IN: Evita is a musical with music by Andrew Lloyd Webber and lyrics by Tim Rice. It concentrates on the life of Argentine political leader Eva Peron, the second wife of Argentine president Juan Peron. The story follows Evita's early life, rise to power, charity work, and eventual death. The musical began as a rock opera concept album released in 1976.

In 1972, Robert Stigwood proposed that Andrew Lloyd Webber and Tim Rice develop a new musical version of Peter Pan, but they abandoned the project. Travelling late to a meal one night in 1973, though, Rice heard the end of a radio show about Eva Peron which intrigued him. As a child stamp collector, he had been fascinated by her image on the Argentine stamps, but was unaware of her significance in Argentina's history. He began research and was introduced by a Cinema International Corporation executive to the Argentine film director Carlos Pasini Hansen who had produced the TV film Queen of Hearts, which had aired in the UK on 24 October 1972. The executive also arranged for Rice to see the film at Thames Television which he did "at least twenty times" saying also that "by that time I had seen Pasini's superbly researched film, I was hooked." The more Rice investigated Eva Peron, going so far as to travel to Buenos Aires to research her life with many documents and contacts that Pasini had supplied, the more fascinated he became by the woman; he even named his first daughter after her. Rice suggested the idea of a musical based on the subject to Lloyd Webber, but although the idea of writing a score including tangos, pasos dobles, and similar Latin flavours intrigued him, Lloyd Webber ultimately rejected the idea. He decided instead to collaborate with Alan Ayckbourn on Jeeves, a traditional Rodgers and Hart-style musical based on the P. G. Wodehouse character, which proved to be a critical and commercial failure. After Jeeves, Lloyd Webber returned to Rice, and they began developing Rice's proposed musical. The authors of the 1996 book Evita: The Real Life of Eva Peron claim the musical was based on Mary Main's biography The Woman with the Whip, which was extremely critical of Eva Peron. Though Rice praised the Main biography, it was never officially credited as source material. Rice created a character, Che, to serve as a narrator and Greek chorus. Although he had recently discovered Che Guevara was Argentine, he did not necessarily intend that the character be based upon him, despite inserting specific biographical details into the lyrics that clearly apply to Guevara. When Harold Prince later became involved with the project, he insisted that the actors portraying Che should use Guevara as a role model. In the 1996 film adaptation, the character returned to his more anonymous roots. This was also the case for the 2006 London revival. Lloyd Webber and the conductor Anthony Bowles presented the musical at the second Sydmonton Festival before making the recording with the London Philharmonic Orchestra.
QUESTION: What he help with
IN: Pinhead is a fictional character from the Hellraiser series, first appearing as an unnamed figure in the Clive Barker novella The Hellbound Heart. The name "Pinhead" is derived from a sobriquet given to him by the crew of the first Hellraiser film; he is first credited as such in Hellbound: Hellraiser II. Nearly thirty years after The Hellbound Heart was published, the character was given the designations the Hell Priest and the Cold Man in the sequels that followed, The Scarlet Gospels and Hellraiser: The Toll. Pinhead is one of the leaders of the Cenobites, formerly humans but transformed into creatures which reside in an extradimensional realm, who travel to Earth through a puzzle box called the Lament Configuration in order to harvest human souls.

Described by Doug Bradley as stronger than Jason Voorhees and Michael Myers, Pinhead is an extremely powerful being, and as such, has several supernatural abilities. His preferred method of attack is by summoning hooks and chains to mutilate victims, often pulling said victims in several directions to tear them apart. These chains are subject to his total mental control and he may direct them at will. The chains may even change shape after having attached to a victim. Pinhead is highly resistant to damage and direct assault, being able to resist both gunshots and futuristic energy weapons. His magic is also used for creating objects out of thin air, teleporting, creating explosions at distances and deceiving opponents with illusions. He is capable of creating other cenobites from both living and dead victims. In order to act in the physical world, Pinhead needs to have been purposely summoned through the Lament Configuration, though this in itself is not usually enough for Pinhead to target the puzzle-solver: in Hellbound: Hellraiser II, Pinhead stops the Cenobites from torturing an emotionally traumatised girl who was manipulated as a proxy into opening the Configuration, remarking "...it is not hands that call us, it is desire." In Hell on Earth, he temporarily eliminates these restraints when he is separated from the part of him that is Elliot Spencer, wreaking havoc indiscriminately upon every human subject he encounters until he is finally defeated when Spencer willingly merges with Pinhead once again, the combination binding Pinhead as Spencer keeps his extremes in check. During this incident his powers were apparently expanded beyond their normal limits allowing him to physically warp reality to his will. Pinhead at first has no memory of his human past, though is reminded of it in Hellbound: Hellraiser II, which results in what screenwriter Peter Atkins described as him being "spiritually weakened" and subsequently killed by the Chanard Cenobite.
QUESTION:
Any other weaknesses?