectivity of France, and French Guiana  The overseas department of Réunion in the Indian Ocean uses the same feature  It appears on the coat of Port Louis, the capital of Mauritius which was named in honour of King Louis XV  On the coat of arms of Saint Lucia it represents the French heritage of the country 
In Ukraine, the Foreign Intelligence Service used the emblem with the coat of arms of Ukraine in conjunction with four golden fleurs-de-lis, along with the motto "Omnia, Vincit, Veritas" 

Municipal coats-of-arms
Fleurs-de-lis feature prominently in the Crown Jewels of England and Scotland  In English heraldry, they are used in many different ways, and can be the cadency mark of the sixth son  Additionally, it features in a large number of royal arms of the House of Plantagenet, from the 13th century onwards to the early Tudors (Elizabeth of York and the de la Pole family) The tressure flory–counterflory (flowered border) has been a prominent part of the design of the Scottish royal arms and Royal Standard since James I of Scotland 

In Italy, fleurs-de-lis have been used for some papal crowns and coats of arms, the Farnese Dukes of Parma, and by some doges of Venice The fleur-de-lis was also the symbol of the House of Kotromanić, a ruling house in medieval Bosnia allegedly in recognition of the Capetian House of Anjou, where the flower is thought of as a Lilium bosniacum  Today, fleur-de-lis is a national symbol of Bosniaks Other countries include Spain in recognition of rulers from the House of Bourbon  Coins minted in 14th-century Romania, from the region that was the Principality of Moldova at the time, ruled by Petru I Mușat, carry the fleur-de-lis symbol As a dynastic emblem it has also been very widely used: not only by noble families but also, for example, by the Fuggers, a medieval banking family 
Three fleurs-de-lis appeared in the personal coat of arms of Grandmaster Alof de Wignacourt who ruled the Malta between 1601 and 1622  His nephew Adrien de Wignacourt, who was Grandmaster himself from 1690 to 1697, also had a similar coat of arms with three fleurs-de-lis 
The heraldic fleur-de-lis is still widespread: among the numerous cities which use it as a symbol are some whose names echo the word 'lily', for example, Liljendal, Finland, and Lelystad, Netherlands  This is called canting arms in heraldic terminology  Other European examples of municipal coats-of-arms bearing the fleur-de-lis include Lincoln in England, Morcín in Spain, Wiesbaden and Darmstadt in Germany, Skierniewice in Poland and Jurbarkas in Lithuania  The Swiss municipality of Schlieren and the Estonian municipality of Jõelähtme also have a fleur-de-lis on their coats In Malta, the town of Santa Venera has three red fleurs-de-lis on its flag and coat of arms  These are derived from an arch which was part of the Wignacourt Aqueduct that had three sculpted fleurs-de-lis on top, as they were the heraldic symbols of Alof de Wignacourt, the Grand Master who financed its building  Another suburb which developed around the area became known as Fleur-de-Lys, and it also features a red fleur-de-lis on its flag and coat of arms 

Albania
In Albania, fleur-de-lys (alb: Lulja e Zambakut) has been always associated with the Noble House of Topia  After the Ottoman invasion of Albania, the symbol was removed by the Toptani family, a branch of the Topia Family 

Belarus
The Belarusian Scouting and Guiding organization that, while preserving the traditions of the past, uses a fleur-de-lis as a symbol 

Bosnia and Herzegovina
The golden lily is a traditional symbol of the Bosniak people  The coat of arms of the medieval Kingdom of Bosnia contained six fleurs-de-lis, understood as the native Bosnian or Golden Lily, Lilium bosniacum  This emblem was revived in 1992 as a national symbol of the Republic of Bosnia and Herzegovina and was the flag of Bosnia-Herzegovina from 1992 to 1998  The state insignia were changed in 1999  The former flag of the Federation of Bosnia and Herzegovina contains a fleur-de-lis alongside the Croatian chequy  Fleurs also appear in the flags and arms of many cantons, municipalities, cities and towns  It is still used as official insignia of the Bosniak Regiment of the Armed Forces of Bosnia and Herzegovina 

Canada
The Royal Banner of France or "Bourbon Flag"  symbolizing royal France, was the most commonly used flag in New France  The  "Bourbon Flag" has three gold fleur-de-lis on a dark blue field arranged two and one  The fleur-de-lys was also seen on New France's currency often referred to as "card money"  The white Royal Banner of France was used by the military of New France and was seen on naval vessels and forts of New France  After the fall of New France to the British Empire the fleur-de-lys remained visible on churches and remained part of French cultural symbolism  There are many French-speaking Canadians for whom the fleur-de-lis remains a symbol of their French cultural identity  Québécois, Franco-Ontarians, Franco-Ténois and Franco-Albertans, feature the fleur-de-lis prominently on their flags 
The Fleur-de-lys, as a traditional Royal symbol in Canada, has been incorporated into many national symbols, provincial symbols and
municipal symbols, The Canadian Red Ensign that served as the nautical flag and civil ensign for Canada from 1892 to 1965 and later as an informal flag of Canada before 1965 featured the traditional number of three golden fleur-de-lys on a blue background  The Arms of Canada throughout its variations has used fleur-de-lys, beginning in 1921 and subsequent various has featuring the blue "Bourbon Flag" in two locations within arms  The Canadian Royal cypher and the Arms of Canada feature St Edward's Crown that displays five cross pattée and four fleur-de-lys   The fleur-de-lis is featured on the flag of Quebec, known as the Fleurdelisé, as well as the flags of the cities of Montreal, Sherbrooke and Trois-Rivières 

Italy
In Italy, the fleur de lis - called giglio bottonato (it) - is mainly known from the crest of the city of Florence  In the Florentine fleurs-de-lis  the stamens are always posed between the petals  Originally argent (silver or white) on gules (red) background, the emblem became the standard of the imperial party in Florence (parte ghibellina), causing the town government, which maintained a staunch Guelph stance, being strongly opposed to the imperial pretensions on city states, to reverse the color pattern to the final gules lily on argent background  This heraldic charge is often known as the Florentine lily to distinguish it from the conventional (stamen-not-shown) design  As an emblem of the city, it is therefore found in icons of Zenobius, its first bishop, and associated with Florence's patron Saint John the Baptist in the Florentine fiorino  Several towns subjugated by Florence or founded within the territory of the Florentine Republic adopted a variation of the Florentine lily in their crests, often without the stamens 

Lithuania
The design of the arms of Jurbarkas is believed to originate from the arms of the Sapieha house, a Lithuanian noble family which was responsible for Jurbarkas receiving city rights and a coat of arms in 1611 The three fleurs-de-lis design on the Jurbarkas coat of arms was abolished during the final years of the Polish–Lithuanian Commonwealth, but officially restored in 1993 after the independence of present-day Lithuania was re-established  Before restoration, several variant designs, such as using one over two fleurs-de-lis, had been restored and abolished  The original two over one version was briefly readopted in 1970 during the Soviet occupation, but abolished that same year 

United Kingdom
In the United Kingdom, a fleur-de-lis has appeared in the official arms of the Norroy King of Arms for hundreds of years  A silver fleur-de-lis on a blue background is the arms of the Barons Digby In English and Canadian heraldry the fleur-de-lis is the cadence mark of a sixth son It can also be found on the arms of the Scottish clan Chiefs of both Carruthers; Gules two engrailed chevrons between three fleur-d-lis Or and the Brouns/Browns: Gules a chevron between three fleur d-lis Or 

United States
Fleurs-de-lis crossed the Atlantic along with Europeans going to the New World, especially with French settlers  Their presence on North American flags and coats of arms usually recalls the involvement of French settlers in New France of the town or region concerned, and in some cases the persisting presence there of a population descended from such settlers 

In the US, the fleur-de-lis symbols tend to be along or near the Mississippi and Missouri rivers  These are areas of strong French colonial empire settlement  Some of the places that have it in their flag or seal are the cities of Baton Rouge, Detroit, Lafayette, Louisville, Mobile, New Orleans, Ocean Springs and St  Louis  On 9 July 2008, Louisiana governor Bobby Jindal signed a bill into law making the fleur-de-lis an official symbol of the state  Following Hurricane Katrina on 29 August 2005, the fleur-de-lis has been widely used in New Orleans and throughout Louisiana, as a symbol of grassroots support for New Orleans' recovery  The coat of arms of St  Augustine, Florida has a fleur-de-lis on the first quarter, due to its connection with Huguenots  Several counties have flags and seals based on pre-1801 British royal arms also includes fleur-de-lis symbols  They are King George County, Virginia and Prince George's County, Somerset County, Kent County, and Montgomery County in Maryland 
It has also become the symbol for the identity of the Cajuns and Louisiana Creole people, and their French heritage 

Military
Fleurs-de-lis are featured in military healdry  E g , in the United States, the New Jersey Army National Guard unit 112th Field Artillery (Self Propelled)—part of the much larger 42nd Infantry Division Mechanized—which has it in the upper left side of their distinctive unit insignia; the U S  Army's 2nd Cavalry Regiment, 319th Airborne Field Artillery Regiment, 62nd Medical Brigade, 256th Infantry Brigade Combat Team; and the Corps of Cadets at Louisiana State University   The U S  Air Force's Special Operations Weather Beret Flash also used a fleurs-de-lis in its design, carried over from its Vietnam War era Commando Weatherman Beret Flash  It is also featured by the Israeli Intelligence Corps, and the First World War Canadian Expeditionary Force  In the British Army, the fleur-de-lis was the cap badge of the Manchester Regiment from 1922 until 1958, and also its successor, the King's Regiment up to its amalgamation in 2006  It commemorates the capture of French regimental colours by their predecessors, the 63rd Regiment of Foot, during the Invasion of Martinique in 1759  It is also the formation sign of the 2nd (Independent) Armored Brigade of the Indian Army, known as the 7th Indian Cavalry Brigade in First World War, which received the emblem for its actions in France 

In religion and art
In the Middle Ages, the symbols of lily and fleur-de-lis overlapped considerably in Christian religious art  The historian Michel Pastoureau says that until about 1300 they were found in depictions of Jesus, but gradually they took on Marian symbolism and were associated with the Song of Solomon's "lily among thorns" (lilium inter spinas), understood as a reference to Mary  Other scripture and religious literature in which the lily symbolizes purity and chastity also helped establish the flower as an iconographic attribute of the Virgin  It was also believed that the fleur-de-lis represented the Holy Trinity In medieval England, from the mid-12th century, a noblewoman's seal often showed the lady with a fleur-de-lis, drawing on the Marian connotations of "female virtue and spirituality"  Images of Mary holding the flower first appeared in the 11th century on coins issued by cathedrals dedicated to her, and next on the seals of cathedral chapters, starting with Notre Dame de Paris in 1146  A standard portrayal was of Mary carrying the flower in her right hand, just as she is shown in that church's Virgin of Paris statue (with lily), and in the centre of the stained glass rose window (with fleur-de-lis sceptre) above its main entrance  The flowers may be "simple fleurons, sometimes garden lilies, sometimes genuine heraldic fleurs-de-lis"  As attributes of the Madonna, they are often seen in pictures of the Annunciation, notably in those of Sandro Botticelli and Filippo Lippi  Lippi also uses both flowers in other related contexts: for instance, in his Madonna in the Forest 
The three petals of the heraldic design reflect a widespread association with the Holy Trinity, with the band on the bottom symbolizing Mary  The tradition says that without Mary you can not understand the Trinity since it was she who bore the Son  A tradition going back to 14th century France added onto the earlier belief that they also represented faith, wisdom and chivalry  Alternatively, the cord can be seen as representing the one Divine Substance (godhood) of the three Persons, which binds Them together 
"Flower of light" symbolism has sometimes been understood from the archaic variant fleur-de-luce (see Latin lux, luc- = "light"), but the Oxford English Dictionary suggests this arose from the spelling, not from the etymology 

Sports
The fleur-de-lis is used by a number of sports teams, especially when it echoes a local flag  This is true with the teams from Quebec (Nordiques (ex-NHL), Montreal Expos (ex-MLB) and CF Montréal (MLS)), the teams of New Orleans, Louisiana (Saints (NFL), Pelicans (NBA), and Zephyrs (PCL)), the Serie A team Fiorentina, the Bundesliga side SV Darmstadt 98 (also known as Die Lilien – The Lilies), the Rugby league team Wakefield Trinity Wildcats, the NPSL team Detroit City FC Marc-André Fleury, a Canadian ice hockey goaltender, has a fleur-de-lis logo on his mask  The UFC Welterweight Champion from 2006 to 2013, Georges St-Pierre, has a tattoo of the fleur-de-lis on his right calf  The IT University of Copenhagen's soccer team ITU F C  has it in their logo  France uses the symbol in the official emblem on the 2019 FIFA Women's World Cup 

Education
The emblem appears in coats of arms and logos for universities (like Washington University in St  Louis, Saint Louis University in Spain, University of Lincoln in England and University of Louisiana at Lafayette) and schools such as in Hilton College (South Africa), Adamson University and St  Paul's University in the Philippines  The Lady Knights of the University of Arkansas at Monticello have also adopted the fleur de lis as one of the symbols associated with their coat of arms  The flag of Lincolnshire, adopted in 2005, has a fleur-de-lis for the city of Lincoln  It is one of the symbols of the American sororities Kappa Kappa Gamma and Theta Phi Alpha, the American fraternities Alpha Epsilon Pi, Sigma Alpha Epsilon and Sigma Alpha Mu, as well as the international co-ed service fraternity Alpha Phi Omega  It is also used by the high school and college fraternity Scouts Royale Brotherhood of the Philippines 

Scouting
The fleur-de-lis is the main element in the logo of most Scouting organizations  The symbol was first used by Sir Robert Baden-Powell as an arm-badge for soldiers who qualified as scouts (reconnaissance specialists) in the 5th Dragoon Guards, which he commanded at the end of the 19th century; it was later used in cavalry regiments throughout the British Army until 1921  In 1907, Baden-Powell made brass fleur-de-lis badges for the boys attending his first experimental "Boy Scout" camp at Brownsea Island  In his seminal book Scouting for Boys, Baden-Powell referred to the motif as "the arrowhead which shows the North on a map or a compass" and continued; "It is the Badge of the Scout because it points in the right direction and upward    The three points remind you of the three points of the Scout Promise", being duty to God and country, helping others, and keeping the Scout Law  The World Scout Emblem of the World Organization of the Scout Movement has elements which are used by most national Scout organizations  The stars stand for truth and knowledge, the encircling rope for unity, and its reef knot or square knot, service 

Organizations
Fleurs-de-lis appear on military insignia and the logos of many organisations  During the 20th century the symbol was adopted by various Scouting organisations worldwide for their badges  Architects and designers use it alone and as a repeated motif in a wide range of contexts, from ironwork to bookbinding, especially where a French context is implied 

Healdic feature in architecture
In building and architecture, the fleur-de-lis is often placed on top of iron fence posts, as a pointed defence against intruders  It may ornament any tip, point or post with a decorative flourish, for instance, on finials, the arms of a cross, or the point of a gable  The fleur-de-lis can be incorporated in friezes or cornices, although the distinctions between fleur-de-lis, fleuron, and other stylized flowers are not always clear, or can be used as a motif in an all-over tiled pattern, perhaps on a floor 
It may appear in a building for heraldic reasons, as in some English churches where the design paid a compliment to a local lord who used the flower on his coat of arms  Elsewhere the effect seems purely visual, like the crenellations on the 14th-century Muslim Mosque-Madrassa of Sultan Hassan 
It can also be seen on the doors of the 16th-century Hindu Padmanabhaswamy Temple 

Derived non-heraldic usage
Some modern usage of the fleur-de-lis reflects "the continuing presence of heraldry in everyday life", often intentionally, but also when users are not aware that they are "prolonging the life of centuries-old insignia and emblems" 

The symbol may be used in less traditional ways  After Hurricane Katrina many New Orleanians of varying ages and backgrounds were tattooed with "one of its cultural emblems" as a "memorial" of the storm, according to a researcher at Tulane University  The US Navy Blue Angels have named a looping flight demonstration manoeuvre after the flower as well, and there are even two surgical procedures called "after the fleur "
American automobile manufacturer Chevrolet takes its name from the racing driver Louis Chevrolet, who was born in Switzerland   But, because the Chevrolet name is French, the manufacturer has used the fleur-de-lis emblems on their cars, most notably the Corvette, but also as a small detail in the badges and emblems on the front of a variety of full-size Chevys from the 1950s, and 1960s   The fleur-de-lis has also been featured more prominently in the emblems of the Caprice sedan A fleur-de-lis also appears in some of the logos of local Louisiana media, such as WGNO-TV and WVUE-TV, the local ABC-affiliated and Fox-affiliated television stations in New Orleans respectively 
The fleur-de-lis is one of the objects to drop during the New Year's Eve celebrations in New Orleans, which was broadcast for the first time during Dick Clark's New Year's Rockin' Eve '17 with Ryan Seacrest 
New Orleans sludge metal band Crowbar use it as a logo  It's appeared on every album cover since Lifesblood for the Downtrodden and is sometimes incorporated into the artwork (on The Serpent Only Lies as a snake and on Sever the Wicked Hand as a sword's hilt)  The Fleur-de-lis is also used decoratively on fire apparatus 

Compass rose
The symbol is also often used on a compass rose to mark the north direction, a tradition started by the Portuguese cartographer Jorge de Aguiar in his chart of 1492 

Slave branding
In Mauritius, slaves were branded with a fleur-de-lis, when being punished for escaping or stealing food In France, some categories of outlaws were branded with a fleur de lys iron rod as a punishment for crimes involving a banishment sentence  In 1724, the punishment evolved in a system of letters brandings relative to the crime  The fleur de lys became an exclusive punishment for slaves in the colonies 
The fleur-de-lis (or flower de Luce) could be branded on slaves as punishment for certain offenses in French Louisiana   For instance, the Louisiana Code Noir (1724) stated:

XXXII  The runaway slave, who shall continue to be so for one month from the day of his being denounced to the officers of justice, shall have his ears cut off, and shall be branded with the flower de luce on the shoulder: and on a second offence of the same nature, persisted in during one month from the day of his being denounced, he shall be hamstrung, and be marked with the flower de luce on the other shoulder  On the third offence, he shall suffer death" 
The Code Noir was an arrangement of controls received in Louisiana in 1724 from other French settlements around the globe, intended to represent the state's slave populace  Those guidelines included marking slaves with the fleur-de-lis as discipline for fleeing 

In fiction
The symbol has featured in modern fiction on historical and mystical themes, as in the bestselling novel The Da Vinci Code and other books discussing the Priory of Sion  It recurs in French literature, where examples well known in English translation include Fleur-de-Lys de Gondelaurier, a character in The Hunchback of Notre Dame by Victor Hugo, and the mention in Dumas's The Three Musketeers of the old custom of branding a criminal with the sign (fleurdeliser)  During the reign of Elizabeth I of England, known as the Elizabethan era, it was a standard name for an iris, a usage which lasted for centuries, but occasionally refers to lilies or other flowers  It also appeared in the novel A Confederacy of Dunces by John Kennedy Toole on a sign composed by the protagonist 

In John Steinbeck's East of Eden, Cathy Ames ("Kate") wears a gold watch with a fleur-de-lis pin around her neck A variation on the symbol has also been used in the Star Wars franchise to represent the planet of Naboo  The fleur de lis is also used as the heraldic emblem for the Kingdom of Temeria in Andrzej Sapkowski's fantasy novel series The Witcher 
The fleur de lis has also been used in the TV series The Originals, in which it is used to represent the Mikaelson family, the first vampires in the world  The symbol's representation of unity and its usage in New Orleans where the show is set, are used to represent the vow three of the Mikaelson siblings made to each other that they remain together, always and forever 
The fleur de lis is displayed in Champion, a cavalry unit that appears in Heroes of Might and Magic V: Tribes of the East, and is also a symbol adopted by the Sisters of Battle, a faction in Warhammer 40,000  A heavily stylized fleur de lis symbol can also be recognized as the symbol of the ICA in the Hitman series of video games The Pokémon villain Lysandre; whose debut game was Pokémon X and Y is known in Japan as フラダリ (Furadari); a romanised name for the fleur-de-lis  Relevant is that Pokémon X and Y are inspired by France  Many locations and landmarks across Kalos have real-world inspirations, including Prism Tower (Eiffel Tower), the Lumiose Art Museum (the Louvre) and the stones outside Geosenge Town (Carnac stones) This symbol is also used as the icon for the fictional street gang "Third Street Saints" in the Saints Row series 
The symbol is also seen in the video games Gangstar: New Orleans and Persona 5, on Yusuke Kitagawa's shirt 

See also
Cross fleury
Floral emblem
Armorial of France
The Golden Lily (disambiguation)
Iris florentina
Iris pseudacorus
Jessant-de-lys
Lilium
Palmette
Prince of Wales's feathers
Shamrock
Scottish thistle
Tree of LifeUse of the lily in coinage and coat-of-arms in the Land of Israel/PalestineAcre, Israel, where the Hospitaller refectory contains two early depictions of the French fleur-de-lis
Hasmonean coinage, coins minted during Hasmonean rule, sometimes depicting a lily
Yehud coinage, Achaemenid period coinage often depicting a lily

Explanatory notes
Context 2: Passage 1:
John Houseman
John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and producer of theatre, film, and television  He became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay  He won the Academy Award for Best Supporting Actor for his portrayal of Professor Charles W  Kingsfield in the 1973 film The Paper Chase  He reprised the role of Kingsfield in the 1978 television series adaptation 

Early life
Houseman was born Jacques Haussmann on September 22, 1902, in Bucharest, Romania, the son of May (née Davies) a governess and Georges Haussmann, who ran a grain business  His mother was British, from a Christian family of Welsh and Irish descent  His father was an Alsatian-born Jew  He was educated in England at Clifton College, became a British subject, and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman  He became a United States citizen in 1943 

Theatre producer
Houseman worked as a speculator in the international grain markets, only turning to the theater following the 1929 stock market crash 
On Broadway he co-wrote Three and One (1933) and And Be My Love (1934)  Composer Virgil Thomson recruited him to direct Four Saints in Three Acts (1934), Thomson's collaboration with Gertrude Stein  He later directed The Lady from the Sea (1934) and Valley Forge (1934) 

Collaboration with Orson Welles
In 1934, Houseman was looking to cast Panic, a play he was producing based on a drama by Archibald MacLeish concerning a Wall Street financier whose world crumbles about him when consumed by the crash of 1929  Although the central figure is a man in his late fifties, Houseman became obsessed by the notion that a young man named Orson Welles he had seen in Katharine Cornell's production of Romeo and Juliet was the only person qualified to play the leading role  Welles consented and, after preliminary conversations, agreed to leave the play he was in after a single night to take the lead in Houseman's production  Panic opened at the Imperial Theatre on March 15, 1935  Among the cast was Houseman's ex-wife, Zita Johann, who had co-starred with Boris Karloff three years earlier in Universal's The Mummy 
Although the play opened to indifferent notices and ran for a mere three performances, it nevertheless led to the forging of a theatrical team, a fruitful but stormy partnership in which Houseman said Welles "was the teacher, I, the apprentice "
He supervised the direction of Walk Together Chillun in 1936 

Federal Theatre Project
In 1936, the Federal Theatre Project of the Works Progress Administration put unemployed theatre performers and employees to work  The Negro Theatre Unit of the Federal Theatre Project was headed by Rose McClendon, a well-known black actress, and Houseman, a theatre producer  Houseman describes the experience in one of his memoirs:

Within a year of its formation, the Federal Theatre had more than fifteen thousand men and women on its payroll at an average wage of approximately twenty dollars a week  During the four years of its existence its productions played to more than thirty million people in more than two hundred theatres as well as portable stages, school auditoriums and public parks the country over 

Macbeth (1936)
Houseman immediately hired Welles and assigned him to direct Macbeth for the FTP's Negro Theater Unit, a production that became known as the "Voodoo Macbeth", as it was set in the Haitian court of King Henri Christophe (and with voodoo witch doctors for the three Weird Sisters) and starred Jack Carter in the title role  The incidental music was composed by Virgil Thomson  The play premiered at the Lafayette Theatre on April 14, 1936, to enthusiastic reviews and remained sold out for each of its nightly performances  The play was regarded by critics and patrons as an enormous, if controversial, success  After 10 months with the Negro Theater Project, however, Houseman felt he was faced with the dilemma of risking his future:

    on a partnership with a 20-year-old boy in whose talent I had unquestioning faith but with whom I must increasingly play the combined and tricky roles of producer, censor, adviser, impresario, father, older brother and bosom friend 
Houseman later produced for the Negro Theatre Unit Turpentine (1936) without Welles 
In 1936, Houseman and Welles were running a WPA unit in midtown Manhattan for classic productions called Project No  891  Their first production was Christopher Marlowe's Tragical History of Dr  Faustus which Welles directed while also playing the title role 
Houseman and Welles put on Horse Eats Hat (1936)  Houseman, without Welles, helped in the direction of Leslie Howard's production of Hamlet (1936) 

The Cradle Will Rock (1937)
In June 1937, Project No  891 produced their most controversial work with The Cradle Will Rock  Written by Marc Blitzstein, the musical was about Larry Foreman, a worker in Steeltown (played in the original production by Howard da Silva), which is run by the boss, Mister Mister (played in the original production by Will Geer)   The show was thought to have had left-wing and unionist sympathies (Foreman ends the show with a song about "unions" taking over the town and the country), and became legendary as an example of a "censored" show  Shortly before the show was to open, FTP officials in Washington announced that no productions would open until after July 1, 1937, the beginning of the new fiscal year 
In his memoir, Run-Through, Houseman wrote about the circumstances surrounding the opening night at the Maxine Elliott Theatre  All the performers had been enjoined not to perform on stage for the production when it opened on July 14, 1937  The cast and crew left their government-owned theatre and walked 20 blocks to another theatre, with the audience following  No one knew what to expect; when they got there Blitzstein himself was at the piano and started playing the introduction music  One of the amateur performers, Olive Stanton, who played the part of Moll, the prostitute, stood up in the audience, and began singing her part  All the other performers, in turn, stood up for their parts  Thus the "oratorio" version of the show was born  Apparently, Welles had designed some intricate scenery, which ended up never being used  The event was so successful that it was repeated several times on subsequent nights, with everyone trying to remember and reproduce what had happened spontaneously the first night  The incident, however, led to Houseman being fired and Welles's resignation from Project No  891 

Mercury Theatre
That same year, 1937, after detaching themselves from the Federal Theatre Project, Houseman and Welles did The Cradle Will Rock as an independent production on Broadway  They also founded the acclaimed New York drama company, the Mercury Theatre  Houseman wrote of their collaboration at this time:

On the broad wings of the Federal eagle, we had risen to success and fame beyond ourselves as America's youngest, cleverest, most creative and audacious producers to whom none of the ordinary rules of the theater applied 
Armed with a manifesto written by Houseman declaring their intention to foster new talent, experiment with new types of plays, and appeal to the same audiences that frequented the Federal Theater the company was designed largely to offer plays of the past, preferably those that "   seem to have emotion or factual bearing on contemporary life "  The company mounted several notable productions, the most remarkable being its first commercial production of Julius Caesar   Houseman called the decision to use modern dress "an essential element in Orson's conception of the play as a political melodrama with clear contemporary parallels "
Houseman and Welles later presented The Shoemaker's Holiday (1938), Heartbreak House (1938) and Danton's Death (1938) 

Radio
Beginning in the summer of 1938, the Mercury Theatre was featured in a weekly dramatic radio program on the CBS network, initially promoted as First Person Singular before gaining the official title The Mercury Theatre on the Air  An adaptation of Treasure Island was scheduled for the program's first broadcast, for which Houseman worked feverishly on the script  However, a week before the show was to air, Welles decided that a program far more dramatic was required  To Houseman's horror, Treasure Island was abandoned in favor of Bram Stoker's Dracula, with Welles playing the infamous vampire  During an all night session at Perkins' Restaurant, Welles and Houseman hashed out a script The Mercury Theatre on the Air featured an impressive array of talents, including Agnes Moorehead, Bernard Herrmann, and George Coulouris 

"The War of the Worlds" (1938)
The Mercury Theatre on the Air subsequently became famous for its notorious 1938 radio adaptation of H  G  Wells' The War of the Worlds, which had put much of the country in a panic  By all accounts, Welles was shocked by the panic that ensued  According to Houseman, "he hadn't the faintest idea what the effect would be"  CBS was inundated with calls; newspaper switchboards were jammed 
Without Welles, Houseman staged Douglas Moore's The Devil and Daniel Webster (1939) 

Film producer
Too Much Johnson (1938)
While Houseman was teaching at Vassar College, he produced Welles' never-completed second short film, Too Much Johnson (1938)  The film was never publicly screened and no print of the film was thought to have survived  Footage was rediscovered in 2013 

Citizen Kane (1941)
The Welles-Houseman collaboration continued in Hollywood  In the spring of 1939, Welles began preliminary discussions with RKO's head of production, George Schaefer, with Welles and his Mercury players being given a two-picture deal, in which Welles would produce, direct, perform, and have full creative control of his projects 
For his motion picture debut, Welles first considered adapting Joseph Conrad's Heart of Darkness for the screen  A 200-page script was written  Some models were constructed, while the shooting of initial test footage had begun  However, little, if anything, had been done either to whittle down the budgetary difficulties or begin filming  When RKO threatened to eliminate the payment of salaries by December 31 if no progress had been made, Welles announced that he would pay his cast out of his own pocket  Houseman proclaimed that there wasn't enough money in their business account to pay anyone  During a corporate dinner for the Mercury crew, Welles exploded, calling his partner a "bloodsucker" and a "crook"  As Houseman attempted to leave, Welles began hurling dish heaters at him, effectively ending both their partnership and friendship 
Houseman later, however, played a pivotal role in ushering Citizen Kane (1941), which starred Welles  Welles telephoned Houseman asking him to return to Hollywood to "babysit" screenwriter Herman J  Mankiewicz while he completed the script, and keep him away from alcohol  Still drawn to Welles, as was virtually everyone in his sphere, Houseman agreed  Although Welles took credit for the screenplay of Kane, Houseman stated that the credit belonged to Mankiewicz, an assertion that led to a final break with Welles  Houseman took some credit himself for the general shaping of the story line and for editing the script  In an interview with Penelope Huston for Sight & Sound magazine (Autumn, 1962) Houseman said that the writing of Citizen Kane was a delicate subject:

I think Welles has always sincerely felt that he, single-handed, wrote Citizen Kane and everything else that he has directed—except, possibly, the plays of Shakespeare  But the script of Kane was essentially Mankiewicz's  The conception and the structure were his, all the dramatic Hearstian mythology and the journalistic and political wisdom he had been carrying around with him for years and which he now poured into the only serious job he ever did in a lifetime of film writing  But Orson turned Kane into a film: the dynamics and the tensions are his and the brilliant cinematic effects—all those visual and aural inventions that add up to make Citizen Kane one of the world's great movies—those were pure Orson Welles 
In 1975, during an interview with Kate McCauley, Houseman stated that film critic Pauline Kael in her essay "Raising Kane", had caused an "idiotic controversy" over the issue: "The argument is Orson's own fault  He wanted to be given all the credit because he's a hog  Actually, it is his film  So it's a ridiculous argument "

Return to the theatre
After he and Welles went their separate ways, Houseman went on to direct The Devil and Daniel Webster (1939) and Liberty Jones (1941) and produced the Mercury Theatre's stage production of Native Son (1941) on Broadway, directed by Welles 

David O  Selznick
In Hollywood he became a vice-president of David O  Selznick Productions  His most notable achievement during that time was helping adapt and produce the adaptation of Jane Eyre (1943) which starred Joan Fontaine and Welles 

World War II
In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City 

Paramount
In 1945 Houseman signed a contract with Paramount Pictures to produce movies  His first credit for that studio was The Unseen (1945)  He followed it with Miss Susie Slagle's (1945) and The Blue Dahlia (1946), both with Veronica Lake  The latter, starring Alan Ladd and written by Raymond Chandler, has become a classic 
He left Paramount and returned to Broadway to direct Lute Song (1946) with Mary Martin 
Back in Hollywood he produced Letter from an Unknown Woman (1948) for Max Ophuls at Universal 

RKO
Houseman went to RKO where he produced They Live by Night (1948) the directorial debut of Nicholas Ray  He also did The Company She Keeps (1949) and On Dangerous Ground (1951) 
He returned to Broadway to produce Joy to the World (1949) and King Lear (1950-51), the latter with Louis Calhern 

MGM
RKO's head of production had been Dore Schary  When Schary moved to MGM he offered Houseman a contract at the studio, which the producer accepted 
Houseman's stint at MGM began with Holiday for Sinners (1952); then he had a huge success with The Bad and the Beautiful (1952), directed by Vincente Minnelli  He followed it with the film adaptation of Julius Caesar (1953) (for which he received an Academy Award nomination for Best Picture)
Also popular was Executive Suite (1954), a highly creative adaptation by Ernest Lehman of Cameron Hawley's bestselling novel  However, although Her Twelve Men (1954), Minnelli's The Cobweb (1955) and Fritz Lang's Moonfleet (1955) all lost money  So did Lust for Life (1956), a biopic directed by Minnelli of Vincent van Gogh, although it was extremely well-received critically 

Television and theatre
Houseman moved into television producing, notably doing The Seven Lively Arts (1957) and episodes of Playhouse 90 
He also returned to theatre, producing revivals of Measure for Measure (1957) and The Duchess of Malfi (1957) 

Return to MGM
Houseman was enticed back to MGM as a producer, and given his own production company, John Houseman Productions  His films were All Fall Down (1962), Two Weeks in Another Town (1962) and In the Cool of the Day (1963) 

Return to television
Houseman returned to television where he made The Great Adventure and Journey to America (1964)  He returned to Hollywood briefly to produce This Property Is Condemned (1966), then returned to TV for Evening Primrose (1966) 
He returned to Broadway, directing Pantagleize (1967) 

Teaching
The Juilliard School and The Acting Company
Houseman became the founding director of the Drama Division at The Juilliard School, and held this position from 1968 until 1976  The first graduating class in 1972 included Kevin Kline and Patti LuPone; subsequent classes under Houseman's leadership included Christopher Reeve, Mandy Patinkin, and Robin Williams Unwilling to see that very first class disbanded upon graduation, Houseman and his Juilliard colleague Margot Harley formed them into an independent, touring repertory company they named the "Group 1 Acting Company " The organization was subsequently renamed The Acting Company, and has been active for more than 40 years  Houseman served as the producing artistic director through 1986, and Harley has been the company's producer since its founding   Writing in The New York Times in 1996, Mel Gussow called it "the major touring classical theater in the United States "

Theatre
Houseman continued to be involved in theatre, producing The School for Wives (1971), The Three Sisters (1973), The Beggar's Opera (1973), Scapin (1973), Next Time I'll Sing to You (1974), The Robber Bridegroom (1975), Edward II (1975), and The Time of Your Life (1975)
He directed The Country Girl (1972), Don Juan in Hell (1973), Measure for Measure  (1973), and Clarence Darrow (1974) (with Henry Fonda) 
In 1979, Houseman earned induction into the American Theater Hall of Fame

Acting
Houseman had acted occasionally during the early part of his career and he had a brief but important part in Seven Days in May (1964) 
Houseman first became widely known to the public for his Golden Globe and Academy Award-winning role as Professor Charles Kingsfield in the film The Paper Chase (1973)  The film was a success and launched Houseman into an unexpected late career as a character actor 
Houseman played Energy Corporation Executive Bartholomew in the film Rollerball (1975), and was in the thrillers Three Days of the Condor (1975) and St Ives (1976) 
Houseman appeared on TV in Fear on Trial (1975), The Adams Chronicles (1976), Truman at Potsdam (1976), Hazard's People (1976) and Six Characters in Search of an Author (1976)  Houseman was reunited with The Paper Chase co-star Lindsay Wagner in 1976's "Kill Oscar", a three-part joint episode of the popular science fiction series The Bionic Woman and The Six Million Dollar Man; he played the scientific genius Dr  Franklin 
He continued appearing on TV in Captains and the Kings (1976), The Displaced Person (1977), a version of Our Town (1977), Washington: Behind Closed Doors (1977), The Best of Families (1977), Aspen, The Last Convertible (1978), The French Atlantic Affair (1978) and The Associates (1980) 
In films he parodied Sydney Greenstreet in the Neil Simon film The Cheap Detective (1978) and was in Old Boyfriends (1980), John Carpenter's The Fog (1980), Wholly Moses! (1981) and My Bodyguard (1981) 
Houseman briefly returned to producing with the TV movie Gideon's Trumpet (1980), which he also appeared in and Choices of the Heart (1983)  He produced one more show on Broadway, The Curse of an Aching Heart (1982) 
He acted in The Babysitter (1980), A Christmas Without Snow (1980), Ghost Story (1981), Mork & Mindy, Murder by Phone (1982) (second billed), Marco Polo (1982), and American Playhouse (1982) 

Television star
Having played a Harvard Law School professor in the film The Paper Chase (1973), he reprised the role in a television series of the same name, which ran from 1978 to 1979 and 1983 to 1986  During that time, he received two Golden Globe nominations for "Best Actor in a TV Series—Drama" 
In the 1980s Houseman became more widely known for his role as grandfather Edward Stratton II in Silver Spoons, which starred Rick Schroder, and for his commercials for brokerage firm Smith Barney, which featured the catchphrase, "They make money the old fashioned way    they earn it " Another was Puritan brand cooking oil, with "less saturated fat than the leading oil", featuring the famous 'tomato test' 
He played Jewish author Aaron Jastrow (loosely based on the real life figure of Bernard Berenson) in the highly acclaimed 1983 miniseries The Winds of War (receiving a fourth Golden Globe nomination)  He declined to reprise the role in the sequel War and Remembrance miniseries (the role then went to Sir John Gielgud) 
However he was in the miniseries A D  (1984), Noble House (1986), and Lincoln (1986) 

Personal life
Houseman had an affair with actress Joan Fontaine after her marriage to actor Brian Aherne ended  "Ours was what was known in Hollywood as a 'romance,' -- which meant that we slept together three or four nights a week, got invited to parties together, went away together for weekends and sometimes talked about getting married without really meaning it," Houseman wrote in Front and Center, his second autobiography 

Final years and death
Later film appearances included Bright Lights, Big City (1988) and Another Woman (1988) 
In 1988, he appeared in his last two roles—cameos in the films The Naked Gun: From the Files of Police Squad! and Scrooged  He played a driving instructor (whose mannerisms parodied many of his prior roles) in the former, and himself in the latter  Both films were released after his death 
On October 31, 1988, Houseman died at age 86 of spinal cancer at his home in Malibu, California  He was cremated and his ashes were scattered at sea 

In popular culture
Houseman was portrayed by Cary Elwes in the Tim Robbins–directed film Cradle Will Rock (1999)  Actor Eddie Marsan plays the role of Houseman in Richard Linklater's film Me & Orson Welles (2009)  Houseman was played by actor Jonathan Rigby in the Doctor Who audio drama Invaders from Mars set around the War of the Worlds broadcast  Actor Sam Troughton portrayed Houseman in the 2020 film Mank 
In the Seinfeld episode "The Face Painter", Jerry tells Elaine that Alec Berg has "a good John Houseman name"  Jerry then imitates Houseman, speaking Alec Berg's name in a non-rhotic, gravelly rasp 
In the SCTV episode "Jane Eyrehead", guest star Robin Williams portrayed Houseman in the sketch commercial "An Evening with John Houseman", in which he reads the Mellonville phonebook to a cheering theater audience 

Filmography
Film
As actor (film)
As producer (film)
Television
As actor (television)
As producer (television)
Passage 2:
Indutiomarus
Indutiomarus (died 53 BC) was a leading aristocrat of the Treveri (the people of the area around present-day Trier) at the time of Julius Caesar's conquest of Gaul  He was the head of the anti-Roman party and the political rival of his pro-Roman son-in-law Cingetorix for "supreme power" in the state 

Biography
In 54 BC, Indutiomarus made preparations for war against the Romans and evacuated non-combatants to the Ardennes  However, when Caesar arrived in the territory of the Treveri en route to Britain, Indutiomarus was deserted by many of his leading supporters and submitted to Caesar in the hopes of preserving his position  Caesar accepted his submission, taking 200 hostages including several of Indutiomarus' close family members, but he also took the opportunity to promote Cingetorix to power among the Treveri at Indutiomarus' expense Deprived of much of his power, Indutiomarus became all the more bitter an enemy of the Romans, and waited for a favourable opportunity to take his revenge  Such an opportunity arrived soon  To ensure adequate food supplies, Caesar had separated his troops into winter quarters dispersed in different parts of Gaul  Indutiomarus encouraged Ambiorix and Cativolcus, chiefs of the Eburones, to attack the Roman legion stationed in their country; he himself soon afterwards marched against Titus Labienus, who was encamped among the Remi, immediately west of the Treveri  Forewarned of Caesar's victory over the Nervii, Indutiomarus withdrew his forces into Treveran country and raised fresh troops  He also spent the winter sending ambassadors to the Germans in search of allies  Other peoples began sending ambassadors to Indutiomarus of their own accord as well – these included the Senones, the Carnutes, the Nervii and the Aduatuci Now emboldened, Indutiomarus declared Cingetorix an enemy of the state and confiscated his property 
He marched against Labienus again and surrounded the Roman camp  Indutiomarus took to riding around the camp with his cavalry force almost daily, both to reconnoitre and to intimidate the Romans within  Labienus one day sneaked a large contingent of auxiliary cavalry into the Roman camp, and during one of these exercises the auxiliaries surprised the Treveran force with a sudden sally  Indutiomarus himself was killed in the rout while crossing a river  His death was still a source of anger and rebellion as of 51 BC, when the Treveri remained in the field on the side of Ambiorix 
Passage 3:
Et tu, Brute?
Et tu, Brute? (pronounced [ɛt ˈtuː ˈbruːtɛ]) is a Latin phrase literally meaning "and you, Brutus?" or "also you, Brutus?", often translated as "You as well, Brutus?", "You too, Brutus?", or "Even you, Brutus?"  The quote appears in Act 3 Scene 1 of William Shakespeare's play Julius Caesar, where it is spoken by the Roman dictator Julius Caesar, at the moment of his assassination, to his friend Marcus Junius Brutus, upon recognizing him as one of the assassins  The first known occurrences of the phrase are said to be in two earlier Elizabethan plays; Henry VI, Part 3 by Shakespeare, and an even earlier play, Caesar Interfectus, by Richard Edes  The phrase is often used apart from the plays to signify an unexpected betrayal by a friend  
There is no evidence that the historical Caesar spoke these words  Though the historical Caesar's last words are not known with certainty, the Roman historian Suetonius, a century and a half after the incident, claims Caesar said nothing as he died, but that others reported that Caesar's last words were the Greek phrase Kai su, teknon (Και συ τέκνον), which means "You too, child" or "You too, young man" to Brutus  Contrary to popular belief, the words are not Caesar's last in the play, as he says "Then fall Caesar!" right after 

Etymology
The name Brutus, a second declension masculine noun, appears in the phrase in the vocative case, and so the -us ending of the nominative case is replaced by -e 

Context
On March 15 (the Ides of March), 44 BC, the historic Caesar was attacked by a group of senators, including Brutus, who was Caesar's friend and protégé  Caesar initially resisted his attackers, but when he saw Brutus, he reportedly responded as he died  Suetonius mentions the quote merely as a rumor, as does Plutarch who also reports that Caesar said nothing, but merely pulled his toga over his head when he saw Brutus among the conspirators Caesar saying Et tu, Brute? in Shakespeare's play Julius Caesar (1599) was not the first time the phrase was used in a dramatic play  Edmond Malone claimed that it appeared in a work that has since been lost—Richard Edes's Latin play Caesar Interfectus of 1582  The phrase had also occurred in another play by Shakespeare, The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixth, with the Whole Contention betweene the two Houses Lancaster and Yorke of 1595, which is the earliest printed version of Henry VI, Part 3 

Interpretation
It has been argued that the phrase can be interpreted as a curse or warning  One theory states that the historic Caesar adapted the words of a Greek sentence which to the Romans had long since become proverbial: The complete phrase is said to have been "You too, my son, will have a taste of power", of which Caesar only needed to invoke the opening words to foreshadow Brutus' own violent death, in response to his assassination  The poem Satires; Book I, Satire 7 by Horace, written approximately 30 BC, mentions Brutus and his tyrannicide; in discussing that poem, author John Henderson considers that the expression E-t t-u Br-u-t-e, (as he hyphenates it), can be interpreted as a complaint containing a "suggestion of mimetic compulsion" 

See also
List of Latin phrases (E)
Passage 4:
Assassination of Julius Caesar
Julius Caesar was  assassinated by a group of senators on the Ides of March (15 March) of 44 BC during a meeting of the Senate at the Curia of Pompey of the Theatre of Pompey in Rome where the senators stabbed Caesar 23 times  They claimed to be acting over fears that Caesar's unprecedented concentration of power during his dictatorship was undermining the Roman Republic  At least 60 to 70 senators were party to the conspiracy, led by Marcus Junius Brutus, Gaius Cassius Longinus, and Decimus Junius Brutus Albinus  Despite the death of Caesar, the conspirators were unable to restore the institutions of the Republic  The ramifications of the assassination led to his Martyrdom, the Liberators' civil war and ultimately to the Principate period of the Roman Empire 

Causes
Caesar had served the Republic for eight years in the Gallic Wars, fully conquering the region of Gaul (roughly equivalent to modern-day France)  After the Roman Senate demanded that Caesar disband his army and return home as a civilian, he refused, crossing the Rubicon with his army and plunging Rome into Caesar's Civil War in 49 BC  After defeating the last of the opposition, Caesar was appointed dictator perpetuo ("dictator in perpetuity") in early 44 BC  Roman historian Titus Livius describes three incidents that occurred from 45 to 44 BC as the final causes of Caesar's assassination – the "three last straws" as far as some Romans were concerned The first incident took place in December 45 BC or possibly early 44 BC  According to Roman historian Cassius Dio, after the Senate had voted to bestow a large group of honours upon Caesar, they decided to present them to him formally, and marched as a senatorial delegation to the Temple of Venus Genetrix  When they arrived, etiquette called for Caesar to stand up to greet the senators, but he did not rise  He also joked about their news, saying that his honours needed to be cut back instead of increased  Roman historian Suetonius wrote (almost 150 years later) that Caesar failed to rise in the temple, either because he was restrained by the consul Lucius Cornelius Balbus or that he balked at the suggestion he should rise  Regardless of the reasoning, by practically rejecting a senatorial gift and not acknowledging the delegation's presence with proper etiquette, Caesar gave the strong impression that he no longer cared about the Senate The second incident occurred in 44 BC  One day in January, the tribunes Gaius Epidius Marullus and Lucius Caesetius Flavus discovered a diadem on the head of the statue of Caesar on the Rostra in the Roman Forum  According to Suetonius, the tribunes ordered the wreath be removed as it was a symbol of Jupiter and royalty  Nobody knew who had placed the diadem, but Caesar suspected that the tribunes had arranged for it to appear so that they could have the honour of removing it  Matters escalated shortly after on the 26th, when Caesar was riding on horseback to Rome on the Appian Way  A few members of the crowd greeted him as rex ("king"), to which Caesar replied, "I am not Rex, but Caesar" ("Non sum Rex, sed Caesar")  This was wordplay; "Rex" was a family name as well as a Latin title  Marullus and Flavus, the aforementioned tribunes, were not amused, and ordered the man who first cried "rex" arrested  In a later senate meeting, Caesar accused the tribunes of attempting to create opposition to him, and had them removed from office and membership in the Senate  The Roman plebs took their tribunes seriously as the representatives of the common people; Caesar's actions against the tribunes put him on the wrong side of public opinion The third incident took place at the festival of the Lupercalia, on 15 February 44 BC  Mark Antony, who had been elected co-consul with Caesar, climbed onto the Rostra and placed a diadem on Caesar's head, saying "The People give this to you through me " While a few members of the crowd applauded, most responded with silence  Caesar removed the diadem from his head; Antony again placed it on him, only to get the same response from the crowd  Finally, Caesar put it aside to use as a sacrifice to Jupiter Optimus Maximus  "Jupiter alone of the Romans is king", Caesar said, which received an enthusiastic response from the crowd  At the time, many believed that Caesar's rejection of the diadem was a way for him to see if there was enough support for him to become king, and despised him for it According to Suetonius, Caesar's assassination ultimately occurred primarily due to concerns that he wished to crown himself the king of Rome  These concerns were exacerbated by the "three last straws" of 45 and 44 BC  In just a few months, Caesar had disrespected the Senate, removed People's Tribunes, and toyed with monarchy  By February, the conspiracy that caused his assassination was being born 

Conspiracy
The conspiracy to assassinate Julius Caesar began with a meeting between Cassius Longinus and his brother-in-law Marcus Brutus in the evening of 22 February 44 BC, when after some discussion the two agreed that something had to be done to prevent Caesar from becoming king of the Romans The two men then began to recruit others  While it took only one man to murder another, Brutus believed that for the assassination of Caesar to be considered a legitimate removal of a tyrant, done for the sake of their country, it must include a large number of Rome's leading men  They attempted to strike a balance: they aimed to recruit enough men to surround Caesar and fight his supporters, but not so many that they would risk being discovered  They preferred friends to acquaintances and recruited neither reckless youths nor feeble elders  In the end, the conspirators recruited senators near the age of forty, as were they  The men assessed each potential recruit with innocent-sounding questions  The ancient sources report that in the end, around sixty to eighty conspirators joined the plot, although the latter number may be a scribal error Notable conspirators included Pacuvius Labeo, who answered affirmatively on 2 March when Brutus asked him whether it was wise for a man to put himself into danger if it meant overcoming evil or foolish men; Decimus Brutus, who joined on 7 March after being approached by Labeo and Cassius; Gaius Trebonius, Tillius Cimber, Minucius Basilus, and the brothers Casca (Publius and another whose name is unknown), all men from Caesar's own ranks; and Pontius Aquila, who had been personally humiliated by Caesar  According to Nicolaus of Damascus, the conspirators included Caesar's soldiers, officers, and civilian associates, and while some joined the conspiracy due to concerns over Caesar's authoritarianism, many had self-interested motives such as jealousy: feeling that Caesar had not rewarded them enough or that he had given too much money towards Pompey's former supporters  The conspirators did not meet openly but instead secretly assembled at each other's homes and in small groups in order to work out a plan First, the conspirators discussed the addition of two other men to the conspiracy  Cicero, the famous orator, was trusted by both Cassius and Brutus, and had made it no secret that he considered Caesar's rule oppressive
Context 3: Passage 1:
Veera Ballala II
Veera Ballala II (Kannada: ವೀರ ಬಲ್ಲಾಳ 2) (r  1173–1220 CE) was the most notable monarch of the Hoysala Empire  His successes against the Yadavas of Devagiri, the Southern Kalachuris, the Pandyas of Madurai and the waning Western Chalukya Empire, and his domination over the diminishing Cholas of Tanjore took the Hoysalas to their peak of power  The historian Chaurasia claims by the end of the 12th century, Ballala II's conquests had made the Hoysalas the most powerful dynasty of the Deccan  According to historian Derrett, Ballala II was "the most outstanding among Hoysala kings", and historian William Coelho in comparing Ballala II to King Vishnuvardhana writes, "he vied in glory with his grandfather" His court was adorned with some of the most notable of medieval Kannada language poets including the Jain poets Janna and Nemichandra, and the Brahman poet Rudrabhatta  According to the historians Chopra et al , during his rule, the Hoysala kingdom consolidated into an independent empire commencing an age of "Hoysala imperialism"  His architectural legacy includes among numerous ornate temples, the Kedareshwara temple, the Veera Narayana temple and the Amrutesvara temple  He was ably supported in war and in administrative matters by his son, prince Vira Narasimha II, and crowned queen Umadevi  His other queen Cholamahadevi was a Chola princes  His daughter Somaladevi was given in marriage to the Chola monarch Kulothunga Chola III 

Wars against the neighbouring kingdoms
Ballala II's ascendancy to the Hoysala throne in c  1173 was preceded by his successful rebellion against his weak father Narasimha I with the help of some malnad chiefs, such as the Chengalvas and the Kongalvas  He later ensured the same chiefs' could not rise against him  In the late 12th century, the weakening Chalukya throne became the bone of contention between the main vassals, the Yadavas, the Hoysalas and the Kalachuris  Around c 1168, the Kalachuri King Bijjala II had gained control of the Chalukyan capital Basavakalyan (then called Kalyani, in modern Bidar district of Karnataka state)  According to historian Kamath, in c 1171, an ambitious Ballala tasted first victory against Pandya king Kavadeva of the Uchchangi family  This was followed by the annexation of Hangal in c 1178  But an attempt by him to invade Belvola-300 in c 1179 led to his defeat by Kalachuri commander Sankama who seized Hangal  According to Chopra et al , in c 1179, a Kalachuri invasion into the Hoysala territory resulted in a truce with Ballala II agreeing to accept nominal subordination and to help the Kalachuri in their designs against the Chalukyas  However, by c 1183, the Kalachuris themselves were in serious decline due to the inept rule of the sons of Bijjala II  The last Chalukya scion, Someshvara IV, was back in control of his capital Basavakalyan with help from the Kalachuri commander Brahma 
The real contention now, for the territories in the Krishna-Tungabhadra doab region was between the Yadava King Bhillama V and the Hoysala monarch Ballala II  By c 1189, Basavakalyana had fallen to Bhillama V who nevertheless failed to gain recognition from Chalukya vassals such as the Rattas, the Kadambas of Banavasi and the Shilahara  Taking advantage of this uncertainty, Ballala II led several expeditions to Banavasi against the exiled Chalukya King Someshvara VI and defeated him by c 1190  In c 1191, the Hoysala monarch gained the upper hand over Yadava Bhillama V in the critical battles of Soratur and Lakkundi (in the modern Gadag district) where he appears to have spent much time consolidating his gains  Thus, Ballala II was able to push the northern boundaries of the Hoysala empire up to the Malaprabha river and Krishna rivers  By c 1192, Ballala II had crowned himself the emperor over the entire modern Karnataka region  A record of his dated c 1196 claims him victorious over several minor ruling families including those of Banavasi, Hangal, Halashi, Nolambavadi (Nolamba dynasty), Bagalkot, and Gulbarga (Yelburgi) indicating he had complete control over the rich Tungabhadra-Krishna river region  After c 1212, he lost all these territories north of the Tungabhadra river to Yadava king Singhana II 

Relationship with Cholas
Around c 1216, Maravarman Sundara Pandya ascended the throne at Madurai  To seek revenge for the humiliation of his elder brother Jatavarman Kulashekara by the Chola monarch Kulothunga III, he invaded the Chola territory and drove Kulothunga into exile  Kulothunga III sought the help of the Hoysalas  Ballala II promptly sent his forces under the command of prince Narasimha II who succeeded in repulsing the Pandya and re-establishing the Chola kingdom  With this victory, Ballala II not only assumed imperial titles such as Cholarajyapratishtacharya ("Establisher of the Chola kingdom"), Hoysala Chakravarti ("Hoysala emperor") and Dakshina Chakravarti ("Emperor of the south"), he also brought under his direct control parts of the rich Kaveri plains around Srirangam (central Tamil Nadu)  A Hoysala army was left standing in Kanchi to pursue hostilities with the Telugu Chodas and their overlords, the Kakatiya dynasty  In words of historian John Keay, "Gloriously if briefly the Hoysalas were paramount throughout most of the Kannada speaking Deccan, and could pose a arbiters in the lusher lands below the Eastern Ghats" 

Patron of art and architecture
Veera Ballala II was a great patron of Kannada literature  Janna, one of the most influential Kannada poets of the 13th century, graced his court and was honored with the title Kavichakravarthi ("Emperor among poets")  His most noteworthy writing and magnum opus, the Yashodhara Charitre (c 1209) deals with Jain tenets  Nemichandra was court poet to both Ballala II and the Shilahara King Lakshmana of Kholapur  He wrote Lilavati Prabandha (about c 1170), the earliest available romantic true fiction in Kannada, and an unfinished Jain epic called Neminathapurana at the instance of Ballala II's minister  Rudrabhatta, a noteworthy Brahman writer of the late 12th century was patronized by the king and one of his ministers  He composed the Jagannatha Vijaya in c 1180, the earliest available Vaishnava epic in the Kannada language Ballala II's rule saw the proliferation of the temple construction adhering to the Vesara architecture, a style first made popular by the Western Chalukyas  Some of the best known temples built during his rule were the Kedareshwara temple at Halebidu, the Veera Narayana temple at Belavadi, the Amrutesvara Temple at Amruthapura and the twin ensemble of the Chennakeshava and Nageshvara temples at Mosale Ballala II donated Meruhalli village and other lands in 1174 CE for providing food to Jain monks  He further gifted two villages to Vajranandi-Siddhantadeva for the same purpose  Nanjedevaragudda stone inscription of 1192 CE describes the donations by Hoysala rulers and subjects for Jain monks at Abhinava Shantideva temple at Somepur, Hassan district 
Passage 2:
George VI
George VI (Albert Frederick Arthur George; 14 December 1895 – 6 February 1952) was King of the United Kingdom and the Dominions of the British Commonwealth from 11 December 1936 until his death on 6 February 1952  He was also the last Emperor of India from 1936 until the British Raj was dissolved in August 1947, and the first Head of the Commonwealth following the London Declaration of 1949 
The future George VI was born in the reign of his great-grandmother Victoria; he was named Albert at birth after his great-grandfather Albert, Prince Consort, and was known as "Bertie" to his family and close friends  His father ascended the throne as George V in 1910  As the second son of the king, Albert was not expected to inherit the throne  He spent his early life in the shadow of his elder brother, Prince Edward, the heir apparent  Albert attended naval college as a teenager and served in the Royal Navy and Royal Air Force during the First World War  In 1920, he was made Duke of York  He married Lady Elizabeth Bowes-Lyon in 1923, and they had two daughters, Elizabeth and Margaret  In the mid-1920s, he engaged speech therapist Lionel Logue to treat his stutter, which he learned to manage to some degree  His elder brother ascended the throne as Edward VIII after their father died in 1936, but Edward abdicated later that year to marry the twice-divorced American socialite Wallis Simpson  As heir presumptive to Edward VIII, Albert thereby became the third monarch of the House of Windsor, taking the regnal name George VI 
In September 1939, the British Empire and most Commonwealth countries—but not Ireland—declared war on Nazi Germany  War with the Kingdom of Italy and the Empire of Japan followed in 1940 and 1941, respectively  George VI was seen as sharing the hardships of the common people and his popularity soared  Buckingham Palace was bombed during the Blitz while the King and Queen were there, and his younger brother the Duke of Kent was killed on active service  George became known as a symbol of British determination to win the war  Britain and its allies were victorious in 1945, but the British Empire declined  Ireland had largely broken away, followed by the independence of India and Pakistan in 1947  George relinquished the title of Emperor of India in June 1948 and instead adopted the new title of Head of the Commonwealth  He was beset by smoking-related health problems in the later years of his reign and died at Sandringham House, aged 56, of a coronary thrombosis in 1952  He was succeeded by his elder daughter, Elizabeth II 

Early life
Albert was born at York Cottage, on the Sandringham Estate in Norfolk, during the reign of his great-grandmother Queen Victoria  His father was Prince George, Duke of York (later King George V), the second and only surviving son of the Prince and Princess of Wales (later King Edward VII and Queen Alexandra)  His mother, the Duchess of York (later Queen Mary), was the eldest child and only daughter of Francis, Duke of Teck, and Princess Mary Adelaide, Duchess of Teck  His birthday, 14 December 1895, was the 34th anniversary of the death of his great-grandfather Albert, Prince Consort  Uncertain of how the Prince Consort's widow, Queen Victoria, would take the news of the birth, the Prince of Wales wrote to the Duke of York that the Queen had been "rather distressed"  Two days later, he wrote again: "I really think it would gratify her if you yourself proposed the name Albert to her "The Queen was mollified by the proposal to name the new baby Albert, and wrote to the Duchess of York: "I am all impatience to see the new one, born on such a sad day but rather more dear to me, especially as he will be called by that dear name which is a byword for all that is great and good " Consequently, he was baptised "Albert Frederick Arthur George" at St Mary Magdalene Church, Sandringham on 17 February 1896  Formally he was His Highness Prince Albert of York; within the royal family he was known informally as "Bertie"  The Duchess of Teck did not like the first name her grandson had been given, and she wrote prophetically that she hoped the last name "may supplant the less favoured one"  Albert was fourth in line to the throne at birth, after his grandfather, father and elder brother, Edward 
Albert was ill often and was described as "easily frightened and somewhat prone to tears"  His parents were generally removed from their children's day-to-day upbringing, as was the norm in aristocratic families of that era  He had a stutter that lasted for many years  Although naturally left-handed, he was forced to write with his right hand, as was common practice at the time  He had chronic stomach problems as well as knock knees, for which he was forced to wear painful corrective splints Queen Victoria died on 22 January 1901, and the Prince of Wales succeeded her as King Edward VII  Prince Albert moved up to third in line to the throne, after his father and elder brother 

Military career and education
Beginning in 1909, Albert attended the Royal Naval College, Osborne, as a naval cadet  In 1911 he came bottom of the class in the final examination, but despite this he progressed to the Royal Naval College, Dartmouth  When his grandfather Edward VII died in 1910, his father became King George V  Prince Edward became Prince of Wales, with Albert second in line to the throne Albert spent the first six months of 1913 on the training ship HMS Cumberland in the West Indies and on the east coast of Canada  He was rated as a midshipman aboard HMS Collingwood on 15 September 1913  He spent three months in the Mediterranean, but never overcame his seasickness  Three weeks after the outbreak of World War I he was medically evacuated from the ship to Aberdeen, where his appendix was removed by Sir John Marnoch  He was mentioned in dispatches for his actions as a turret officer aboard Collingwood in the Battle of Jutland (31 May – 1 June 1916), the great naval battle of the war  He did not see further combat, largely because of ill health caused by a duodenal ulcer, for which he had an operation in November 1917 In February 1918 Albert was appointed Officer in Charge of Boys at the Royal Naval Air Service's training establishment at Cranwell  With the establishment of the Royal Air Force Albert transferred from the Royal Navy to the Royal Air Force  He served as Officer Commanding Number 4 Squadron of the Boys' Wing at Cranwell until August 1918, before reporting for duty on the staff of the RAF's Cadet Brigade at St Leonards-on-Sea and then at Shorncliffe  He completed a fortnight's training and took command of a squadron on the Cadet Wing  He was the first member of the British royal family to be certified as a fully qualified pilot Albert wanted to serve on the Continent while the war was still in progress and welcomed a posting to General Trenchard's staff in France  On 23 October, he flew across the Channel to Autigny  For the closing weeks of the war, he served on the staff of the RAF's Independent Air Force at its headquarters in Nancy, France  Following the disbanding of the Independent Air Force in November 1918, he remained on the Continent for two months as an RAF staff officer until posted back to Britain  He accompanied King Albert I of Belgium on his triumphal re-entry into Brussels on 22 November  Prince Albert qualified as an RAF pilot on 31 July 1919 and was promoted to squadron leader the following day In October 1919, Albert went up to Trinity College, Cambridge, where he studied history, economics and civics for a year, with the historian R  V  Laurence as his "official mentor"  On 4 June 1920 his father created him Duke of York, Earl of Inverness and Baron Killarney  He began to take on more royal duties  He represented his father and toured coal mines, factories, and railyards  Through such visits he acquired the nickname of the "Industrial Prince"  His stutter, and his embarrassment over it, together with a tendency to shyness, caused him to appear less confident in public than his older brother, Edward  However, he was physically active and enjoyed playing tennis  He played at Wimbledon in the Men's Doubles with Louis Greig in 1926, losing in the first round  He developed an interest in working conditions, and was president of the Industrial Welfare Society  His series of annual summer camps for boys between 1921 and 1939 brought together boys from different social backgrounds 

Marriage
In a time when royalty were expected to marry fellow royalty, it was unusual that Albert had a great deal of freedom in choosing a prospective wife  An infatuation with the already-married Australian socialite Lady Loughborough came to an end in April 1920 when the King, with the promise of the dukedom of York, persuaded Albert to stop seeing her  That year, he met for the first time since childhood Lady Elizabeth Bowes-Lyon, the youngest daughter of the Earl and Countess of Strathmore  He became determined to marry her  Elizabeth rejected his proposal twice, in 1921 and 1922, reportedly because she was reluctant to make the sacrifices necessary to become a member of the royal family  In the words of Lady Strathmore, Albert would be "made or marred" by his choice of wife  After a protracted courtship, Elizabeth agreed to marry him Albert and Elizabeth were married on 26 April 1923 in Westminster Abbey  Albert's marriage to someone not of royal birth was considered a modernising gesture  The newly formed British Broadcasting Company wished to record and broadcast the event on radio, but the Abbey Chapter vetoed the idea (although the Dean, Herbert Edward Ryle, was in favour) 

From December 1924 to April 1925, the Duke and Duchess toured Kenya, Uganda, and the Sudan, travelling via the Suez Canal and Aden  During the trip, they both went big-game hunting Because of his stutter, Albert dreaded public speaking  After his closing speech at the British Empire Exhibition at Wembley on 31 October 1925, one which was an ordeal for both him and his listeners, he began to see Lionel Logue, an Australian-born speech therapist  The Duke and Logue practised breathing exercises, and the Duchess rehearsed with him patiently  Subsequently, he was able to speak with less hesitation  With his delivery improved, Albert opened the new Parliament House in Canberra, Australia, during a tour of the empire with the Duchess in 1927  Their journey by sea to Australia, New Zealand and Fiji took them via Jamaica, where Albert played doubles tennis partnered with a black man, Bertrand Clark, which was unusual at the time and taken locally as a display of equality between races The Duke and Duchess had two children: Elizabeth (called "Lilibet" by the family, and the future Elizabeth II) who was born in 1926, and Margaret who was born in 1930  The close family lived at White Lodge, Richmond Park, and then at 145 Piccadilly, rather than one of the royal palaces  In 1931, the Canadian prime minister, R  B  Bennett, considered Albert for Governor General of Canada—a proposal that King George V rejected on the advice of the Secretary of State for Dominion Affairs, J  H  Thomas 

Reign
Reluctant king
King George V had severe reservations about Prince Edward, saying "After I am dead, the boy will ruin himself in twelve months" and "I pray God that my eldest son will never marry and that nothing will come between Bertie and Lilibet and the throne " On 20 January 1936, George V died and Edward ascended the throne as King Edward VIII  In the Vigil of the Princes, Prince Albert and his three brothers (the new king, Prince Henry, Duke of Gloucester, and Prince George, Duke of Kent) took a shift standing guard over their father's body as it lay in state, in a closed casket, in Westminster Hall 
As Edward was unmarried and had no children, Albert was the heir presumptive to the throne  Less than a year later, on 11 December 1936, Edward abdicated in order to marry Wallis Simpson, who was divorced from her first husband and divorcing her second  Edward had been advised by British prime minister Stanley Baldwin that he could not remain king and marry a divorced woman with two living ex-husbands  He abdicated and Albert, though he had been reluctant to accept the throne, became king  The day before the abdication, Albert went to London to see his mother, Queen Mary  He wrote in his diary, "When I told her what had happened, I broke down and sobbed like a child "On the day of Edward's abdication, the Oireachtas, the parliament of the Irish Free State, removed all direct mention of the monarch from the Irish constitution  The next day, it passed the External Relations Act, which gave the monarch limited authority (strictly on the advice of the government) to appoint diplomatic representatives for Ireland and to be involved in the making of foreign treaties  The two acts made the Irish Free State a republic in essence without removing its links to the Commonwealth Across Britain, gossip spread that Albert was physically and psychologically incapable of being king  No evidence has been found to support the contemporaneous rumour that the government considered bypassing him, his children and his brother Prince Henry, in favour of their younger brother Prince George, Duke of Kent  This seems to have been suggested on the grounds that Prince George was at that time the only brother with a son 

Early reign
Albert assumed the regnal name "George VI" to emphasise continuity with his father and restore confidence in the monarchy  The beginning of George VI's reign was taken up by questions surrounding his predecessor and brother, whose titles, style and position were uncertain  He had been introduced as "His Royal Highness Prince Edward" for the abdication broadcast, but George VI felt that by abdicating and renouncing the succession, Edward had lost the right to bear royal titles, including "Royal Highness"  In settling the issue, George's first act as king was to confer upon his brother the title "Duke of Windsor" with the style "Royal Highness", but the letters patent creating the dukedom prevented any wife or children from bearing royal styles  George VI was forced to buy from Edward the royal residences of Balmoral Castle and Sandringham House, as these were private properties and did not pass to him automatically  Three days after his accession, on his 41st birthday, he invested his wife, the new queen consort, with the Order of the Garter 

George VI's coronation at Westminster Abbey took place on 12 May 1937, the date previously intended for Edward's coronation  In a break with tradition, his mother Queen Mary attended the ceremony in a show of support for her son  There was no Durbar held in Delhi for George VI, as had occurred for his father, as the cost would have been a burden to the Government of India  Rising Indian nationalism made the welcome that the royal party would have received likely to be muted at best, and a prolonged absence from Britain would have been undesirable in the tense period before the Second World War  Two overseas tours were undertaken, to France and to North America, both of which promised greater strategic advantages in the event of war The growing likelihood of war in Europe dominated the early reign of George VI  The King was constitutionally bound to support British prime minister Neville Chamberlain's appeasement of Hitler  When the King and Queen greeted Chamberlain on his return from negotiating the Munich Agreement in 1938, they invited him to appear on the balcony of Buckingham Palace with them  This public association of the monarchy with a politician was exceptional, as balcony appearances were traditionally restricted to the royal family  While broadly popular among the general public, Chamberlain's policy towards Hitler was the subject of some opposition in the House of Commons, which led historian John Grigg to describe George's behaviour in associating himself so prominently with a politician as "the most unconstitutional act by a British sovereign in the present century" 

In May and June 1939, the King and Queen toured Canada and the United States; it was the first visit of a reigning British monarch to North America, although George had been to Canada prior to his accession  From Ottawa, George and Elizabeth were accompanied by Canadian prime minister Mackenzie King, to present themselves in North America as King and Queen of Canada  Both Mackenzie King and the Canadian governor general, Lord Tweedsmuir, hoped that George's presence in Canada would demonstrate the principles of the Statute of Westminster 1931, which gave full sovereignty to the British Dominions  On 19 May, George personally accepted and approved the Letter of Credence of the new U S  ambassador to Canada, Daniel Calhoun Roper; gave royal assent to nine parliamentary bills; and ratified two   international treaties with the Great Seal of Canada  The official royal tour historian, Gustave Lanctot, wrote "the Statute of Westminster had assumed full reality" and George gave a speech emphasising "the free and equal association of the nations of the Commonwealth" The trip was intended to soften the strong isolationist tendencies among the North American public with regard to the developing tensions in Europe  Although the aim of the tour was mainly political, to shore up Atlantic support for the United Kingdom in any future war, the King and Queen were enthusiastically received by the public  The fear that George would be compared unfavourably to his predecessor was dispelled  They visited the 1939 New York World's Fair and stayed with President Franklin D  Roosevelt at the White House and at his private estate at Hyde Park, New York  A strong bond of friendship was forged between Roosevelt and the royal couple during the tour, which had major significance in the relations between the United States and the United Kingdom through the ensuing war years 

Second World War
Following the German invasion of Poland in September 1939, the United Kingdom and the self-governing Dominions other than Ireland declared war on Nazi Germany  The King and Queen resolved to stay in London, despite German bombing raids  They officially stayed in Buckingham Palace throughout the war, although they usually spent nights at Windsor Castle  The first night of the Blitz on London, on 7 September 1940, killed about one thousand civilians, mostly in the East End  On 13 September, the couple narrowly avoided death when two German bombs exploded in a courtyard at Buckingham Palace while they were there  In defiance, Elizabeth declared: "I am glad we have been bombed  It makes me feel we can look the East End in the face " The royal family were portrayed as sharing the same dangers and deprivations as the rest of the country  They were subject to British rationing restrictions, and U S  First Lady Eleanor Roosevelt remarked on the rationed food served and the limited bathwater that was permitted during a stay at the unheated and boarded-up Palace  In August 1942, the King's brother, the Duke of Kent, was killed on active service 

In 1940, Winston Churchill replaced Neville Chamberlain as prime minister, though personally George would have preferred to appoint Lord Halifax  After the King's initial dismay over Churchill's appointment of Lord Beaverbrook to the Cabinet, he and Churchill developed "the closest personal relationship in modern British history between a monarch and a Prime Minister"  Every Tuesday for four and a half years from September 1940, the two men met privately for lunch to discuss the war in secret and with frankness  George related much of what the two discussed in his diary, which is the only extant first-hand account of these conversations Throughout the war, George and Elizabeth provided morale-boosting visits throughout the United Kingdom, visiting bomb sites, munitions factories, and troops  George visited military forces abroad in France in December 1939, North Africa and Malta in June 1943, Normandy in June 1944, southern Italy in July 1944, and the Low Countries in October 1944  Their high public profile and apparently indefatigable determination secured their place as symbols of national resistance  At a social function in 1944, the Chief of the Imperial General Staff, Field Marshal Alan Brooke, revealed that every time he met Field Marshal Bernard Montgomery, he thought Montgomery was after his job  George replied: "You should worry, when I meet him, I always think he's after mine!"In 1945, crowds shouted "We want the King!" in front of Buckingham Palace during the Victory in Europe Day celebrations  In an echo of Chamberlain's appearance, the King invited Churchill to appear with the royal family on the balcony to public acclaim  In January 1946, George addressed the United Nations at its first assembly, which was held in London, and reaffirmed "our faith in the equal rights of men and women and of nations great and small" 

Empire to Commonwealth
George VI's reign saw the acceleration of the dissolution of the British Empire  The Statute of Westminster 1931 had already acknowledged the evolution of the Dominions into separate sovereign states  The process of transformation from an empire to a voluntary association of independent states, known as the Commonwealth, gathered pace after the Second World War  During the ministry of Clement Attlee, British India became the two independent Dominions of India and Pakistan in August 1947  George relinquished the title of Emperor of India, and became King of India and King of Pakistan instead  In late April 1949, the Commonwealth leaders issued the London Declaration, which laid the foundation of the modern Commonwealth and recognised George as Head of the Commonwealth  In January 1950, he ceased to be King of India when it became a republic  He remained King of Pakistan until his death  Other countries left the Commonwealth, such as Burma in January 1948, Palestine (divided between Israel and the Arab states) in May 1948 and the Republic of Ireland in 1949 In 1947, George and his family toured southern Africa  The prime minister of the Union of South Africa, Jan Smuts, was facing an election and hoped to make political capital out of the visit  George was appalled, however, when instructed by the South African government to shake hands only with whites, and referred to his South African bodyguards as "the Gestapo"  Despite the tour, Smuts lost the election the following year, and the new government instituted a strict policy of racial segregation 

Illness and death
The stress of the war had taken its toll on George's health, made worse by his heavy smoking, and subsequent development of lung cancer among other ailments, including arteriosclerosis and Buerger's disease  A planned tour of Australia and New Zealand was postponed after George developed an arterial blockage in his right leg, which threatened the loss of the leg and was treated with a right lumbar sympathectomy in March 1949  His elder daughter and heir presumptive, Elizabeth, took on more royal duties as her father's health deteriorated  The delayed tour was re-organised, with Princess Elizabeth and her husband, Philip, Duke of Edinburgh, taking the place of the King and Queen 
George was well enough to open the Festival of Britain in May 1951, but on 4 June it was announced that he would need immediate and complete rest for the next four weeks, despite the arrival of Haakon VII of Norway the following afternoon for an official visit  On 23 September 1951, he underwent a surgical operation where his entire left lung was removed by Clement Price Thomas after a malignant tumour was found  In October 1951, Elizabeth and Philip went on a month-long tour of Canada; the trip had been delayed for a week due to George's illness  At the State Opening of Parliament in November, the Lord Chancellor, Lord Simonds, read the King's speech from the throne  The King's Christmas broadcast of 1951 was recorded in sections, and then edited together On 31 January 1952, despite advice from those close to him, George went to London Airport to see Elizabeth and Philip off on their tour to Australia via Kenya  It was his last public appearance  Six days later, at 07:30 GMT on the morning of 6 February, he was found dead in bed at Sandringham House in Norfolk  He had died in the night from a coronary thrombosis at the age of 56  His daughter flew back to Britain from Kenya as Queen Elizabeth II From 9 February George's coffin rested in St Mary Magdalene Church, Sandringham, before lying in state at Westminster Hall from 11 February  His funeral took place at St George's Chapel, Windsor Castle, on the 15th  He was interred initially in the Royal Vault until he was transferred to the King George VI Memorial Chapel inside St George's on 26 March 1969  In 2002, fifty years after his death, the remains of his widow, Queen Elizabeth The Queen Mother, and the ashes of his younger daughter, Princess Margaret, who both died that year, were interred in the chapel alongside him  In 2022, the remains of Queen Elizabeth II and her husband, Prince Philip, were also interred in the chapel 

Legacy
In the words of Labour Member of Parliament (MP) George Hardie, the abdication crisis of 1936 did "more for republicanism than fifty years of propaganda"  George VI wrote to his brother Edward that in the aftermath of the abdication he had reluctantly assumed "a rocking throne" and tried "to make it steady again"  He became king at a point when public faith in the monarchy was at a low ebb  During his reign, his people endured the hardships of war, and imperial power was eroded  However, as a dutiful family man and by showing personal courage, he succeeded in restoring the popularity of the monarchy The George Cross and the George Medal were founded at the King's suggestion during the Second World War to recognise acts of exceptional civilian bravery  He bestowed the George Cross on the entire "island fortress of Malta" in 1943  He was posthumously awarded the Order of Liberation by the French government in 1960, one of only two people (the other being Churchill in 1958) to be awarded the medal after 1946 Colin Firth won an Academy Award for Best Actor for his performance as George VI in the 2010 film The King's Speech 

Titles, honours and arms
As Duke of York, Albert bore the royal arms of the United Kingdom differenced with a label of three points argent, the centre point bearing an anchor azure—a difference earlier awarded to his father, George V, when he was Duke of York, and then later awarded to his grandson Prince Andrew, Duke of York  As king, he bore the royal arms undifferenced 

Issue
Ancestry
Notes
Passage 3:
The King's Speech
The King's Speech is a 2010 historical drama film directed by Tom Hooper and written by David Seidler  Colin Firth plays the future King George VI who, to cope with a stammer, sees Lionel Logue, an Australian speech and language therapist played by Geoffrey Rush  The men become friends as they work together, and after his brother abdicates the throne, the new king relies on Logue to help him make his first wartime radio broadcast upon Britain's declaration of war on Germany in 1939 
Seidler read about George VI's life after learning to manage a stuttering condition he developed during his own youth  He started writing about the relationship between the therapist and his royal patient as early as the 1980s, but at the request of the King's widow, Queen Elizabeth The Queen Mother, postponed work until her death in 2002  He later rewrote his screenplay for the stage to focus on the essential relationship between the two protagonists  Nine weeks before filming began, the filmmakers learned of the existence of notes written by Logue that were being used by his grandson Mark and Peter Conradi as the basis of a book, and were granted permission to incorporate material from the notes and book into the script 
Principal photography took place in London and around Britain from November 2009 to January 2010  Hard light was used to give the story a greater resonance and wider-than-normal lenses were employed to recreate the Duke of York's feelings of constriction  A third technique Hooper employed was the off-centre framing of characters 
The King's Speech was a major box office and critical success  It was widely praised by film critics for its visual style, art direction, screenplay, directing, score, and acting  Other commentators discussed the film's representation of historical detail, especially the reversal of Winston Churchill's opposition to abdication  The film received many awards and nominations, particularly for Colin Firth's performance, which resulted in his first Academy Award for Best Actor  At the 83rd Academy Awards, The King's Speech received 12 Oscar nominations, more than any other film in that year, and subsequently won four, including Best Picture  Censors initially gave it adult ratings due to profanity, though these were later revised downwards after criticism by the makers and distributors in the UK and some instances of swearing were muted in the US



ground_truth: fleur - de-lis

Fleur-de-lis

fleur-de-lis

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

Question: Where did the producer of Julius Caesar study or work?

The following are given passages.
Context 2:  He also had great popularity among the common people and a large network of friends, which would help attract others to join their cause  However, the conspirators considered Cicero too cautious; at that time, Cicero was over sixty, and the conspirators thought he would be too likely to put safety over speed when planning the assassination  Next, the conspirators considered Mark Antony, aged thirty-nine and one of Caesar's best generals  The conspirators were agreeing to attempt to recruit him until Gaius Trebonius spoke  He revealed that he had personally approached Antony the summer before and asked him to join a different conspiracy to end Caesar's life, and Antony had turned him down  This rejection to the old conspiracy caused the conspirators to decide against recruiting Antony Now, however, a new idea took place  Antony was strong because of his familiarity with the soldiers, and powerful due to his consulship  If Antony was not to join them, then they must assassinate Antony as well, lest he interfere with the conspiracy  Eventually, this idea was expanded upon and split the conspirators into two factions  The optimates, the "Best Men" of Rome, among the conspirators wanted to go back to the way things were before Caesar  This would entail killing both Caesar and all the men around him, including Antony, and reverting Caesar's reforms  The former supporters of Caesar among the conspirators did not agree to this  They liked Caesar's reforms, and did not want a purge of Caesar's supporters  However, even they agreed to kill Antony Brutus disagreed with both  He argued that killing Caesar, and doing nothing else, was the option they should choose  The conspirators claimed to be acting based on the principles of law and justice, he told them, and it would be unjust to kill Antony  While the assassination of Caesar would be viewed as the killing of a tyrant, killing his supporters would be seen only as a politicized purge and the work of Pompey's former supporters  By keeping Caesar's reforms intact, they would both keep the support of the Roman people, who Brutus believed opposed Caesar the king, not Caesar the reformer, and the support of Caesar's soldiers and other supporters  His argument convinced the other conspirators  They began making plans for Caesar's assassination The conspirators believed that how and where they assassinated Caesar would make a difference  An ambush in a secluded area would have a different impact on public opinion than an assassination in the heart of Rome  The conspirators came up with multiple ideas for the assassination  They considered an attack on Caesar while he was walking on the Via Sacra, the "Sacred Street"  Another idea was to wait to attack him during the elections for new consuls  The conspirators would wait for Caesar to begin crossing the bridge that all voters crossed as part of the election procedures, and then topple him over the rail and into the water  There would be conspirators waiting in the water for Caesar, with daggers drawn  Another plan was to attack at a gladiatorial game, which had the benefit that nobody would be suspicious of armed men Finally, somebody brought up the idea to assassinate Caesar at one of the senate meetings  All other plans had one detriment: while Caesar had no official bodyguards, he asked his friends to protect him in public  Most of these friends were imposing and dangerous-looking and the conspirators were afraid that they would interfere with the assassination  Here, this would not be an issue, since only senators were allowed in the Senate House  Some also said that the murder of a tyrant in full view of the Senate would not be seen as a political plot, but as a noble act, done on behalf of their country  The conspirators ultimately settled on this as the chosen plan  Caesar would be leaving the city on 18 March to embark on a military campaign against the Getae and the Parthians  The last senate meeting before that date was on the 15th, the Ides of March, and so the conspirators chose this as the day of the assassination In the days leading up to the Ides, Caesar was not completely oblivious to what was being planned  According to the ancient historian Plutarch, a seer had warned Caesar that his life would be in danger no later than the Ides of March  The Roman biographer Suetonius identifies this seer as a haruspex named Spurinna  In addition, on 1 March, Caesar watched Cassius speaking with Brutus at the senate house and said to an aide, "What do you think Cassius is up to? I don't like him, he looks pale "Two days before the assassination, Cassius met with the conspirators and told them that, should anyone discover the plan, they were to turn their knives on themselves 

Ides of March
On the Ides of March of 44 BC, conspirators and non-conspirators met at the Senate House of Pompey, located in the Theatre of Pompey, for the senate meeting  Usually, the senators would be meeting at the Roman Forum, but Caesar was financing a reconstruction of the forum and so the senators met in other venues throughout Rome, this being one of them  There were gladiatorial games underway at the Theatre, and Decimus Brutus, who owned a company of gladiators, stationed them in the Portico of Pompey, also located in the Theatre of Pompey  The gladiators could be useful to the conspirators: if a fight broke out to protect Caesar, the gladiators could intervene; if Caesar was killed but the conspirators came under attack, the gladiators could protect them; and since it was impossible to enter the Senate House without going through the Portico, the gladiators could block entrance to both if necessary The senators waited for Caesar's arrival, but he did not come  The reason for this is that early that morning, Calpurnia, Caesar's wife, was awoken from a nightmare  She had dreamt that she was holding a murdered Caesar in her arms and mourning him  Other versions have Calpurnia dream that the front pediment of their house had collapsed and that Caesar had died; yet another shows Caesar's body streaming with blood  Calpurnia had no doubt heard Spurinna's warnings of great peril to Caesar's life, which helps explain her visions  Around 5 a m , Calpurnia begged Caesar not to go to the senate meeting that day  After some hesitation, Caesar acquiesced  Although not superstitious, he knew that Spurinna and Calpurnia were involved in Roman politics, and decided to be cautious  Caesar sent Mark Antony to dismiss the Senate  When the conspirators heard of this dismissal, Decimus went to Caesar's home to try to talk him into coming to the Senate meeting  "What do you say, Caesar?" Decimus said  "Will someone of your stature pay attention to a woman's dreams and the omens of foolish men?" Caesar eventually decided to go Caesar was walking to the senate house when he caught sight of Spurinna  "Well, the Ides of March have come!" Caesar called out playfully  "Aye, the Ides have come," said Spurinna, "but they are not yet gone " Mark Antony started to enter with Caesar, but was intercepted by one of the plotters (either Trebonius or Decimus Brutus) and detained outside  He remained there until after the assassination, at which point he fled 
According to Plutarch, as Caesar took his seat, Lucius Tillius Cimber presented him with a petition to recall his exiled brother  The other conspirators crowded round to offer their support  Both Plutarch and Suetonius say that Caesar waved him away, but Cimber grabbed Caesar's shoulders and pulled down Caesar's toga  Caesar then cried to Cimber, "Why, this is violence!" ("Ista quidem vis est!")  At the same time, Casca produced his dagger and made a glancing thrust at the dictator's neck  Caesar turned around quickly and caught Casca by the arm  According to Plutarch, he said in Latin, "Casca, you villain, what are you doing?" Casca, frightened, shouted simultaneously "Brother! Help me!" (Ancient Greek: ἀδελφέ, βοήθει, romanized: adelphe, boethei)  Though Caesar was able to violently throw Casca away, Gaius Servilius Casca stabbed him in the side  Within moments, Caesar was attacked from all directions, with Cassius, slashing Caesar's face, Bucilianus stabbing at the back and Decimus slicing his thigh  Caesar attempted to fight back, but tripped and fell; the men continued stabbing him as he lay defenseless on the lower steps of the portico  Caesar was stabbed 23 times  Suetonius relates that a physician who performed an autopsy on Caesar established that only one wound (the second one to his ribs) had been fatal  This autopsy report (the earliest known post-mortem report in history) describes that Caesar's death was mostly attributable to blood loss from his stab wounds Caesar was killed at the base of the Curia of Pompey in the Theatre of Pompey The dictator's last words are a contested subject among scholars and historians  Suetonius himself says he said nothing, nevertheless, he mentions that others have written that Caesar's last words were the Greek phrase "καὶ σύ, τέκνον;" (transliterated as "Kai su, teknon?": "You too, child?" in English)  Plutarch also reports that Caesar said nothing, pulling his toga over his head when he saw Brutus among the conspirators  According to Plutarch, after the assassination, Brutus stepped forward as if to say something to his fellow senators not involved in the plot; they, however, fled the building  Brutus and his companions then marched through the city, announcing: "People of Rome, we are once again free!" They were met with silence, as the citizens of Rome had locked themselves inside their houses as soon as the rumours of what had taken place began to spread  According to Suetonius, after the murder all the conspirators fled; Caesar's body lay untouched for some time afterwards, until finally three slaves put him on a litter and carried him home, with one arm hanging down 

Preceding events
Virgil wrote in the Georgics that several unusual events took place preceding Caesar's assassination  This should be read in the context of the ancient Romans' belief in omens 

Who dare say the Sun is false? He and no other warns us when dark uprising threaten, when treachery and hidden wars are gathering strength  He and no other was moved to pity Rome on the day that Caesar died, when he veiled his radiance in gloom and darkness, and a godless age feared everlasting night  Yet in this hour Earth also and the plains of Ocean, ill-boding dogs and birds that spell mischief, sent signs which heralded disaster  How oft before our eyes did Etna deluge the fields of the Cyclopes with a torrent from her burst furnaces, hurling thereon balls of fire and molten rocks  Germany heard the noise of battle sweep across the sky and, even without precedent, the Alps rocked with earthquakes  A voice boomed through the silent groves for all to hear, a deafening voice, and phantoms of unearthly pallor were seen in the falling darkness  Horror beyond words, beasts uttered human speech; rivers stood still, the earth gaped upon; in the temples ivory images wept for grief, and beads of sweat covered bronze statues  King of waterways, the Po swept forests along in the swirl of his frenzied current, carrying with him over the plain cattle and stalls alike  Nor in that same hour did sinister filaments cease to appear in ominous entrails or blood to flow from wells or our hillside towns to echo all night with the howl of wolves  Never fell more lightning from a cloudless sky; never was comet's alarming glare so often seen 

Aftermath
A wax statue of Caesar was erected at the Forum displaying the 23 stab wounds  A crowd who had amassed there expressed their anger at the assassins by burning the Senate House  Two days after the assassination, Mark Antony summoned the senate and managed to work out a compromise in which the assassins would not be punished for their acts, but all of Caesar's appointments would remain valid  By doing this, Antony most likely hoped to avoid large cracks in government forming as a result of Caesar's death  Simultaneously, Antony diminished the goals of the conspirators  The result unforeseen by the assassins was that Caesar's death precipitated the end of the Roman Republic  The Roman lower classes, with whom Caesar was popular, became enraged that a small group of aristocrats had sacrificed Caesar  Antony capitalized on the grief of the Roman mob and threatened to unleash them on the Optimates, perhaps with the intent of taking control of Rome himself  But, to his surprise and chagrin, Caesar had named his grandnephew Gaius Octavius his sole heir, bequeathing him the immensely potent Caesar name as well as making him one of the wealthiest citizens in the Republic  Upon hearing of his adoptive father's death, Octavius abandoned his studies in Apollonia and sailed across the Adriatic Sea to Brundisium  Octavius became Gaius Julius Caesar Octavianus or Octavian, the son of the great Caesar, and consequently also inherited the loyalty of much of the Roman populace  Octavian, aged only 18 at the time of Caesar's death, proved to have considerable political skills, and while Antony dealt with Decimus Brutus in the first round of the new civil wars, Octavian consolidated his tenuous position  Antony did not initially consider Octavius a true political threat due to his young age and inexperience, but Octavius quickly gained the support and admiration of Caesar's friends and supporters To combat Brutus and Cassius, who were massing an enormous army in Greece, Antony needed soldiers, the money from Caesar's war chests, and the legitimacy that Caesar's name would provide for any action he took against them  With passage of the Lex Titia on 27 November 43 BC, the Second Triumvirate was officially formed, composed of Antony, Octavian, and Caesar's Master of the Horse Lepidus  It formally deified Caesar as Divus Iulius in 42 BC, and Caesar Octavian henceforth became Divi filius ("Son of the Divine")  Seeing that Caesar's clemency had resulted in his murder, the Second Triumvirate brought back proscription, abandoned since Sulla  It engaged in the legally sanctioned murder of a large number of its opponents in order to fund its forty-five legions in the second civil war against Brutus and Cassius  Antony and Octavian defeated them at Philippi The Second Triumvirate was ultimately unstable and could not withstand internal jealousies and ambitions  Antony detested Octavian and spent most of his time in the East, while Lepidus favoured Antony but felt himself obscured by both his colleagues  Following the Sicilian revolt, led by Sextus Pompey, a dispute between Lepidus and Octavian regarding the allocation of lands broke out  Octavian accused Lepidus of usurping power in Sicily and of attempted rebellion and, in 36 BC, Lepidus was forced into exile in Circeii and stripped of all his offices except that of Pontifex Maximus  His former provinces were awarded to Octavian  Antony, meanwhile, married Caesar's lover, Cleopatra, intending to use the fabulously wealthy Egypt as a base to dominate Rome  A third civil war subsequently broke out between Octavian on one hand and Antony and Cleopatra on the other  This final civil war culminated in the latter's defeat at Actium in 31 BC; Octavian's forces would then chase Antony and Cleopatra to Alexandria, where they would both commit suicide in 30 BC  With the complete defeat of Antony and the marginalisation of Lepidus, Octavian, having been restyled "Augustus", a name that raised him to the status of a deity, in 27 BC, remained as the sole master of the Roman world and proceeded to establish the Principate as the first Roman "Emperor" 

List of conspirators
Most of the conspirators' names are lost to history and only about twenty are known  Nothing is known about some of those whose names have survived  The known members are:

Marcus Tullius Cicero was not a member of the conspiracy and was surprised by it  He later wrote to the conspirator Trebonius that he wished he had been "invited to that superb banquet" and believed that the conspirators should also have killed Mark Antony 

Gallery
See also
List of assassinated and executed heads of state and government
Acta Caesaris
Death of Alexander the Great
Death of Cleopatra
Julius Caesar, a play by William Shakespeare
The Ides of March, a novel by Thornton Wilder
The Throne of Caesar, a novel by Steven Saylor
Amanita caesarea

Notes
Passage 5:
Julius Caesar (1953 film)
Julius Caesar (billed on-screen as William Shakespeare's Julius Caesar) is a 1953 American film adaptation of the Shakespearean play, directed by Joseph L  Mankiewicz and produced by John Houseman for Metro-Goldwyn-Mayer  It stars Marlon Brando as Mark Antony, James Mason as Brutus, John Gielgud as Cassius, Louis Calhern as Caesar, Edmond O'Brien as Casca,  Greer Garson as Calpurnia, and Deborah Kerr as Portia 
The film opened to positive reviews, and was nominated in five categories at the 26th Academy Awards (including Best Picture and Best Actor for Brando), winning Best Art Direction - Black-and-White  Brando and Gielgud both won BAFTA Awards, Brando for Best Foreign Actor and Gielgud for Best British Actor 

Plot
"Upon Caesar's return to Rome, after defeating Pompey in the civil war, his countrymen chose him a fourth time consul and then dictator for life      thus he became odious to moderate men through the extravagance of the titles and powers that were heaped upon him "Plutarch's LivesThe film is a largely-faithful adaptation of Shakespeare's play, with no significant cuts or alterations to the original text  The only notable exception is the Messenger's text recounting the Battle of Philippi, which is substituted with a visual depiction of the battle 

Cast
Cast as listed in end credits
Production
Producer John Houseman says the film was made because Laurence Olivier's 1944 production of Henry V had been a success  MGM's head of production Dore Schary offered the project to Houseman, who said he wanted Joseph L  Mankiewicz to direct because he thought he and William Wyler were "probably the two best dialogue directors in the business" and that Mankiewicz was "younger and more flexible "Houseman did not want to use an all-British cast  "I'd done a lot of Shakespeare in America," he said  "If it was going to be cast all-English, it should be an English picture, made in England and we might as well forget about it "Houseman says MGM wanted to make the film in color but he and Mankiewicz refused, "partly because we wanted people to relate to the newsreels, to the Fascist movements in Europe, which were still relevant" and also because they would be "using a lot of the Quo Vadis sets, and it seemed idiotic to invite comparison with Quo Vadis "Though Houseman originally intended to shoot the film in Italy, production ultimately took place in Los Angeles instead  Many of the sets and costumes were repurposed from Quo Vadis (1951), with several setpieces deconstructed, flown from Rome to California, and rebuilt on MGM's Culver City studio backlot 
Houseman says they "decided to do it as a small production, not a spectacle; to do it for what it really is—the drama of a political power play "

Casting
Many actors in this film had experience in the play  John Gielgud had played Mark Antony at the Old Vic Theatre in 1930 and Cassius at the Shakespeare Memorial Theatre in Stratford-upon-Avon in 1950, James Mason had played Brutus at the Abbey Theatre in Dublin in the 1940s, and John Hoyt, who plays Decius Brutus, also played him in the Mercury Theatre's 1937 stage version  Gielgud later played the title role in the 1970 film with Charlton Heston, Jason Robards and Richard Johnson (as Cassius) and in a stage production directed by John Schlesinger at the Royal National Theatre  John Houseman, who had produced the famous 1937 Broadway version of the play starring Orson Welles and the Mercury Theatre, also produced the MGM film  By this time, however, Welles and Houseman had had a falling out, and Welles had nothing to do with the 1953 film  P  M  Pasinetti, Italian-American writer, scholar, and teacher at UCLA served as a technical advisor 

Brando's casting was met with some skepticism when it was announced, as he had acquired the nickname of "The Mumbler" following his performance in A Streetcar Named Desire (1951)   Director Joseph L  Mankiewicz even considered Paul Scofield for the role of Mark Antony if Brando's screen test was unsuccessful   Brando asked John Gielgud for advice in declaiming Shakespeare, and adopted all of Gielgud's recommendations  Brando's performance turned out so well that the New York Times' Bosley Crowther stated in his review of the film: “Happily, Mr  Brando's diction, which has been guttural and slurred in previous films, is clear and precise in this instance  In him a major talent has emerged ”  Brando was so dedicated in his performance during shooting that Gielgud offered to direct him in a stage production of Hamlet, a proposition that Brando seriously considered but ultimately turned down   During filming, James Mason became concerned that Brando was stealing the audience's sympathy away from him and his character, Brutus, so Mason appealed to Mankiewicz, with whom he had bonded earlier while making the film 5 Fingers, requesting that the director stop Brando from dominating the film and "put the focus back where it belongs  Namely on me!"  The subsequent shift in directorial attention didn't escape Brando, who threatened to walk off the film if Mankiewicz "threw one more scene to Mason", alleging a ménage à trois  among Mankiewicz, Mason and his wife Pamela Mason   Despite the feuding, production continued with only minimal disruption, thanks to what Gielgud called, "Mankiewicz's consummate tact that kept us together as a working unit "O  Z  Whitehead is listed on the Internet Movie Database as having played Cinna the Poet in the film and not receiving screen credit, but his one scene was deleted before release, and it is not included in any DVD or video releases of the film  (However, Cinna the Conspirator does appear — he is played by actor William Cottrell )

Release
The film premiered at the Booth Theatre in New York City on June 3, 1953 

Reception
Critical response
The film received highly favorable reviews  Bosley Crowther of The New York Times called it "a stirring and memorable film," while Variety wrote: "A triumphant achievement in film-making, it will be rated one of the great pictures of Hollywood " Harrison's Reports raved, "Excellent! Sumptuously produced, expertly directed and brilliantly acted, 'Julius Caesar' is an artistic triumph that ranks with the best of the Shakespearean plays that have been put on film " John McCarten of The New Yorker called the film "a very chilly exercise" and opined that Brando "plainly shows he needs a bit of speech training before he can graduate into an acting league where the spoken word is a trifle more significant than the flexed biceps and the fixed eye," but praised Mason and Gielgud as "a pleasure to watch and listen to " The Monthly Film Bulletin called it "an excellent film, excellent cinema, excellent entertainment, and pretty respectable art "In the second volume of his book The Story of Cinema, author David Shipman pointed to Gielgud "negotiating the verse as in no other Shakespeare film to date except Olivier's"  On Rotten Tomatoes the film has an approval rating of 95% based on reviews from 22 critics The film is recognized by American Film Institute in these lists:

2008: AFI's 10 Top 10:
Nominated Epic Film

Box office
According to MGM records, the film earned $2,021,000 in the U S  and Canada and $1,899,000 in other markets, resulting in a profit of $116,000 In 1976, Houseman said "It's still shown a lot—in theaters and schools and on TV  I suspect it finally made more money than any other picture I made "

Awards and nominations
The film won the Academy Award for Best Art Direction (Cedric Gibbons, Edward Carfagno, Edwin B  Willis, Hugh Hunt), and was nominated for Best Actor in a Leading Role (Marlon Brando), Best Cinematography, Black-and-White, Best Music, Scoring of a Dramatic or Comedy Picture and Best Picture  Brando's nomination was his third consecutive for Best Actor, following 1951's A Streetcar Named Desire and 1952's Viva Zapata!  He would win the following year for On the Waterfront 
Julius Caesar won BAFTA awards for Best British Actor (John Gielgud) and Best Foreign Actor (Marlon Brando), and was also nominated for Best Film  It was Brando's second of three consecutive BAFTA Best Actor awards, for Viva Zapata! (1952), Julius Caesar (1953),  and On the Waterfront (1954) 
The National Board of Review awarded Julius Caesar Best Film and Best Actor (James Mason), and it also won the Golden Leopard at the Locarno International Film Festival 

Soundtrack
Intrada Records released an album featuring a 1995 re-recording of Miklós Rózsa’s film score  The re-recording was performed by the Sinfonia of London and conducted by Bruce Broughton 

See also
List of historical drama films
List of films set in ancient Rome
Julius Caesar (1950 film)
Julius Caesar (1970 film)
Passage 6:
Caesar Must Die
Caesar Must Die (Italian: Cesare deve morire) is a 2012 Italian drama film directed by Paolo and Vittorio Taviani  The film competed at the 62nd Berlin International Film Festival where it won the Golden Bear  The film is set in Rebibbia Prison (suburb of Rome), and follows convicts in their rehearsals ahead of a prison performance of Julius Caesar 

Cast
Salvatore Striano as Bruto (Brutus)
Cosimo Rega as Cassio (Cassius)
Giovanni Arcuri as Cesare (Caesar)
Antonio Frasca as Marcantonio (Mark Antony)
Juan Dario Bonetti as Decio (Decius Brutus)
Vincenzo Gallo as Lucio (Lucius)
Rosario Majorana as Metello (Metellus Cimber)
Francesco De Masi as Trebonio (Trebonius)
Gennaro Solito as Cinna (Cinna)
Vittorio Parrella as Casca (Casca)
Pasquale Crapetti as Legionär
Francesco Carusone as Wahrsager (Soothsayer)
Fabio Rizzuto as Stratone (Strato)
Maurilio Giaffreda as Ottavio (Octavius)
Fabio Cavalli as Theatre director

Accolades
Caesar Must Die won the Golden Bear at the 62nd Berlin International Film Festival in February 2012 where British director Mike Leigh led the judging panel  The Hollywood Reporter described the outcome as "a major upset"  Der Spiegel said it was a "very conservative selection"  Der Tagesspiegel criticised the outcome, saying that the "jury shunned almost all the contemporary films that were admired or hotly debated at an otherwise pretty remarkable festival"  The film was also selected as the Italian entry for the Best Foreign Language Oscar at the 85th Academy Awards, but it did not make the final shortlist Critics praised the use of actual prisoners in the film, saying it brought a higher intensity to the piece  Filmed largely in black-and-white, it has been described as a "deeply humanist film" that "blends gentle humour with an emotional punch"  Paolo Taviani said that he hoped moviegoers would "say to themselves or even those around them    that even a prisoner with a dreadful sentence, even a life sentence, is and remains a human being"  Vittorio Taviani read out the names of the cast At Metacritic, the film was given a rating of 76/100 based on 12 critics, which evaluates as generally favorable reviews

See also
List of black-and-white films produced since 1970
List of submissions to the 85th Academy Awards for Best Foreign Language Film
List of Italian submissions for the Academy Award for Best Foreign Language Film
Passage 7:
Ides of March
The Ides of March (; Latin: Idus Martiae, Late Latin: Idus Martii) is the 74th day in the Roman calendar, corresponding to 15 March  It was marked by several religious observances and was a deadline for settling debts in Rome  In 44 BC, it became notorious as the date of the assassination of Julius Caesar, which made the Ides of March a turning point in Roman history 

Ides
The Romans did not number each day of a month from the first to the last day  Instead, they counted back from three fixed points of the month: the Nones (the 5th or 7th, 8 days before the Ides), the Ides (the 13th for most months, but the 15th in March, May, July, and October), and the Kalends (1st of the following month)  Originally the Ides were supposed to be determined by the full moon, reflecting the lunar origin of the Roman calendar  In the earliest calendar, the Ides of March would have been the first full moon of the new year 

Religious observances
The Ides of each month were sacred to Jupiter, the Romans' supreme deity  The Flamen Dialis, Jupiter's high priest, led the "Ides sheep" (ovis Idulis) in procession along the Via Sacra to the arx, where it was sacrificed In addition to the monthly sacrifice, the Ides of March was also the occasion of the Feast of Anna Perenna, a goddess of the year (Latin annus) whose festival originally concluded the ceremonies of the new year  The day was enthusiastically celebrated among the common people with picnics, drinking, and revelry  One source from late antiquity also places the Mamuralia on the Ides of March  This observance, which has aspects of scapegoat or ancient Greek pharmakos ritual, involved beating an old man dressed in animal skins and perhaps driving him from the city  The ritual may have been a new year festival representing the expulsion of the old year In the later Imperial period, the Ides began a "holy week" of festivals celebrating Cybele and Attis, being the day Canna intrat ("The Reed enters"), when Attis was born and found among the reeds of a Phrygian river  He was discovered by shepherds or the goddess Cybele, who was also known as the Magna Mater ("Great Mother") (narratives differ)  A week later, on 22 March, the solemn commemoration of Arbor intrat ("The Tree enters") commemorated the death of Attis under a pine tree  A college of priests, the dendrophoroi ("tree bearers") annually cut down a tree, hung from it an image of Attis, and carried it to the temple of the Magna Mater with lamentations  The day was formalized as part of the official Roman calendar under Claudius (d  54 AD)  A three-day period of mourning followed, culminating with celebrating the rebirth of Attis on 25 March, the date of the vernal equinox on the Julian calendar 

Assassination of Caesar
In modern times, the Ides of March is best known as the date on which Julius Caesar was assassinated in 44 BC  Caesar was stabbed to death at a meeting of the Senate  As many as 60 conspirators, led by Brutus and Cassius, were involved  According to Plutarch, a seer had warned that harm would come to Caesar on the Ides of March  On his way to the Theatre of Pompey, where he would be assassinated, Caesar passed the seer and joked, "Well, the Ides of March are come", implying that the prophecy had not been fulfilled, to which the seer replied "Aye, they are come, but they are not gone " This meeting is famously dramatised in William Shakespeare's play Julius Caesar, when Caesar is warned by the soothsayer to "beware the Ides of March " The Roman biographer Suetonius identifies the "seer" as a haruspex named Spurinna 
Caesar's assassination opened the final chapter in the crisis of the Roman Republic  After his victory in Caesar's civil war, his death triggered a series of further Roman civil wars that would finally result in the rise to sole power of his adopted heir Octavian  In 27 BC, Octavian was raised to be emperor Augustus, and thus he finally terminated the Roman Republic  Writing under Augustus, Ovid portrays the murder as a sacrilege, since Caesar was also the pontifex maximus of Rome and a priest of Vesta  On the fourth anniversary of Caesar's death in 40 BC, after achieving a victory at the siege of Perugia, Octavian executed 300 senators and equites who had fought against him under Lucius Antonius, the brother of Mark Antony  The executions were one of a series of actions taken by Octavian to avenge Caesar's death  Suetonius and the historian Cassius Dio characterised the slaughter as a religious sacrifice, noting that it occurred on the Ides of March at the new altar to the deified Julius 

See also
The Ides of March – a 1948 novel by Thornton Wilder
The Ides of March (est  1964) – an American musical group
The Ides of March – a 2011 film by George Clooney, Beau Willimon and Grant Heslov
The Ides of March – a 2021 music album by Myles Kennedy
Passage 8:
Et tu, Brute?
Et tu, Brute? (pronounced [ɛt ˈtuː ˈbruːtɛ]) is a Latin phrase literally meaning "and you, Brutus?" or "also you, Brutus?", often translated as "You as well, Brutus?", "You too, Brutus?", or "Even you, Brutus?"  The quote appears in Act 3 Scene 1 of William Shakespeare's play Julius Caesar, where it is spoken by the Roman dictator Julius Caesar, at the moment of his assassination, to his friend Marcus Junius Brutus, upon recognizing him as one of the assassins  The first known occurrences of the phrase are said to be in two earlier Elizabethan plays; Henry VI, Part 3 by Shakespeare, and an even earlier play, Caesar Interfectus, by Richard Edes  The phrase is often used apart from the plays to signify an unexpected betrayal by a friend  
There is no evidence that the historical Caesar spoke these words  Though the historical Caesar's last words are not known with certainty, the Roman historian Suetonius, a century and a half after the incident, claims Caesar said nothing as he died, but that others reported that Caesar's last words were the Greek phrase Kai su, teknon (Και συ τέκνον), which means "You too, child" or "You too, young man" to Brutus  Contrary to popular belief, the words are not Caesar's last in the play, as he says "Then fall Caesar!" right after 

Etymology
The name Brutus, a second declension masculine noun, appears in the phrase in the vocative case, and so the -us ending of the nominative case is replaced by -e 

Context
On March 15 (the Ides of March), 44 BC, the historic Caesar was attacked by a group of senators, including Brutus, who was Caesar's friend and protégé  Caesar initially resisted his attackers, but when he saw Brutus, he reportedly responded as he died  Suetonius mentions the quote merely as a rumor, as does Plutarch who also reports that Caesar said nothing, but merely pulled his toga over his head when he saw Brutus among the conspirators Caesar saying Et tu, Brute? in Shakespeare's play Julius Caesar (1599) was not the first time the phrase was used in a dramatic play  Edmond Malone claimed that it appeared in a work that has since been lost—Richard Edes's Latin play Caesar Interfectus of 1582  The phrase had also occurred in another play by Shakespeare, The True Tragedie of Richard Duke of Yorke, and the death of good King Henrie the Sixth, with the Whole Contention betweene the two Houses Lancaster and Yorke of 1595, which is the earliest printed version of Henry VI, Part 3 

Interpretation
It has been argued that the phrase can be interpreted as a curse or warning  One theory states that the historic Caesar adapted the words of a Greek sentence which to the Romans had long since become proverbial: The complete phrase is said to have been "You too, my son, will have a taste of power", of which Caesar only needed to invoke the opening words to foreshadow Brutus' own violent death, in response to his assassination  The poem Satires; Book I, Satire 7 by Horace, written approximately 30 BC, mentions Brutus and his tyrannicide; in discussing that poem, author John Henderson considers that the expression E-t t-u Br-u-t-e, (as he hyphenates it), can be interpreted as a complaint containing a "suggestion of mimetic compulsion" 

See also
List of Latin phrases (E)
Context 3:  On a budget of £8 million, it earned over £250 million internationally 

Plot
At the official closing of the British Empire Exhibition at Wembley Stadium, Prince Albert, Duke of York, the second son of King George V, addresses the crowd with a strong stammer  His search for treatment has been discouraging, but his wife, Elizabeth, persuades him to see the Australian-born Lionel Logue, a non-medically trained Harley Street speech defects therapist  "Bertie", as he is called by his family, believes the first session is not going well, but Lionel, who insists that all his patients address him as such, has his potential client recite Hamlet's "To be, or not to be" soliloquy while hearing classical music played on a pair of headphones  Bertie is frustrated at the experiment but Lionel gives him the acetate recording that he has made of the reading as a souvenir 
After Bertie's father, King George V, broadcasts his 1934 Royal Christmas Message, he explains to Bertie that the wireless will play a significant part in the role of the royal family, allowing them to enter the homes of the people, and that Bertie's brother's neglect of his responsibilities make training in it necessary  The attempt at reading the message himself is a failure, but that night Bertie plays the recording Lionel gave him and is astonished at the lack of stutter there  He therefore returns for daily treatments to overcome the physical and psychological roots of his speaking difficulty 
George V dies in 1936, and his eldest son David ascends the throne as King Edward VIII  A constitutional crisis arises with the new king over a prospective marriage with the twice-divorced American socialite Wallis Simpson  Edward, as the supreme governor of the Church of England, cannot marry her, even if she receives her second divorce, since both her previous husbands are alive 
At an unscheduled session, Bertie expresses his frustration that, while his speech has improved when speaking to most people, he still stammers when talking to David, at the same time revealing the extent of Edward VIII's folly with Simpson  When Lionel insists that Bertie himself could make a good king, Bertie accuses Lionel of speaking treason and quits Lionel in anger  Bertie must now face the Accession Council without any assistance 
Bertie and Lionel only come together again after King Edward decides to abdicate in order to marry  Bertie, urged ahead by Prime Minister Stanley Baldwin, ascends the throne as King George VI and visits Lionel's home with his wife before their coronation, much to the surprise of Mrs  Logue when she comes upon Queen Elizabeth having tea at her dining room table  This is the first time that she learns who her husband's patient has been 
Bertie and Lionel's relationship is questioned by the King's advisors during the preparations for his coronation in Westminster Abbey  The archbishop of Canterbury, Cosmo Gordon Lang, brings to light that George never asked for advice from his advisors about his treatment and that Lionel has never had formal training   Lionel explains to an outraged Bertie that at the time he started with speech defects there were no formal qualifications and that the only known help that was available for returning Great War shell-shocked Australian soldiers was from personal experience  Bertie remains unconvinced until provoked to protest at Lionel's disrespect for King Edward's Chair and the Stone of Scone  Only at this pivotal moment, after realising he has just expressed himself without impairment, is Bertie able to rehearse with Lionel and complete the ceremony 
As the new king, Bertie is in a crisis when he must broadcast to Britain and the Empire following the declaration of war on Nazi Germany in 1939  Lionel is summoned to Buckingham Palace to prepare the king for his speech  Knowing the challenge that lies before him, Lang, Winston Churchill, and Prime Minister Neville Chamberlain are present to offer support  The King and Logue are then left in the broadcasting room  He delivers his speech with Logue conducting him, but by the end he is speaking freely  Preparing to leave the room for the congratulations of those present, Logue mentions to the King that he still has difficulty enunciating w and the King jokes back, "I had to throw in a few so they'd know it was me "
As the Royal Family step onto the palace balcony and are applauded by the crowd, a title card explains that Logue, who received the Royal Victorian Order for service to the Crown, was always present at King George VI's speeches during the war and that they remained friends until the King's death from lung cancer in 1952 

Cast
Colin Firth as King George VI
Geoffrey Rush as Lionel Logue
Helena Bonham Carter as Queen Elizabeth
Guy Pearce as King Edward VIII
Timothy Spall as Winston Churchill
Derek Jacobi as Cosmo Gordon Lang
Jennifer Ehle as Myrtle Logue
Michael Gambon as King George V
Freya Wilson as Princess Elizabeth
Ramona Marquez as Princess Margaret
Patrick Ryecart as Lord Wigram
Simon Chandler as Lord Dawson of Penn
Claire Bloom as Queen Mary
Orlando Wells as Prince George, Duke of Kent
Tim Downie as Prince Henry, Duke of Gloucester
Eve Best as Wallis Simpson
Anthony Andrews as Stanley Baldwin
Andrew Havill as Robert Wood

Production
Development
As a child, David Seidler developed a stammer, which he believes was caused by the emotional trauma of World War II and the murder of his grandparents during the Holocaust  King George VI's success in overcoming his stammer inspired the young Seidler, "Here was a stutterer who was a king and had to give radio speeches where everyone was listening to every syllable he uttered, and yet did so with passion and intensity " When Seidler became an adult, he resolved to write about King George VI  During the late 1970s and 1980s he voraciously researched the King, but found a dearth of information on Logue  Eventually Seidler contacted Valentine Logue, who agreed to discuss his father and make his notebooks available if the Queen Mother gave her permission  She asked him not to do so in her lifetime, and Seidler halted the project 

The Queen Mother died in 2002  Three years later, Seidler returned to the story during a bout of creative work inspired by a recovery from cancer  His research, including a chance encounter with an uncle whom Logue had treated, indicated he used mechanical breathing exercises combined with psychological counselling to probe the underlying causes of the condition  Thus prepared, Seidler imagined the sessions  He showed the finished screenplay to his wife, who liked it, but pronounced it too "seduced by cinematic technique"  She suggested he rewrite it as a stage play to focus on the essential relationship between the King and Logue  After he had completed it, he sent it to a few friends who worked in theatre in London and New York for feedback In 2005, Joan Lane of Wilde Thyme, a production company in London, received the script  Lane started talking with Simon Egan and Gareth Unwin of Bedlam Productions, and they invited Seidler to London to rewrite the play again, this time for the screen  Together, Lane and Bedlam Productions organised a reading of the play in Pleasance Theatre, a small house in north London, to a group of Australian expatriates, among whom was Tom Hooper's mother  She called her son and said, "I've found your next project" Instead of trying to contact his agent, Lane asked an Australian staff member to hand-deliver the script to Geoffrey Rush's house, not far away from hers in Melbourne  Unwin reports that he received a four-page e-mail from Rush's manager admonishing them for the breach of etiquette, but ending with an invitation to discuss the project further  Iain Canning from See-Saw Films became involved and, in Gareth Unwin's words: "We worked with ex-chair of BAFTA Richard Price, and started turning this story about two grumpy men sitting in a room into something bigger " Hooper liked the story, but thought that the original ending needed to be changed to reflect events more closely: "Originally, it had a Hollywood ending     If you hear the real speech, he's clearly coping with his stammer  But it's not a perfect performance  He's managing it "

The production team learned – some nine weeks prior to the start of filming – of a diary containing Logue's original notes on his treatment of the Duke, which was in the process of being turned into a non-fiction book by Logue's grandson Mark and journalist Peter Conradi, titled The King's Speech: How One Man Saved the British Monarchy  Striking an agreement with the authors, they then went back and re-worked the script to reflect what was in the notes and the book  Some lines, such as at the climax, when Logue smiles and says, "You still stammered on the W" to the King, who replies, "I had to throw in a few so they would know it was me" were direct quotations from Logue's notes  Changes from the script to reflect the historical record included Michael Gambon improvising the ramblings of George V as he signed away authority, and the decision in the opening scene to dress the Duke in an overcoat rather than regal finery Seidler thought Paul Bettany would be a good choice to play King George VI, while Hooper preferred Hugh Grant, though both actors declined the offer  Once they met with Firth and heard him read for the part, Seidler and Hooper were convinced of his suitability for the role The UK Film Council awarded the production £1 million in June 2009  Filming began in December 2009, and lasted 39 days  Most was shot in the three weeks before Christmas because Rush would be performing in a play in January  The schedule was further complicated by Bonham Carter's availability: she worked on Harry Potter during the week, so her scenes had to be filmed during the weekend 

Location and design
The film depicted both regal opulence and scruffy, depression-era London  On 25 November 2009 the crew took over the Pullens buildings in Southwark and gave it the appearance of a street from 1930s London  Large advertisements for (among other things) Bovril and fascism were added to walls, and grit and grime to streets and buildings  To reproduce London smog of the time – thick enough that cars might need guidance from someone walking ahead – so much artificial smoke was used that fire alarms were triggered On 26 November, a week's filming with Firth, Rush, and Jacobi began at Ely Cathedral, the location used for Westminster Abbey  The production had asked for permission to film in the Abbey but were denied due to the demands of tourism  Though Lincoln Cathedral is architecturally a closer match to the Abbey, they preferred Ely, a favoured filming location  Its size allowed them to build sets showing not just the coronation, but the preparations before it Lancaster House, an opulent government-owned period house in London, was rented (at £20,000 per day) for interior scenes of Buckingham Palace  The 1936 Accession Council at St  James's Palace, where George VI swore an oath, was filmed in the Livery Hall of Drapers' Hall  The room, ornate and vast, met the occasion: the daunting nature of the new King's responsibilities was shown by surrounding him with rich detail, flags and royal portraiture The crew investigated Logue's former consultation rooms, but they were too small to film in  Instead, they found a high, vaulted room not far away in 33 Portland Place  Eve Stewart, the production designer, liked the mottled, peeling wallpaper there so much that she recreated the effect throughout the entire room  In his DVD commentary, Hooper said he liked Portland Place as a set because it felt "lived in", unlike other period houses in London  The scenes of the Duke of York at home with his family were also filmed here; showing the Prince living in a townhouse "subverted" expectations of a royal drama 

The opening scene, set at the closing ceremony of the 1925 British Empire Exhibition at Wembley Stadium, was filmed on location at Elland Road, home of Leeds United, and Odsal Stadium, home of Bradford RLFC  Elland Road was used for the speech elements of the prince stammering his way through his first public address, and Odsal Stadium was selected because of the resemblance of its curved ends to Wembley Stadium in 1925  The crew had access to the stadium only at 10 pm, after a football game  They filled the terraces with inflatable dummies and over 250 extras dressed in period costumes  Live actors were interspersed to give the impression of a crowd  Additional people, as well as more ranks of soldiers on the pitch, were added in post-production with visual effects Other locations include Cumberland Lodge, Harley Street, Knebworth, Hatfield House, the Old Royal Naval College in Greenwich, Queen Street Mill Textile Museum in Burnley, and Battersea Power Station, which doubled as a BBC wireless control room  The final cut of the film was completed on 31 August 2010 

Dialogue
In developing his portrayal of George VI's stammer, Firth worked with Neil Swain, the voice coach for the film  His sister, Kate Firth, also a professional voice coach to actors, proposed exercises the King might have done with Logue, and made suggestions on how to imagine Logue's mix of physical and psychological coaching for the film In addition, Firth watched archive footage of the King speaking  In an interview with Allan Tyrer published by the British Stammering Association, Swain said: "[It] was very interesting while we were working on the film just to think tonally how far we could go and should go with the strength of George's stammer  I think a less courageous director than Tom [Hooper] – and indeed a less courageous actor than Colin [Firth] – might have felt the need to slightly sanitise the degree and authenticity of that stammer, and I'm really really pleased that neither of them did " In May 2011 Firth said he was finding traces of the stammer difficult to eliminate: "You can probably hear even from this interview, there are moments when it's quite infectious  You find yourself doing it and if I start thinking about it the worse it gets  If nothing else it's an insight into what it feels like "

Music
The film's original music is composed by Alexandre Desplat, which consisted of a sparse arrangement of strings and piano  The London Symphony Orchestra, conducted by Terry Davies, limited orchestral score by only adding oboe and harp in one cut, to convey the character of the king, while also using single note to represent the stickiness of the King's speech  Old microphones extracted from the EMI archives, specially made for the royal family, had been used to record the score, to create a dated sound The use of the 2nd movement (Allegretto) of Beethoven's 7th Symphony, played during the broadcast of the 1939 radio speech from the film's climax, was played as a temp track added by editor Tariq Anwar  Desplat did not want to change the track and defended Anwar's suggestion, as the theme has a universal quality  Hooper further remarked that the stature of the piece helps elevate the status of the speech to a public event  The score album also featured Wolfgang Amadeus Mozart's Marriage of Figaro overture  The score was nominated for several awards, including Best Original Score at the Oscars, Golden Globes, and BAFTAs, winning the latter award  The score also won a Grammy at the 54th Grammy Awards 

Visual style
Hooper employed a number of cinematic techniques to evoke the King's feelings of constriction  He and cinematographer Danny Cohen used wider than normal lenses to photograph the film, typically 14mm, 18mm, 21mm, 25mm and 27mm, where the subtle distortion of the picture helps to convey the King's discomfort  For instance, the subjective point of view shot during the Empire exhibition speech used a close up of the microphone with a wider lens, similar to the filming technique used for one of the Duke's early consultations with a physician  In The New York Times, Manohla Dargis wrote that the feeling of entrapment inside the King's head was rendered overly literal with what she believed to be a fisheye lens, though in these scenes the wider lenses were used  Hooper also discussed using the 18mm lens, one he likes "because it puts human beings in their context" Roger Ebert noted that the majority of the film was shot indoors, where oblong sets, corridors, and small spaces manifest constriction and tightness, in contrast to the usual emphasis on sweep and majesty in historical dramas  Hooper used wide shots to capture the actors' body language, particularly that of Geoffrey Rush, who trained at L'École Internationale de Théâtre Jacques Lecoq in Paris and "is consequently brilliant in the way he carries his body"  Hooper widened his scope first to capture Rush's gestures, then full body movements and silhouettes  The approach carried over to Firth as well  In the first consultation scene, the Duke is squeezed against the end of a long couch framed against a large wall, "as if to use the arm of the sofa as a kind of friend, as a security blanket?" Martin Filler praised the "low-wattage" cinematography of Danny Cohen's, as making everything look like it has been "steeped in strong tea" At other times, the camera was positioned very close to the actors to catch the emotion in their faces: "If you put a lens 6 inches from somebody's face, you get more emotion than if you're on a long lens 20 feet away," Cohen said in an interview  Hooper sought a second subtlety while filming the first consultation room scene between the two men, having placed the camera 18 inches from Colin Firth's face: "I wanted the nervousness of the first day to percolate into his performances," he said Historical dramas traditionally tend to use "soft light", but Hooper wanted to use a harsher glare, which gives a more contemporary feel, and thus a greater emotional resonance  To achieve the effect, the lighting team erected huge blackout tents over the Georgian buildings and used large lights filtered through Egyptian cotton 

Historical accuracy
Several events in the film did not happen, or were exaggerated  The visual blog Information is Beautiful deduced that, while taking creative licence into account, the film was 74 4% accurate when compared to real-life events, summarising: "Some nips and tucks of the historical record, but mostly an accurate retelling of a unique friendship" 

Relationship with Lionel Logue
The filmmakers not only tightened the chronology of the events to just a few years but even shifted the timeline of treatment  The Duke of York actually began working with Logue in October 1926, ten years before the abdication crisis, and the improvement in his speech was apparent in months rather than years as suggested by the film  When he was dispatched to Australia to open their new Parliament House in Canberra in 1927, the Duke gave numerous speeches during the journey and performed well despite Logue not accompanying him on the trip  He wrote to Logue from the Caribbean, "You remember my fear of 'The King'  I give it every evening at dinner on board  This does not worry me any more " Of his speech opening Parliament it was observed that he spoke "resonantly and without stuttering" Robert Logue, a grandson of Lionel, doubted the film's depiction of the speech therapist, stating "I don't think he ever swore in front of the King and he certainly never called him 'Bertie'"  Andrew Roberts, an English historian, states that the severity of the King's stammer was exaggerated and the characters of Edward VIII, Wallis Simpson, and George V made more antagonistic than they really were, to increase the dramatic effect 

Politics
Christopher Hitchens and Isaac Chotiner have criticised the film for failing to indict the appeasement of the era or to portray Edward VIII's sympathetic attitude to Nazi Germany   The Guardian also corrected the portrayal of Stanley Baldwin as having resigned due to his refusal to order Britain's re-armament, when he in fact stepped down as "a national hero, exhausted by more than a decade at the top"  Stanley's grandson, Earl Baldwin, was particularly unhappy with this film due to its factual distortions and portrayal of his grandfather as a dithering fool who misunderstood Hitler's intentions Hugo Vickers, an adviser on the film, agreed that the alteration of historical details to preserve the essence of the dramatic story was sometimes necessary  The high-ranking officials, for instance, would not have been present when the King made his speech, nor would Churchill have been involved at any level, "but the average viewer knows who Churchill is; he doesn't know who Lord Halifax and Sir Samuel Hoare are "Hitchens and Chotiner also challenged the film's portrayal of Winston Churchill's role in the abdication crisis  It is well established that Churchill encouraged Edward VIII to resist pressure to abdicate, whereas he is portrayed in the film as supportive of the Duke of York and not opposed to the abdication  Hitchens attributes this treatment to the "cult" surrounding Churchill's legacy  In a smart, well-made film "would the true story not have been fractionally more interesting for the audience?", he wondered 

Realism
Martin Filler acknowledged that the film legitimately used artistic licence to make valid dramatic points, such as in the probably imagined scene when George V lectures his son on the importance of broadcasting  Filler cautions that George VI would never have tolerated Logue addressing him casually, nor swearing, and the King almost certainly would have understood a newsreel of Hitler speaking in German  Filler makes the larger point that both the King and his wife were, in reality, lukewarm towards Churchill because of the latter's support for his brother during the abdication crisis Commenting on the film's final scene on the balcony of Buckingham Palace, Andrew Roberts has written, "The scene is fairly absurd from a historical point of view – Neville Chamberlain and Winston Churchill were not present and there were no cheering crowds outside Buckingham Palace " However, Roberts praises the film overall as a sympathetic portrayal of the King's "quiet, unassuming heroism [   ] The portrayals by Firth and Bonham Carter are sympathetic and acute, and the movie's occasional factual bêtises should not detract from that "

Release
Cinema release
The film had its world première on 6 September 2010 at the Telluride Film Festival in the United States  It was screened at the 2010 Toronto International Film Festival, on Firth's 50th birthday, where it received a standing ovation and won the People's Choice Award  The cinema release poster was re-designed to show an extreme close-up of Firth's jaw and a microphone after Hooper criticised the first design as a "train smash"  Tim Appelo called the original, air-brushed effort, which showed the three leads, "shockingly awful" though the new one "really is worthwhile" The film was distributed by Transmission Films in Australia and by Momentum Pictures in the United Kingdom  The Weinstein Company distributed it in North America, Germany, Benelux, Scandinavia, China, Hong Kong, and Latin America  The film was released in France on 2 February 2011 by Wild Bunch under the title Le discours d'un roi 

Ratings controversy
The film was initially given a 15 certificate by the British Board of Film Classification, due to a minute-long scene where Logue encourages the King to swear, which he could do without stuttering  At the London Film Festival, Hooper criticised the decision, questioning how the board could certify the film "15" for bad language but allow films such as Salt (2010) and Casino Royale (2006) to have "12A" ratings, despite their graphic torture scenes  Following Hooper's criticism, the board lowered the rating to "12A", allowing children under 12 years of age to see the film if they are accompanied by an adult  Hooper levelled the same criticism at the Motion Picture Association of America, which gave the film an "R" rating, preventing anyone under the age of 17 from seeing the film without an adult  In his review, Roger Ebert criticised the "R" rating, calling it "utterly inexplicable", and wrote, "This is an excellent film for teenagers "In January 2011 Harvey Weinstein, the executive producer and distributor, said he was considering having the film re-edited to remove some profanity, so that it would receive a lower classification and reach a larger audience  Hooper refused to cut the film, though he considered covering the swear words with bleeps  Helena Bonham Carter also defended the film, saying, "[The film] is not violent  It's full of humanity and wit  [It's] for people not with just a speech impairment, but who have got confidence [doubts] " After receiving his Academy Award, Colin Firth noted that he does not support re-editing the film; while he does not condone the use of profanity, he maintains that its use was not offensive in this context  "The scene serves a purpose", Firth states  An alternative version, with some of the profanities muted out, was classified as "PG-13" in the United States; this version was released to cinemas on 1 April 2011, replacing the R-rated one  The PG-13 version of this film is not available on DVD and Blu-ray 

Reception
Box office
In Great Britain and Ireland, the film was the highest earning film on its opening weekend  It took in £3,510,000 from 395 cinemas  The Guardian said that it was one of the biggest takes in recent memory, and compared it to Slumdog Millionaire (2008), which, two years earlier, earned £1 5 million less  The King's Speech continued a "stunning three weeks" atop the UK Box office, and earned over £3 million for four consecutive weekends, the first film to do so since Toy Story 3 (2010)  After five weeks on UK release, it was hailed as the most successful independent British film ever In the United States The King's Speech opened with $355,450 (£220,000) in four cinemas  It holds the record for the highest per-cinema gross of 2010  It was widened to 700 screens on Christmas Day and 1,543 screens on 14 January 2011  It eventually made $138 million in North America overall In Australia The King's Speech made more than A$6,281,686 (£4 million) in the first two weeks, according to figures collected by the Motion Picture Distributors Association of Australia  The executive director of Palace Cinemas, Benjamin Zeccola, said customer feedback on the film was spectacular  "It's our No 1 for all the period, all throughout the country      I think this is more successful than Slumdog Millionaire and a more uplifting film  It's a good example of a film that started out in the independent cinemas and then spread to the mainstream cinemas "Of the film's net profit, estimated to amount to $30–40 million (£20–25 million) from the cinema release alone, roughly 20% was to be split between Geoffrey Rush (as executive producer), Tom Hooper and Colin Firth, who were to receive their bonuses before the other stakeholders  The remaining profit was to be split equally between the producers and the equity investors  The UK Film Council invested £1 million of public funds from the United Kingdom lottery into the film  In March 2011 Variety estimated that the return could be between fifteen and twenty times that  The Council's merger into the British Film Institute means that the profits were to be returned to that body 

Critical response
The King's Speech has received widespread critical acclaim, with Firth's performance receiving universal praise  Bonham Carter and Rush were also widely praised with both going on to win BAFTAs and receiving Academy Award nominations  Review aggregator Rotten Tomatoes gives the film a score of 94% based on reviews from 297 critics; the film's average rating was calculated as 8 60/10  The website's critical consensus reads: "Colin Firth gives a masterful performance in The King's Speech, a predictable but stylishly produced and rousing period drama " Metacritic gave the film a weighted score of 88/100, based on 41 critical reviews, which indicates "universal acclaim"  CinemaScore reported that audiences gave the film a rare "A+" grade  Empire gave the film five stars out of five, commenting, "You'll be lost for words " Lisa Kennedy of The Denver Post gave the film full marks for its humane qualities and craftsmanship: "It is an intelligent, winning drama fit for a king – and the rest of us", she said  Roger Ebert of the Chicago Sun-Times awarded the film a full four stars, commenting that "what we have here is a superior historical drama and a powerful personal one " Peter Bradshaw of The Guardian gave four stars out of five, stating, "Tom Hooper's richly enjoyable and handsomely produced movie     is a massively confident crowd-pleaser "Manohla Dargis, whilst generally ambivalent towards the film, called the lead performances one of its principal attractions  "With their volume turned up, the appealing, impeccably professional Mr  Firth and Mr  Rush rise to the acting occasion by twinkling and growling as their characters warily circle each other before settling into the therapeutic swing of things and unknowingly preparing for the big speech that partly gives the film its title," she wrote  The Daily Telegraph called Guy Pearce's performance as Edward VIII "formidable     with glamour, charisma and utter self-absorption"  Empire said he played the role well as "a flash harry flinty enough to shed a nation for a wife " The New York Times thought he was able to create "a thorny tangle of complications in only a few abbreviated scenes"  Hooper praised the actor in the DVD commentary, saying he "nailed" the 1930s royal accent  Richard Corliss of Time magazine named Colin Firth's performance one of the Top 10 Movie Performances of 2010 

Allociné, a French cinema website, gave the film an average of four out of five stars, based on a survey of 21 reviews  Le Monde, which characterised the film as the "latest manifestation of British narcissism" and summarised it as "We are ugly and boring, but, By Jove!, we are right!", nevertheless admired the performances of Firth, Rush, and Bonham Carter  It said that, though the film swept British appeasement under the carpet, it was still enjoyable Slovenian Marxist philosopher and cultural critic Slavoj Žižek has incorporated the film into his critique of ideology by describing it as "reactionary," interpreting the king's stutter as evidence that he "displays a minimum of common sense, experiencing the stupidity of seriously accepting that one is king by divine will" and claiming that "the task of the Australian voice-coach is to render him stupid enough to accept his being a king as his natural property " Žižek thus interprets the king's stutter as a case of what is referred to in Lacanian psychoanalysis as "symbolic castration "Queen Elizabeth II, the daughter and successor of King George VI, was sent two copies of the film before Christmas 2010  The Sun newspaper reported she had watched the film in a private screening at Sandringham House  A palace source described her reaction as being "touched by a moving portrayal of her father"  Seidler called the reports "the highest honour" the film could receive 

Depiction of stuttering
The British Stammering Association welcomed the release of The King's Speech, congratulating the film makers on their "realistic depiction of the frustration and the fear of speaking faced by people who stammer on a daily basis " It said that "Colin Firth's portrayal of the King's stammer in particular strikes us as very authentic and accurate " The Royal College of Speech and Language Therapists welcomed the film, and launched their "Giving Voice" campaign around the time of its commercial release Disfluency advocate Jonah Lehrer called the film "an inspiring tale" and praised its portrayal of the troubles suffered by Firth's character 
 However, Lehrer and other advocates criticized the film's depiction of stuttering as a result of emotional repression and childhood trauma  The treatment performed by Rush's character also drew criticism  Lehrer did admit it was a necessary artistic license: "[the film] would have been a rather tedious piece of entertainment if the climactic scene involved Logue telling the monarch that his primary motor cortex was to blame "Science journalist Jeremy Hsu wrote that the film "mainly succeeds by tackling the social stigma that surrounds stuttering " However, similar to Lehrer, he disapproved that it perpetuated myths about the condition, namely its relationship with childhood trauma and overly strict parenting Columnist Jane Ahlin praised the film as it "brings out of the shadows a common problem figuring into the lives of children and adults from every culture around the world " At the same time, she stated, "heartwarming though the movie The King's Speech is, as someone who married a stutterer and is the mother of a stutterer, I'm not sure it does anything to put myths about stuttering to rest " She criticized the depiction of family and social dynamics as causes of the condition, as well as the portrayal of stutterering as connected to emotional or psychological problems 

Awards and nominations
At the 83rd Academy Awards, The King's Speech won the Academy Award for Best Picture, Best Director (Hooper), Best Actor (Firth), and Best Original Screenplay (Seidler)  The film had received 12 Oscar nominations, more than any other film in that year  Besides the four categories it won, the film received nominations for Best Cinematography (Danny Cohen) and two for the supporting actors (Bonham Carter and Rush), as well as two for its mise-en-scène: Art Direction and Costumes At the 64th British Academy Film Awards, it won seven awards, including Best Film, Outstanding British Film, Best Actor for Firth, Best Supporting Actor for Rush, Best Supporting Actress for Bonham Carter, Best Original Screenplay for Seidler, and Best Music for Alexandre Desplat  The film had been nominated for 14 BAFTAs, more than any other film  At the 68th Golden Globe Awards, Firth won for Best Actor   The film won no other Golden Globes, despite earning seven nominations, more than any other film At the 17th Screen Actors Guild Awards, Firth won the Best Actor award and the entire cast won Best Ensemble, meaning Firth went home with two acting awards in one evening  Hooper won the Directors Guild of America Awards 2010 for Best Director  The film won the Darryl F  Zanuck Award for Best Theatrical Motion Picture at the Producers Guild of America Awards 2010 The King's Speech won the People's Choice Award at the 2010 Toronto International Film Festival, Best British Independent Film at the 2010 British Independent Film Awards, and the 2011 Goya Award for Best European Film from the Academia de las Artes y las Ciencias Cinematográficas de España (Spanish Academy of Cinematic Art and Science) 

See also
Bertie & Elizabeth (2002), a television film which also addresses the stammering of the king (played by James Wilby)  It was a co-production of PBS (Masterpiece Theatre) and Carlton Television 
Passage 4:
H  Vernon Watson
H  Vernon Watson (1886–1952), better known under his stage name Nosmo King, was a popular English variety artist  He was touring the music halls before World War I, but he remained relatively obscure until the 1920s, when he went by Nosmo King  He was the father of actor Jack Watson 

Early years
Coming from a rural background near Peterborough, Watson showed a leaning towards things theatrical and it was evident that he had a rare talent for mimicry  In 1911, he turned professional, using his real name, doing impressions of the leading comedians of the day 
Then, when Frank Tinney, the American black-faced comedian, came to the UK, Watson added an impression of him to his repertoire  He noticed that this impression gained him great applause, and when Tinney returned to the United States, Watson gave thought to a different style of act based on a black-faced personality 

Fame
Opportunity for this came about in the early 1930s in Leeds, in the West Riding of Yorkshire, England, which boasted two variety theatres, run by two rival organisations  The Great Depression was beginning to bite, and on hearing that the rival theatre had lost its comic, he determined to double his income by doing both shows (four performances a night), travelling between the two theatres by taxi, disguising himself by blacking up 
Watson had the black-face study ready, but was stuck for a name  Then inspiration came to his aid  The scene dock doors backstage were partly open and the two halves read "No Smo" & "king"  That was it  From then on, the character would be Nosmo King 
Nosmo King became a huge star and a household name  The stage act of Nosmo King & Hubert developed when his son Jack Watson joined him as straight man directly from school  Vernon Watson made his last bow and he was to be Nosmo for good when his speciality became long comic monologues 
During a later interview, he made two remarkable confessions  Someone pointed out that a cigar-smoking figure was hardly compatible with the name and suggested he gave up  This he found remarkably difficult, but he eventually accomplished it with the aid of snuff  The second confession was that he had never at any time set eyes on Frank Tinney 
During World War II, Nosmo King reverted to going solo, the reason being that his son, playing "Hubert," had joined up 
The end came for Nosmo King early in 1952 when Watson died in his sleep in his Chelsea flat 
He is buried in Thorney Cemetery near Peterborough, with "Nosmo King" on his headstone 

Acts
One of Nosmo's act starters was when a young pageboy would come over to him carrying his luggage  Once he had handed it to Nosmo, Nosmo would say to him "how much do I owe you" and the boy would say "2 nicker" (a colloquialism for two pounds) whilst making a V sign at him  Nosmo took this as an insult and would slap the boy across the face, then the boy would slap Nosmo across his face in return 

See also
Paul Shannon, a Pittsburgh radio announcer, also used the name 'Nosmo King' for a character 
Nosmo King was the name of a 1994 album by jazz guitarist John Abercrombie and Andy LaVerne 
See also English singer Jonathan King who appeared on Top of the Pops in the early 1970s as Nosmo King  When he was asked about the name, he said it was a pun which I didn't get at the time as I was very young  He also implied that he had come up with the name himself 



ground_truth: Clifton College

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

Question: Who played the monarch at the end of WW2 in The King's Speech?

The following are given passages.
Context 4: : 23  As of 2010, 87 7% of urban (321,043 people) and 18 9% of rural (821,459 people) households have electricity, for an overall average of 38 2%  The private sector shrank between 2014 and 2018, despite a growing working age population  Agriculture and manufacturing are less productive per capita than at independence : 255–256  Non-oil economic sectors have failed to develop, and growth in construction and administration is dependent on oil revenue : 256  The dependence on oil shows some aspects of a resource curse  Coffee made up 90% of all non-fossil fuel exports from 2013 to 2019, with all such exports totalling to around US$20 million annually : 257  In 2017, the country was visited by 75,000 tourists 

Demographics
East Timor recorded a population of 1,183,643 in its 2015 census  The population lives mainly along the coastline, where all urban areas are located : 27  Those in urban areas generally have more formal education, employment prospects, and healthcare  While a strong gender disparity exists throughout the country, it is less severe in the urban capital  The wealthy minority often go abroad for health, education and other purposes : 25  The population is young, with the median age being under 20 : 29  In particular, a large proportion of the population (almost 45% in 2015) are males between the ages of 15 and 24, the third largest male 'youth bulge' in the world : 212 The Government of Timor-Leste's website lists the English-language demonym for East Timor as Timorese  Other reference sources list it as East Timorese  The word Maubere formerly used by the Portuguese to refer to native East Timorese and often employed as synonymous with the illiterate and uneducated, was adopted by Fretilin as a term of pride Healthcare received 6% of the national budget in 2021 : 24  From 1990 to 2019 life expectancy rose from 48 5 to 69 5  Expected years of schooling rose from 9 8 to 12 4 between 2000 and 2010, while mean years of schooling rose from 2 8 to 4 4  Progress since 2010 for these has been limited  Gross national income per capita similarly peaked in 2010, and has decreased since : 3  As of 2016, 45 8% of East Timorese were impoverished, 16 3% severely so : 6  The fertility rate, which at the time of independence was the highest in the world at 7 8, dropped to 4 2 by 2016  It is relatively higher in rural areas, and among poorer: 3  and less literate households  As of 2016, the average household size was 5 3, with 41% of people aged under 15, and 18% of households headed by women : 2  Infant mortality stood at 30 per 1,000, down from 60 per 1,000 in 2003 : 7  46% of children under 5 showed stunted growth, down from 58% in 2010  Working age adult obesity increased from 5% to 10% during the same time period  As of 2016, 40% of children, 23% of women, and 13% of men had anemia : 11

Ethnicity and language
Timorese communities are not strictly defined by ethnic background or linguistic group  Separate communities may share ethnicity or language, and many areas show overlaps and hybridisation between ethnic and linguistic groups : 44  Familial relations and descent, which are interlinked with sacred house affiliation, are a more important indicator of identity : 47  Each family group generally identifies with a single language or dialect : 49  With this immense local variation in mind, there is a broad cultural and identity distinction between the east (Bacau, Lautém, and Viqueque Municipalities) and the west of the country, a product of history more than it is of linguistic and ethnic differences,: 45–47  although it is very loosely associated with the two language groups : 142–143  There is a small mestiço population of mixed Portuguese and local descent  There is a small Chinese minority, most of whom are Hakka  Many Chinese left in the mid-1970s, but a significant number have also returned to East Timor following the end of Indonesian occupation  East Timor has a small community of Timorese Indian, specifically Goan descent, as well as historical immigration from Africa and Yemen Likely reflecting the mixed origins of the different ethnolinguistic groups of the island, the indigenous languages fall into two language families: Austronesian and Papuan : 10  Depending on how they are classified, there are up to 19 indigenous languages with up to 30 dialects : 136  Aside from Tetum, Ethnologue lists the following indigenous languages: Adabe, Baikeno, Bunak, Fataluku, Galoli, Habun, Idaté, Kairui-Midiki, Kemak, Lakalei, Makasae, Makuv'a, Mambae, Nauete, Tukudede, and Waima'a  According to the Atlas of the World's Languages in Danger, there are six endangered languages in East Timor: Adabe, Habu, Kairui-Midiki, Maku'a, Naueti, and Waima'a  The largest Malayo-Polynesian group is the Tetum, mostly around Dili or the western border  Other Malayo-Polynesian languages with native speakers of more than 40,000 are Mambai in the central mountains south of Dili, Baikeno in Oecusse, Kemak in the north-west interior, and Tokodede on the northwest coast  The main Papuan languages spoken are Bunak in the centre of Timor, especially within Bobonaro Municipality; Makasae in the eastern Baucau and Viqueque municipalities; and Fataluku in the eastern Lautém Municipality : 43  The 2015 census found that the most commonly spoken mother tongues were Tetum Prasa (mother tongue for 30 6% of the population), Mambai (16 6%), Makasai (10 5%), Tetum Terik (6 05%), Baikenu (5 87%), Kemak (5 85%), Bunak (5 48%), Tokodede (3 97%), and Fataluku (3 52%)  Other indigenous languages accounted for 10 47%, while 1 09% of the population spoke foreign languages natively East Timor's two official languages are Portuguese and Tetum  In addition, English and Indonesian are designated by the constitution as "working languages" : 3  This is within the Final and Transitional Provisions, which do not set a final date  In 2012, 35% could speak, read, and write Portuguese, which is up significantly from less than 5% in the 2006 UN Development Report  Portuguese is recovering as it has now been made the main official language of Timor, and is being taught in most schools  The use of Portuguese for government information and in the court system provides some barriers to access for those who do not speak it  Tetum is also not understood by everyone in the country : 11  According to the Observatory of the Portuguese Language, the East Timorese literacy rate was 77 8% in Tetum, 55 6% in Indonesian, and 39 3% in Portuguese, and that the primary literacy rate increased from 73% in 2009 to 83% in 2012  According to the 2015 census, 50% of the population between the ages of 14 and 24 can speak and understand Portuguese  The 2015 census found around 15% of those over the age of five were literate in English 

Education
East Timor's adult literacy rate was 68% among adults, and 84% among those aged 15–24, as of 2021  It is slightly higher among women than men : 27  More girls than boys attend school, although some drop out upon reaching puberty : 25  As of 2016 22% of working age women (15–49) and 19% of working age men had no education, 15% of women and 18% of men had some primary education, 52% of women and 51% of men had some secondary education, and 11% of women and 12% of men had higher education  Overall, 75% of women and 82% of men were literate : 2  Primary schools exist throughout the country, although the quality of materials and teaching is often poor  Secondary schools are generally limited to municipal capitals  Education takes up 10% of the national budget : 27  The country's main university is the National University of East Timor  There are also four colleges Since independence, both Indonesian and Tetum have lost ground as media of instruction, while Portuguese has increased: in 2001 only 8 4% of primary school and 6 8% of secondary school students attended a Portuguese-medium school; by 2005 this had increased to 81 6% for primary and 46 3% for secondary schools  Indonesian formerly played a considerable role in education, being used by 73 7% of all secondary school students as a medium of instruction, but by 2005 Portuguese was used by most schools in Baucau, Manatuto, as well as the capital district  Portugal provides support to about 3% of the public schools in East Timor, focused on those in urban areas, further encouraging the use of the Portuguese language : 28

Religion
While the Constitution of East Timor enshrines the principles of freedom of religion and separation of church and state, Section 45 Comma 1 also acknowledges "the participation of the Catholic Church in the process of national liberation" in its preamble  Upon independence, the country joined the Philippines to become the only two predominantly Catholic states in Asia, although nearby parts of eastern Indonesia such as Flores and parts of Western New Guinea also have Catholic majorities According to the 2015 census, 97 57% of the population is Catholic; 1 96% Protestant; 0 24% Muslim; 0 08% Traditional; 0 05% Buddhist; 0 02% Hindu, and 0 08% other religions  A 2016 survey conducted by the Demographic and Health Survey programme showed that Catholics made up 98 3% of the population, Protestants 1 2%, and Muslims 0 3% The number of churches grew from 100 in 1974 to more than 800 in 1994, with Church membership having grown considerably under Indonesian rule as Pancasila, Indonesia's state ideology, requires all citizens to believe in one God and does not recognise traditional beliefs  East Timorese animist belief systems did not fit with Indonesia's constitutional monotheism, resulting in mass conversions to Christianity  Portuguese clergy were replaced with Indonesian priests and Latin and Portuguese mass was replaced by Indonesian mass  While just 20% of East Timorese called themselves Catholics at the time of the 1975 invasion, the figure surged to reach 95% by the end of the first decade after the invasion  The Roman Catholic Church divides East Timor into three dioceses: the Archdiocese of Díli, the Diocese of Baucau, and the Diocese of Maliana  In rural areas, Roman Catholicism is syncretised with local animist beliefs  The number of Protestants and Muslims declined significantly after September 1999, as these groups were disproportionately represented among supporters of integration with Indonesia  Fewer than half of previous Protestant congregations existed after September 1999, and many Protestants were among those who remained in West Timor 

Culture
The many cultures within East Timor stem from the several waves of Austronesian and Melanesian migration that led to the current population, with unique identities and traditions developing within each petty kingdom  Portuguese authorities built upon traditional structures, blending Portuguese influence into the existing political and social systems : 91–92  The presence of the Catholic Church created a point of commonality across the various ethnic groups, despite full conversion remaining limited  The Portuguese language also provided common linkages, even if direct Portuguese impact was limited : 97–98  Under Indonesian rule, resistance strengthened cultural links to Catholicism and the Portuguese language  At the same time, Indonesian cultural influence was spread through schools and administration : 98–99 The preservation of traditional beliefs in the face of Indonesian attempts to suppress them became linked to the creation of the country's national identity : 7–13  This national identity only began to emerge at the very end of Portuguese rule, and further developed during Indonesian rule : 134–136  Following independence, a civic identity began to develop  This was most clearly expressed through enthusiasm for national-level democracy,: 155–156  and was reflected in politics through a shift from resistance narratives to development ones : 3  The capital has developed a more cosmopolitan culture, while rural areas maintain stronger traditional practices : 30  Internal migration into urban areas, especially Dili, creates cultural links between these areas and rural hinterlands  Those in urban areas often continue to identify with a specific rural area, even those with multiple generations born in Dili : 53–54 The presence of so many ethnic and linguistic groups means cultural practices vary across the country : 11  These practices reflect historical social structures and practices, where political leaders were regarded as having spiritual powers  Ancestry was an important part of cultural practices, and partly signified leadership  Leaders often had influence over land use, and these leaders continue to play an informal role in land disputes and other aspects of community practice today  An important traditional concept is lulik, or sacredness  Some lulik ceremonies continue to reflect animist beliefs, for example through divination ceremonies which vary throughout the country  Sacred status can also be associated with objects, such as Portuguese flags which have been passed down within families : 7–13 

Community life is centred around sacred houses (Uma Lulik), physical structures which serve as a representative symbol and identifier for each community : 47–49  The architectural style of these houses varies between different parts of the country, although following widespread destruction by Indonesian forces many were rebuilt with cheap modern materials : 22–25  The house as a concept extends beyond the physical object to the surrounding community : 92–93, 96  Kinship systems exist within and between houses  Traditional leaders, who stem from historically important families, retain key roles in administering justice and resolving disputes through methods that vary between communities : 47–49  Such leaders are often elected to official leadership positions, merging cultural and historical status with modern political status : 52  The concept of being part of a communal house has been extended to the nation, with Parliament serving as the national sacred house : 96 Art styles vary throughout the various ethnolinguistic groups of the island  Nonetheless, similar artistic motifs are present throughout, such as large animals and particular geometric patterns  Some art is traditionally associated with particular genders  For example, the Tais textiles that play a widespread role in traditional life throughout the island are traditionally handwoven by women  Different tais patterns are associated with different communities, and more broadly with linguistic groups : 137  Many buildings within central Dili maintain historical Portuguese architecture : I-5 Traditional rituals remain important, often mixed in with more modern aspects : 137  A strong oral history is highlighted in individuals able to recite long stories or poetry  This history, or Lia nain, passes down traditional knowledge : 16  There remains a strong tradition of poetry  Prime Minister Xanana Gusmão, for example, is a distinguished poet, earning the moniker "poet warrior" In the field of cinema, East Timor released its first feature-length film, a period thriller titled Beatriz's War, in 2013  Shot with a limited budget by a mix of local filmmakers and a volunteer Australian film crew, the film depicted East Timorese life under Indonesian occupation in the 1970s, with producer Lurdes Pires acknowledging their aim to diverge from the government's "friendship and forgiveness" policy for its past conflicts by telling a story of truth-seeking and justice 

See also
Outline of East Timor
Index of East Timor-related articles
List of topics on the Portuguese Empire in the East
Passage 2:
United Nations Security Council Resolution 1264
United Nations Security Council resolution 1264, adopted unanimously on 15 September 1999, after recalling previous resolutions on East Timor (Timor-Leste), the Council authorised the establishment of the multinational International Force for East Timor (INTERFET) to restore peace and security in the territory, facilitate humanitarian assistance and protect the United Nations Mission in East Timor (UNAMET) The Security Council welcomed the successful conduct of the East Timor Special Autonomy Referendum on 30 August 1999, in which the East Timorese people voted for independence from Indonesia  Meanwhile, there was concern about the deteriorating security situation and the violence that had displaced many residents  Attacks also took place against UNAMET and other international and national humanitarian personnel and this had particularly affected vulnerable groups  There were reports of widespread violations of international humanitarian and human rights law across East Timor, and Indonesia had accepted the presence of a United Nations international peacekeeping force in the region Acting under Chapter VII of the United Nations Charter, the Council condemned the violence in East Timor, called for those responsible to be brought to justice and emphasised the need for immediate unrestricted humanitarian assistance to the area  In this regard, it authorised the establishment of an Australian-led multinational force under joint command with the task of restoring peace, protecting the UNAMET mission and assisting in humanitarian operations using all necessary measures  The force consisted of 8,000 personnel from 17 countries  The Government of Indonesia, which had temporary responsibility for the security of East Timor, would co-operate with the multinational force or INTERFET 
The resolution noted that part of the agreement between Indonesia and Portugal on the future of East Timor stipulated a peaceful and orderly transfer of authority in East Timor to the United Nations and INTERFET was asked to support the process  The multinational force would be present in East Timor for four months until replaced by a United Nations peacekeeping force and would be required to submit periodic reports on its progress Finally, the Secretary-General was asked to make preparations for a transitional administration in East Timor that would include a peacekeeping operation during the implementation phase following the referendum 

See also
1999 East Timorese crisis
Indonesian occupation of East Timor
List of United Nations Security Council Resolutions 1201 to 1300 (1998–2000)
United Nations Transitional Administration in East Timor
Passage 3:
Zeferino Martins
Zeferino Martins, also known as Ze Martins (born September 5, 1985) is an East Timorese footballer who plays as midfielder for Ad  Dili Oeste and the Timor-Leste national team 
Passage 4:
The Trouble with the Truth (song)
"The Trouble with the Truth" is a song written by Gary Nicholson, and recorded by American country music artist Patty Loveless  It was released in April 1997 as the fifth and final single and title track from her album  The Trouble with the Truth 
The song charted for 20 weeks on the Billboard Hot Country Singles and Tracks chart, reaching number 15 during the week of July 12, 1997 

Other versions
Joan Baez also cut a version of the song during an early 1990s recording session in Nashville, but the recording remained unissued until released in 2012 as a bonus track on the remastered rerelease of her 1992 album Play Me Backwards 

Chart positions
Passage 5:
Dahsyat
Dahsyat (or Strikes, also stylized as dahSyat) is an Indonesian television show broadcast daily on Rajawali Citra Televisi Indonesia (RCTI)  The first episode of Dahsyat since 24 March 2008  The show broadcasts subject matter related to music, and each show is two hours long  It was initially presented by Olga Syahputra, Raffi Ahmad, and Luna Maya  Presenters have since included a variety of actors, directors, comedians, and musicians 
As evidence of its popularity, Indonesian TV audiences voted Dahsyat their Favorite Music & Variety Show in the Panasonic Awards for five consecutive years from 2010 to 2014 and 2016  In 2016, Dahsyat subsequently had winning for Most Popular Morning Program at the Indonesian Television Awards 

Dahsyat presenters
The Dahsyat presenters have not been immune to controversy during the show's lengthy run 
In June 2010, Luna Maya left the show after video clips surfaced allegedly showing her taking part in sex acts with Ariel from the band, Peterpan (now known as Noah) and with Cut Tari Raffi Ahmad's house was raided by police looking for drugs, including marijuana and methylone in 2013  Indonesia's agency responsible for monitoring narcotics charged Ahmad with possession and distribution of category one narcotics; Ahmad spent three months in an outpatient drug rehabilitation clinic The Indonesian Broadcasting Commission (KPI) repeatedly reprimanded Olga Syahputra for coarse humor, which included references to male genitalia and jokes about transvestites, rape and, overweight people  He subsequently died in Singapore on March 27, 2015 of meningitis 

Fixed presenter
Co-presenter
Former presenters
Popularity
The daily Dahsyat show draws millions of viewers 
On 12 Dec 2014, the show had a TVR of 1 3 and a share of 12 7%, ranking it 62nd  On 14 Dec 2014, the show had a TVR of 2 0 and a share of 18 7%, ranking it 25th Dahsyat has made efforts to improve ratings  The show followed SCTV's Eat Bulaga! Indonesia's by offering prizes and instituted the new Gaspol format focused on dance events, similar to Trans TV's Yuk Keep Smile's Caesar Dance  However, the show's programming has been widely criticized by viewers for a decline in music, increased attention on the presenters' personal lives, long advertisements, and frequent presenter changes  These criticisms have been compounded by both the success of rival show Inbox on SCTV and incidents involving the presenters, notably Raffi Ahmad's drug charges and a reprimand by the Indonesian Broadcasting Commission for insulting Islam 

New format
On August 27, 2013, Dahsyat launched the Gaspol dance event format, adding a DJ 

Dahsyatnya Awards
Dahsyatnya Awards is an awards ceremony for Indonesian music, hosted by the Dahsyat presenters and airing on the same television station, RCTI  The show first was held on April 19, 2009  In 2015, the 2014 Dahsyatnya Awards show won the category "Best Special Event" at 2015 Panasonic Gobel Awards 

Special guest stars
Special guest stars have included politicians like Hillary Clinton - United States Secretary of State;  several Miss World winners including:
Ksenia Sukhinova - Miss World 2008, Kaiane Aldorino - Miss World 2009, Alexandria Mills - Miss World 2010, Ivian Sarcos - Miss World 2011, Yu Wenxia - Miss World 2012, Megan Young - Miss World 2013 and Julia Morley the CEO of the Miss World Organization 
Musical guests have included: Anggun - Indonesia international Singer and Ambassador of FAO, finalist on Eurovision Song Contest 2012, Christian Bautista - Filipino international Singer, host and model, Siti Nurhaliza - Malaysian international Singer, McFly - English Pop Rock Band, Lee Ji-hoon - South Korean singer and actor, * David Foster - Canadian composer, Minami Takahashi - Japanese singer, Lee DeWyze a contestant on American Idol 2010, Depapepe - Japanese Acoustic Group, Fabrizio Faniello - Eurovision Song Contest 2001 and Eurovision Song Contest 2006 performer, Thia Megia a contestant on American Idol 2011, Destine - Dutch Rock Band, Han Geng a Chinese singer, AKB48 the Japanese Girl Group; Simple Plan the Canadian Rock Band, Secondhand Serenade an American Rock Band, and Daimaou Kosaka a Japanese recording artist 
Other musical guests have included: The American heavy metal band The Iron Maidens, Rick Price the Australian singer,
Eru the Korean singer and actor, BtoB a Korean Boy Group, Filipino singer and actor Sam Concepcion, Justice Crew the Australian Boy Group, David Cook a contestant on American Idol 2008, Sinclarity an American Acoustic Group, Connie Talbot the English singer, Scandal the Japanese Rock Band, Dutch Rock Band Kensington, Eir Aoi the Japanese singer,  Irish singer Shane Filan, Tommy Page an American singer, Korean Pop Grou Lunafly, Wouter Hamel a Dutch singer, and Danish rock band Carpark North 
Footballer guests have included: Franco Baresi and Paolo Maldini (Italy), Ray Wilkins, Anton Ferdinand, David May and John Barnes (England), Jesper Blomqvist (Sweden), Fernando Morientes and Roberto Soldado (Spain), Edwin van der Sar (the Netherlands) Adlène Guedioura (Algeria), Andriy Shevchenko  (Ukraine), Jonas Gonçalves Oliveira and Roque Junior (Brazil), Robert Pires (France) and Luís Figo (Portugal) 
Other guests from varied backgrounds have included: Moymoy Palaboy a comedian lipsync duo from the Philippines, Paul O'Brien the Australian actor, Horace Grant and Rafer Alston  American basketball players, Samantha Jade from The X Factor Australia 2012, and World motivational speaker Nick Vujicic 

Awards and nominations
See also
RCTI
2011 Panasonic Gobel Awards
Variety Show
Passage 6:
The Truth About Men
The Truth About Men is the eighth studio album by American country music artist Tracy Byrd  Released in 2003 as the third and final album for RCA Nashville, it features the singles "The Truth About Men", "Drinkin' Bone", and "How'd I Wind Up in Jamaica"  Before its release, Byrd charted in the country top 40 with the single "Lately (Been Dreamin' 'bout Babies)", which does not appear on the album 
The track "Making Memories of Us" was later recorded by The Notorious Cherry Bombs on their self-titled debut album, and again by Keith Urban on his 2004 album Be Here  Urban's rendition of the song was a Number One hit on the country music charts in 2005 

Track listing
Personnel
Tracy Byrd - lead vocals
Billy Carpenter - drums
Johnny Lee Carpenter - fiddle
Britt Godwin - electric guitar
Larry Shelton - trumpet
Stacy Clark - trumpet
Lisa Cochran - background vocals
Jim Cox - piano
Eric Darken - percussion
Randall Dennis - piano
Dan Dugmore - dobro, steel guitar
Stuart Duncan - fiddle
Paul Franklin - steel guitar
Troy Gentry - vocals on "The Truth About Men"
Andy Griggs - vocals on "The Truth About Men"
Aubrey Haynie - fiddle, mandolin
Wes Hightower - background vocals
John Hobbs - piano
John Barlow Jarvis - Hammond organ, piano, synthesizer
Troy Lancaster - electric guitar
Paul Leim - drums, percussion
B  James Lowry - acoustic guitar
Liana Manis - background vocals
Jay Dee Maness - steel guitar
Brent Mason - electric guitar
Mark Matoska - steel guitar
Eddie Montgomery - vocals on "The Truth About Men"
John J  Moore - bass guitar, background vocals
John Robinson - drums
John Wesley Ryles - background vocals
Blake Shelton - vocals on "The Truth About Men"
Leland Sklar - bass guitar
Carey Stone - electric guitar
Michael Thompson - electric guitar
Neil Thrasher - background vocals
Billy Joe Walker Jr  - acoustic guitar, electric guitar
Gabe Witcher - fiddle
Glenn Worf - bass guitar
Reggie Young - electric guitar

Charts
Passage 7:
Indonesia–Timor Leste Commission of Truth and Friendship
The Indonesia–Timor Leste Commission on Truth and Friendship (more commonly known by its Portuguese acronym CVA, Comissão Verdade e Amizade) was a truth commission established jointly by the governments of Indonesia and East Timor in August 2005  The commission was officially created to investigate acts of violence that occurred around the independence referendum held in East Timor in 1999 and sought to find the "conclusive truth" behind the events  After holding private hearings and document reviews, the commission handed in the final report on July 15, 2008 to the presidents of both nations, and was fully endorsed by Indonesian President Susilo Bambang Yudhoyono, providing the first acknowledgement by the government of Indonesia of the human rights violations committed by state institutions in Timor  The commission is notable for being the first modern truth commission to be bilateral 

Background
East Timor was originally colonized by the Portuguese, and remained a colony up until the fall of the military dictatorship in 1974  East Timor declared independence soon afterwards, but Indonesia soon decided to intervene as it became clear that the government of the new state would most likely be leftist  The Indonesian government began Operation Komodo, which was intended to bring about the integration of the East Timorese territory  It began with a propaganda campaign, but after the outbreak of conflict in East Timor, the Indonesian military began a campaign on 7 October starting with an assault on a border post and accumulating with a full-scale invasion utilizing paratroopers and naval support  The United Nations quickly condemned the invasion via resolution, but due to resistance in the Security council, no further action was taken  The United States also tacitly gave their approval, as the dismantling of a pro-communist government helped advance the policy of containment being pursued by the government 
Indonesia occupied the territory for the following two decades  During the administration of the Habibie government, a referendum was held in the occupied area asking if the residents of the area wished to remain a part of Indonesia  Even before the referendum, there was harassment by militia groups in the area, with UN workers being attacked in Maliana  It soon became clear in the wake of the referendum that the referendum result would be overwhelmingly in favor of the "no" option on the ballot; this raised tensions to a boiling point, and within two hours of the announcement of the results, armed militia groups began attacking civilians  Militia continued to attack civilians as they withdrew from the country, and several massacres occurred as the troops filtered out of the area  A UN peacekeeping force known as INTERFET was deployed to stabilize the situation, made up of mostly Australian troops, and was withdrawn with the arrival of normal UN peacekeepers  East Timor eventually transitioned from a UN mandate to an independent country 

Report
The commission itself was announced in August 2006 and sought to establish "the conclusive truth regarding human rights violations to have occurred prior to, immediately after the Popular Consultation on 30 August 1999" as well as "prepare recommendations that can contribute to healing wounds of the past and strengthen friendship"  The timing of the commission's creation was criticized by some, as it was believed that it was created to intentionally subvert calls for an international tribunal to deal with the events surrounding the 1999 plebiscite  The commission's mandate allowed it to review documents pertaining to four other inquiries surrounding the events that predated it: "The Indonesian National Commission of Inquiry on Human Rights Violations in East Timor in 1999", "The Indonesian Ad Hoc Human Rights Court on East Timor", "The Special Panels for Serious Crimes", and "The Commission for Reception, Truth and Reconciliation" The commission was made up of four members appointed from each nation, and these commissioners were instructed to conduct a document review and analyze previous trials and investigations into the subject, including the UN Special Panels for Serious Crimes and Serious Crime Units in Dili, and the report of the Commission of Reception, Truth and Reconciliation of Timor-Leste  The commission also stated its intent to research the "historical background, political dynamics, and institutional structures that shaped events before and during 1999" to "inform its conclusions with a broader understanding of the way in which the causes of the violence in 1999 were connected to previously established institutional structures and practices "Operating over three years, the commission gave its final report on July 15, 2008, and presented it to the Presidents of Indonesia and East Timor, concluding that "gross human rights violations in the form of crimes against humanity did occur in East Timor in 1999" and that "pro-autonomy militia groups, TNI, the Indonesian civil government, and Polri must all bear institutional responsibility", as well as stating that "from a moral and political perspective the respective states must accept state responsibility for the violations identified in the report " The commission also made recommendations that both nations begin institutional reform enhancing the strength of investigative and prosecuting bodies involved with investigations into the events, as well as forming joint security policy to ensure the safety of individuals in case of the recurrence of violence  It also noted the need to resolve other standing border and security issues between the two nations to allow for more cooperation  Notably, the report gave no recommendations of amnesty or rehabilitation  The report was endorsed by the president of Indonesia, Susilo Bambang Yudhoyono, making it the first recognition of the Indonesian government's complicity in human rights violations in East Timor by Indonesia 

Reception
In Indonesia and Timor, the report was presented to both governments and accepted by both the Timorese and Indonesian governments  However, Timorese NGO Timor-Leste National Alliance for International Tribunal wrote an open letter in response to the commission's findings with several criticisms, including the lack of public consultation with victims and parliamentary approval of the commission, as well as noting that the commission assigned institutional responsibility rather than individual responsibility, "which is contrary to the principles of international laws which were ratified by the state of Timor-Leste and to Article 160 of its constitution which says that there must be a justice process for crimes against humanity ", as well as stating their belief that the CAVR was a more trustworthy and support worthy commission for the government to support Internationally, the report had a mixed reception  Some, such as the War Crimes Studies Center at the University of California, Berkeley, said that the commission could be seen as "widely acknowledged as credible and far-reaching ", noting that the Indonesian government's affirmation of the results was important and that the commission made arguments that "there was credible evidence to indicate that Timorese institutions were also responsible for illegal detentions and possibly other crimes "

See also
History of East Timor
Commission for Reception, Truth and Reconciliation in East Timor
Indonesian occupation of East Timor
Santa Cruz massacre
Passage 8:
List of Ramon Magsaysay Award winners
The Ramon Magsaysay Award (Filipino: Gawad Ramon Magsaysay) is an annual award established to perpetuate former Philippine President Ramon Magsaysay's example of integrity in governance, courageous service to the people, and pragmatic idealism within a democratic society  The prize was established in April 1957 by the trustees of the Rockefeller Brothers Fund based in New York City with the concurrence of the Philippine government  It is often called the "Nobel Prize of Asia" 

History
In May 1957, seven prominent Filipinos were named to the founding board of trustees of the Ramon Magsaysay Award Foundation, the non-profit corporation tasked with implementing the awards program  Later on, the board of trustees diversified and included prominent Asians from all over the Asian continent and outlying islands  The Ramon Magsaysay Award Foundation gives the prize to Asian individuals achieving excellence in their respective fields 
The award is named after Ramon Magsaysay, the seventh president of the Republic of the Philippines after World War II  This has generated criticism due to allegations of brutal suppression of dissent and subserviency to the US government during Magsaysay's tenure as defence secretary and president 

Award categories
The award recognizes and honors individuals and organizations in Asia regardless of race, creed, sex, or nationality, who have achieved distinction in their respective fields and have helped others generously without anticipating public recognition   
The awards used to be given in six categories, five of which were discontinued in 2009:

Government Service (1958–2008)
Public Service (1958–2008)
Community Leadership (1958–2008)
Journalism, Literature, and Creative Communication Arts (1958–2008)
Peace and International Understanding (1958–2008)
Emergent Leadership (2001– )
Uncategorized (2009– )

Awardees
The winners of the Ramon Magsaysay Awards come from different parts of Asia, although there are some instances where the winners came from countries outside Asia who had served, worked or accomplished something in different Asian countries  As of 2021, recipients have come from twenty-two Asian countries 
The following is a partial list of the awardees of the Ramon Magsaysay Award  Awardees' individual nationality or country of origin and citizenship are indicated 
Starting 2009, the Award is no longer being given in fixed categories except for Emergent Leadership 

Government Service (1958–2008)
Public Service (1958–2008)
Community Leadership (1958–2008)
Journalism, Literature, and the Creative Communication Arts (1958–2008)
Peace and International Understanding (1958–2008)
Emergent Leadership (2001–present)
Uncategorized (2009–present)



ground_truth: Colin Firth