title: Metalocalypse

text: On October 25, 2014, Brendon Small premiered the prototype of the Gibson Dethklok "Snow Horse" Explorer, a silver burst Gibson Explorer modelled after one of Skwisgaar's guitars.


title: Metalocalypse

text: In 2007, Shocker Toys produced a limited run of statues of William Murderface and Nathan Explosion. In 2008 and again in 2009, Shocker Toys made a boxed set of vinyl figures with limited articulation of all 5 of the band members. Kid Robot produced unarticulated figures of Murderface and Toki as part of an Adult Swim blind boxed mini figure line. At the 2009 San Diego Comic Con, Shocker Toys released an exclusive limited edition Dr. Rockso Mallow.


title: Metalocalypse

text: The song "Thunderhorse" is featured in the game "Guitar Hero II" by Harmonix and RedOctane as a bonus song. In early 2010, Adult Swim released a "Dethklok Fountain" for sale on their website for $40,000. In January 2010, "Laser Canon Deth Sentence" became a downloadable song for "Guitar Hero 5". "Bloodlines" is on the main setlist in "".


title: Metalocalypse

text: Dethklok was featured in Soundgarden's video for "Black Rain", which Small directed. Dethklok's 2009 tour with Mastodon was sponsored by "Brütal Legend" and the song "Murmaider" was featured in the game. The song "The Cyborg Slayers" was featured in the soundtrack for the game "".


title: Metalocalypse

text: There are guitar tablature books for all three Dethklok albums, which were released through Alfred Publishing. A bass tab anthology containing tablature from the first two albums was also released through Alfred Publishing. The production of these books has subsequently led to the removal of all Dethklok tabs from websites such as Ultimate Guitar.


title: Metalocalypse

text: On August 17, 2012, a two-minute animated short aired on Adult Swim featuring Dethklok and Death from "Darksiders II", in promotion of the game.


title: Metalocalypse

text: On September 25, 2013, an animated short featuring Dethklok, entitled "'Tallica Parking Lot" (a reference to "Heavy Metal Parking Lot"), premiered at Fantastic Fest.


title: Metalocalypse

text: On April 28, 2015, the Dethklok songs "Awaken", "Go into the Water" and "Thunderhorse" became available for download in the video game "Rocksmith 2014" as part of the "Dethklok 3-Song Pack". Small appeared in an advert for the game in 2016 along with comedian Steve Agee playing the song "Go into the Water". Later, on April 3, 2018, the songs "Black Fire Upon Us", "Bloodlines" and "Murmaider" were added as part of the "Dethklok II" song pack.


title: Metalocalypse

text: Dethklok does have a touring band, although there are no actual human counterparts to the characters on the show. The band consists of show co-creator, vocalist/guitarist Brendon Small, who writes and sings most of the music for the show, alongside drummer Gene Hoglan, bassist Bryan Beller, and second guitarist Mike Keneally.


title: Metalocalypse

text: In 2009 the UK Adult Swim site released two flash games titled "Deth Toll" and "Deth Toll II". The games are played in a similar fashion to Guitar Hero or Rock Band except with Dethklok songs.


title: Metalocalypse

text: A video game based on the series, titled "Metalocalypse: Dethgame", was revealed at the 2009 San Diego Comic-Con. The game was to be published by Konami and be available for download on both the PlayStation 3's PlayStation Network and Xbox 360's Xbox Live Marketplace. Players would have played as one of The Gears, and the game was to be set in Mordhaus, where the player would fight mutant fans. The game would have included music taken from Dethklok's albums. The game has been canceled, because "the creative direction of the game would not live up to the high standards...set for the project".


title: Metalocalypse

text: The Dethklok songs "Thunderhorse" and "Bloodlines" are featured in the video games "Guitar Hero II" and "", respectively. Additionally, the Dethklok song "Laser Cannon Deth Sentence" was added to "Warriors of Rock" as downloadable content. The song "Murmaider" was included in the soundtrack to the 2009 video game "Brütal Legend".


title: Metalocalypse

text: The "Dethklok vs. The Goon" (one-shot) was issued by Dark Horse Comics on July 23, 2009. Written by Brendon Small and Eric Powell. Dethklok is sent into the same universe as The Goon, who seeks to kill them.


title: Metalocalypse

text: The next day, Dark Horse announced a forthcoming short-run Dethklok series in collaboration with Adult Swim, which appeared the next year.


title: Metalocalypse

text: All four comics appeared with variant cover art by Eric Powell and Jon Schnepp. The "Dethklok HC" deluxe hardcover collected the four comics and was released June 15, 2011.


title: Designated survivor

text: In the United States, a designated survivor (or designated successor) is a named individual in the presidential line of succession, chosen to stay at an undisclosed secure location, away from events such as State of the Union addresses and presidential inaugurations. The practice of designating a successor is intended to prevent a hypothetical decapitation of the government and to safeguard continuity in the office of the president in the event the president along with the vice president and multiple other officials in the presidential line of succession die in a mass-casualty incident. The procedure originated in the 1950s during the Cold War with its risk of nuclear attack.


title: Designated survivor

text: If such an event occurred, the surviving official highest in the line of succession as delineated in the Presidential Succession Act of 1947 would become Acting President of the United States. Consequently, the individual named as a designated survivor must be eligible to serve as president. In practice, the designated survivor is usually a member of the president's Cabinet, and is chosen by the president.


title: Designated survivor

text: Congress also designates members of the Senate and House, one from each party to become their own "designated survivor" to maintain the existence of Congress in the event of a mass-casualty event.


title: Designated survivor

text: The process for selection of the designated survivor has been described by those involved to be entirely random. However, the character of the event for which a designated survivor is being selected may cause some officials to be avoided in the selection process.


title: How It Ends (2021 film)

text: How It Ends is a 2021 American comedy-drama film written, directed, and produced by Daryl Wein and Zoe Lister-Jones. It stars Lister-Jones and Cailee Spaeny, with cameo appearances by 23 others in a series of vignettes, facilitating the reality of 2020 COVID-19 protocols while serving the underlying plot device of walking through the deserted streets of Los Angeles.


title: How It Ends (2021 film)

text: The film had its world premiere at the 2021 Sundance Film Festival on January 29, 2021 and was released in the United States on July 20, 2021, by United Artists Releasing.


title: How It Ends (2021 film)

text: On the last full day before a meteor arrives on its collision course with Earth, Liza takes stock of her life through a conversation with her "metaphysical" childhood self. The conversation carries through as they walk through the empty streets of Los Angeles to their cousin Mandy's End of the World Party. As they walk, they have short interactions with numerous individuals, including the metaphysical YS of othersthe Younger Selves who are now visible due to certain doom having elevated everyone's awareness. The Lizas also stop to visit some family, and friends, they want to see before the end.


title: How It Ends (2021 film)

text: The married team of Wein and Zoe Lister-Jones, who had not yet separated at the time, reached out to numerous actor friends, and even some actors they did not know, to say "If you’re interested in starting to step outdoors in whatever fashion that may be and however energetically, we’ll meet you halfway." The couple felt that their years of experience working a free form style together helped facilitate doing so with such a large and diverse cast, over a series of numerous vignettes.


title: How It Ends (2021 film)

text: The film had its world premiere at the 2021 Sundance Film Festival on January 29, 2021. It was also scheduled to screen at South by Southwest in March 2021, which ended up being a virtual SXSW festival as the COVID-19 pandemic in Austin remained troubling. In May 2021, American International Pictures acquired worldwide distribution rights to the film, and set it for a release in the United States on July 20, 2021. However, subsequent worldwide waves extended the COVID-19 pandemic through 2021, and the film was released through video-on-demand and streaming services.


title: How It Ends (2021 film)

text: On Rotten Tomatoes, the film has an approval rating of 67% based on reviews from 73 critics, with an average rating of 6/10. The critics consensus reads: "It can feel more like a collection of skits than a cohesive story, but "How It Ends" is a comedic vision of the apocalypse with fleeting moments of brilliance." On Metacritic, the film has a weighted average score of 57 out of 100, based on 17 critics, indicating "mixed or average reviews."


title: Ossie Davis

text: Raiford Chatman "Ossie" Davis (December 18, 1917 – February 4, 2005) was an American actor, director, writer, and activist. He was married to Ruby Dee, with whom he frequently performed, until his death. He and his wife were named to the NAACP Image Awards Hall of Fame; were awarded the National Medal of Arts and were recipients of the Kennedy Center Honors. He was inducted into the American Theater Hall of Fame in 1994.


title: Ossie Davis

text: Raiford Chatman Davis was born in Cogdell, Georgia, the son of Kince Charles Davis, a railway construction engineer, and his wife Laura ("née" Cooper; July 9, 1898 – June 6, 2004). He inadvertently became known as "Ossie" when his birth certificate was being filed and his mother's pronunciation of his name as "R. C. Davis" was misheard by the courthouse clerk in Clinch County, Ga. Davis experienced racism from an early age when the KKK threatened to shoot his father, whose job they felt was too advanced for a black man to have. His siblings included scientist William Conan Davis, social worker Essie Davis Morgan, pharmacist Kenneth Curtis Davis, and biology teacher James Davis.


title: Ossie Davis

text: Following the wishes of his parents, he attended Howard University but dropped out in 1939 to fulfill his desire for an acting career in New York after a recommendation by Alain Locke; he later attended Columbia University School of General Studies. His acting career began in 1939 with the Rose McClendon Players in Harlem. During World War II, Davis served in the United States Army in the Medical Corps. He made his film debut in 1950 in the Sidney Poitier film "No Way Out".


title: Ossie Davis

text: When Davis wanted to pursue a career in acting, he ran into the usual roadblocks that black people suffered at that time as they generally could only portray stereotypical characters such as Stepin Fetchit. Instead, he tried to follow the example of Sidney Poitier and play more distinguished characters. When he found it necessary to play a Pullman porter or a butler, he played those characters realistically, not as a caricature.


title: Ossie Davis

text: In addition to acting, Davis, along with Melvin Van Peebles and Gordon Parks, was one of the notable black directors of his generation: he directed movies such as "Gordon's War", "Black Girl" and "Cotton Comes to Harlem". Along with Bill Cosby and Poitier, Davis was one of a handful of black actors able to find commercial success while avoiding stereotypical roles prior to 1970, which also included a significant role in the 1965 movie "The Hill" alongside Sean Connery plus roles in "The Cardinal" and "The Scalphunters". However, Davis never had the tremendous commercial or critical success that Cosby and Poitier enjoyed. As a playwright, Davis wrote "Paul Robeson: All-American", which is frequently performed in theatre programs for young audiences.


title: Ossie Davis

text: In 1976, Davis appeared on Muhammad Ali's novelty album for children, "The Adventures of Ali and His Gang vs. Mr. Tooth Decay".


title: Ossie Davis

text: Davis found recognition late in his life by working in several of director Spike Lee's films, including "Do The Right Thing", "Jungle Fever", "She Hate Me" and "Get on the Bus". He also found work as a commercial voice-over artist and served as the narrator of the early-1990s CBS sitcom "Evening Shade", starring Burt Reynolds, where he also played one of the residents of a small southern town.


title: Ossie Davis

text: In 1999, Davis appeared as a theater caretaker in the Trans-Siberian Orchestra film "The Ghosts of Christmas Eve", which was released on DVD two years later.


title: Ossie Davis

text: He voiced Anansi the spider on the PBS children's television series "Sesame Street" in its animation segments.


title: Ossie Davis

text: Davis's last role was a several episode guest role on the Showtime drama series "The L Word", as a father struggling with the acceptance of his daughter Bette (Jennifer Beals) parenting a child with her lesbian partner. In his final episodes, his character took ill and died. His wife Ruby Dee was present during the filming of his own death scene. That episode, which aired shortly after Davis's own death, aired with a dedication to the actor. After Davis's passing, actor Dennis Haysbert portrayed him in the 2015 film "Experimenter".


title: Ossie Davis

text: In 1989, Ossie Davis and his wife, actress/activist Ruby Dee, were named to the NAACP Image Awards Hall of Fame. In 1995, they were awarded the National Medal of Arts, the nation's highest honor conferred to an individual artist on behalf of the country and presented in a White House ceremony by the President of the United States. In 2004, they were recipients of the prestigious Kennedy Center Honors. According to the Kennedy Center Honors:


title: Ossie Davis

text: Davis and Dee were well known as civil rights activists during the Civil Rights Movement and were close friends of Malcolm X, Jesse Jackson, Martin Luther King Jr. and other icons of the era. They were involved in organizing the 1963 civil rights March on Washington for Jobs and Freedom, and served as its emcees. Davis, alongside Ahmed Osman, delivered the eulogy at the funeral of Malcolm X. He re-read part of this eulogy at the end of Spike Lee's film "Malcolm X". He also delivered a stirring tribute to Dr. Martin Luther King Jr, at a memorial in New York's Central Park the day after King was assassinated in Memphis, Tennessee.


title: Ossie Davis

text: In 1948, Davis married actress Ruby Dee, whom he had met on the set of Robert Ardrey's 1946 play "Jeb". In their joint autobiography "With Ossie and Ruby," they described their decision to have an open marriage, later changing their minds. In the mid-1960s they moved to the New York suburb of New Rochelle, where they remained ever after. Their son Guy Davis is a blues musician and former actor, who appeared in the film "Beat Street" (1984) and the daytime soap opera "One Life to Live". Their daughters are Nora Davis Day and Hasna Muhammad.


title: Ossie Davis

text: Davis was found dead in a Miami Beach hotel room on February 4, 2005. He was 87 years old. An official cause of death was not released, but he was known to have had heart problems. His ashes were interred at Ferncliff Cemetery.


title: Ossie Davis

text: Davis's funeral was held in New York City on February 12, 2005. The line to enter The Riverside Church, located on the edge of Harlem, stretched for several blocks, with a thousand or more members of the public unable to attend as the church filled to its 2,100 capacity. Speakers included Davis's children and grandchildren, as well as Alan Alda, Burt Reynolds, Amiri Baraka, Avery Brooks, Angela Bassett, Spike Lee, Attallah Shabazz, Tavis Smiley, Maya Angelou, Sonia Sanchez, Harry Belafonte, and former president Bill Clinton, among many others. Wynton Marsalis performed a musical tribute. Burt Reynolds, who early in his career had worked with Davis, said "Ossie Davis took the bad parts of the South out of me... I know what a man is because of Ossie Davis." Ms. Shabazz, oldest daughter of Malcolm X and Betty Shabazz, spoke lovingly of the man she and her five sisters called Uncle Ossie, saying he had provided exceptional support to her and her sisters after her father's assassination. Bill Clinton arrived midway through the service, and said from the pulpit "I asked to be seated in the back. I would proudly ride on the back of Ossie Davis's bus any day," adding that Davis "would have made a great president."


title: Ossie Davis

text: Delivering the eulogy, Harry Belafonte said: Ossie Davis "embraced the greatest forces of our times. Paul Robeson, Dr. W.E.B. DuBois, Eleanor Roosevelt, A. Philip Randolph, Fannie Lou Hamer, Ella Baker, Thurgood Marshall, Dr. Martin Luther King Jr., Nelson Mandela, and so many, many more. At the time of one of our most anxious and conflicted moments, when 'Our America' was torn apart by seething issues of race, Ossie paused, at the tomb of one of our noblest warriors, and in the eulogy he delivered, insured that history would clearly understand the voice of Black people, and what Malcolm X meant to us in the African-American struggle for freedom... It is hard to fathom that we will no longer be able to call on his wisdom, his humor, his loyalty and his moral strength to guide us in the choices that are yet to be made and the battles that are yet to be fought. But how fortunate we were to have him as long as we did."


title: Paul Klee

text: Paul Klee (; 18 December 1879 – 29 June 1940) was a Swiss-born German artist. His highly individual style was influenced by movements in art that included expressionism, cubism, and surrealism. Klee was a natural draftsman who experimented with and eventually deeply explored color theory, writing about it extensively; his lectures "Writings on Form and Design Theory" ("Schriften zur Form und Gestaltungslehre"), published in English as the "Paul Klee Notebooks", are held to be as important for modern art as Leonardo da Vinci's "A Treatise on Painting" was for the Renaissance. He and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture in Germany. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality.


title: Paul Klee

text: Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee (1849–1940) and Swiss singer Ida Marie Klee, born Frick (1855–1921). His sister Mathilde (died 6 December 1953) was born on 28 January 1876 in Walzenhausen. Their father came from Tann and studied singing, piano, organ and violin at the Stuttgart Conservatory, where he met his future wife Ida Frick. Hans Wilhelm Klee was active as a music teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his music skills as his parents encouraged and inspired him throughout his life.


title: Paul Klee

text: In 1880, his family moved to Bern, where they eventually, in 1897, after a number of changes of residence, moved into their own house in the . From 1886 to 1890, Klee visited primary school and received, at the age of 7, violin classes at the Municipal Music School. He was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. His other hobbies, drawing and writing poems, were not fostered in the same way as music was.


title: Paul Klee

text: In his early years, following his parents' wishes, Klee focused on becoming a musician; but he decided on the visual arts during his teen years, partly out of rebellion and partly because modern music lacked meaning for him. He stated, "I didn't find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement." As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, but as an artist he craved the freedom to explore radical ideas and styles. At sixteen, Klee's landscape drawings already show considerable skill.


title: Paul Klee

text: Around 1897, Klee started his diary, which he kept until 1918, and which has provided scholars with valuable insight into his life and thinking. During his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his final exams at the "Gymnasium" of Bern, where he qualified in the Humanities. With his characteristic dry wit, he wrote, "After all, it’s rather difficult to achieve the "exact" minimum, and it involves risks." On his own time, in addition to his deep interests in music and art, Klee was a great reader of literature, and later a writer on art theory and aesthetics.


title: Paul Klee

text: With his parents' reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and Franz von Stuck. He excelled at drawing but seemed to lack any natural color sense. He later recalled, "During the third winter I even realized that I probably would never learn to paint." During these times of youthful adventure, Klee spent much time in pubs and had affairs with lower-class women and artists' models. He had an illegitimate son in 1900 who died several weeks after birth.


title: Paul Klee

text: After receiving his Fine Arts degree, Klee traveled in Italy from October 1901 to May 1902 with friend Hermann Haller. They visited Rome, Florence, Naples and the Amalfi Coast, studying the master painters of past centuries. He exclaimed, "The Forum and the Vatican have spoken to me. Humanism wants to suffocate me." He responded to the colors of Italy, but sadly noted, "that a long struggle lies in store for me in this field of color." For Klee, color represented the optimism and nobility in art, and a hope for relief from the pessimistic nature he expressed in his black-and-white grotesques and satires. Returning to Bern, he lived with his parents for several years, and took occasional art classes. By 1905, he was developing some experimental techniques, including drawing with a needle on a blackened pane of glass, resulting in fifty-seven works including his "Portrait of My Father" (1906). In the years 1903–05 he also completed a cycle of eleven zinc-plate etchings called "Inventions", his first exhibited works, in which he illustrated several grotesque characters. He commented, "though I'm fairly satisfied with my etchings I can't go on like this. I’m not a specialist." Klee was still dividing his time with music, playing the violin in an orchestra and writing concert and theater reviews.


title: Paul Klee

text: Klee married Bavarian pianist Lily Stumpf in 1906 and they had one son named Felix Paul in the following year. They lived in a suburb of Munich, and while she gave piano lessons and occasional performances, he kept house and tended to his art work. His attempt to be a magazine illustrator failed. Klee's art work progressed slowly for the next five years, partly from having to divide his time with domestic matters, and partly as he tried to find a new approach to his art. In 1910, he had his first solo exhibition in Bern, which then travelled to three Swiss cities.


title: Paul Klee

text: In January 1911, Alfred Kubin met Klee in Munich and encouraged him to illustrate Voltaire's "Candide". His resultant drawings were published later in a 1920 version of the book edited by Kurt Wolff. Around this time, Klee's graphic work increased. His early inclination towards the absurd and the sarcastic was well received by Kubin, who befriended Klee and became one of his first significant collectors. Klee met, through Kubin, the art critic Wilhelm Hausenstein in 1911. Klee was a foundation member and manager of the Munich artists' union "Sema" that summer. In autumn he made an acquaintance with August Macke and Wassily Kandinsky, and in winter he joined the editorial team of the almanac "Der Blaue Reiter", founded by Franz Marc and Kandinsky. On meeting Kandinsky, Klee recorded, "I came to feel a deep trust in him. He is somebody, and has an exceptionally beautiful and lucid mind." Other members included Macke, Gabriele Münter and Marianne von Werefkin. Klee became in a few months one of the most important and independent members of the "Blaue Reiter", but he was not yet fully integrated.


title: Paul Klee

text: The release of the almanac was delayed for the benefit of an exhibition. The first "Blaue Reiter" exhibition took place from 18 December 1911 to 1 January 1912 in the Moderne Galerie Heinrich Thannhauser in Munich. Klee did not attend it, but in the second exhibition, which occurred from 12 February to 18 March 1912 in the Galerie Goltz, 17 of his graphic works were shown. The name of this art exhibition was "Schwarz-Weiß", as it only regarded graphic painting. Initially planned to be released in 1911, the release date of the "Der Blau Reiter" almanac by Kandinsky and Marc was delayed in May 1912, including the reproduced ink drawing "Steinhauer" by Klee. At the same time, Kandinsky published his art history writing "Über das Geistige in der Kunst".


title: Paul Klee

text: The association opened Klee's mind to modern theories of color. His travels to Paris in 1912 also exposed him to the ferment of Cubism and the pioneering examples of "pure painting", an early term for abstract art. The use of bold color by Robert Delaunay and Maurice de Vlaminck also inspired him. Rather than copy these artists, Klee began working out his own color experiments in pale watercolors and did some primitive landscapes, including "In the Quarry" (1913) and "Houses near the Gravel Pit" (1913), using blocks of color with limited overlap. Klee acknowledged that "a long struggle lies in store for me in this field of color" in order to reach his "distant noble aim." Soon, he discovered "the style which connects drawing and the realm of color."


title: Paul Klee

text: Klee's artistic breakthrough came in 1914 when he briefly visited Tunisia with August Macke and Louis Moilliet and was impressed by the quality of the light there. He wrote, "Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever... Color and I are one. I am a painter." With that realization, faithfulness to nature faded in importance. Instead, Klee began to delve into the "cool romanticism of abstraction". In gaining a second artistic vocabulary, Klee added color to his abilities in draftsmanship, and in many works combined them successfully, as he did in one series he called "operatic paintings". One of the most literal examples of this new synthesis is "The Bavarian Don Giovanni" (1919).


title: Paul Klee

text: After returning home, Klee painted his first pure abstract, "In the Style of Kairouan" (1914), composed of colored rectangles and a few circles. The colored rectangle became his basic building block, what some scholars associate with a musical note, which Klee combined with other colored blocks to create a color harmony analogous to a musical composition. His selection of a particular color palette emulates a musical key. Sometimes he uses complementary pairs of colors, and other times "dissonant" colors, again reflecting his connection with musicality.


title: Paul Klee

text: A few weeks later, World War I began. At first, Klee was somewhat detached from it, as he wrote ironically, "I have long had this war in me. That is why, inwardly, it is none of my concern." Klee was conscripted as a "Landsturmsoldat" (soldier of the reserve forces in Prussia or Imperial Germany) on 5 March 1916. The deaths of his friends August Macke and Franz Marc in battle began to affect him. Venting his distress, he created several pen and ink lithographs on war themes including "Death for the Idea" (1915). After finishing the military training course, which began on 11 March 1916, he was committed as a soldier behind the front. Klee moved on 20 August to the aircraft maintenance company in Oberschleissheim, executing skilled manual work, such as restoring aircraft camouflage, and accompanying aircraft transports. On 17 January 1917, he was transferred to the Royal Bavarian flying school in Gersthofen (which 54 years later became the USASA Field Station Augsburg) to work as a clerk for the treasurer until the end of the war. This allowed him to stay in a small room outside of the barrack block and continue painting.


title: Paul Klee

text: He continued to paint during the entire war and managed to exhibit in several shows. By 1917, Klee's work was selling well and art critics acclaimed him as the best of the new German artists. His "Ab ovo" (1917) is particularly noteworthy for its sophisticated technique. It employs watercolor on gauze and paper with a chalk ground, which produces a rich texture of triangular, circular, and crescent patterns. Demonstrating his range of exploration, mixing color and line, his "Warning of the Ships" (1918) is a colored drawing filled with symbolic images on a field of suppressed color.


title: Paul Klee

text: In 1919, Klee applied for a teaching post at the Academy of Art in Stuttgart. This attempt failed but he had a major success in securing a three-year contract (with a minimum annual income) with dealer Hans Goltz, whose influential gallery gave Klee major exposure, and some commercial success. A retrospective of over 300 works in 1920 was also notable.


title: Paul Klee

text: Klee taught at the Bauhaus from January 1921 to April 1931. He was a "Form" master in the bookbinding, stained glass, and mural painting workshops and was provided with two studios. In 1922, Kandinsky joined the staff and resumed his friendship with Klee. Later that year the first Bauhaus exhibition and festival was held, for which Klee created several of the advertising materials. Klee welcomed the many conflicting theories and opinions within the Bauhaus: "I also approve of these forces competing one with the other if the result is achievement."


title: Paul Klee

text: Klee was also a member of Die Blaue Vier (The Blue Four), with Kandinsky, Lyonel Feininger, and Alexej von Jawlensky; formed in 1923, they lectured and exhibited together in the US in 1925. That same year, Klee had his first exhibits in Paris, and he became a hit with the French Surrealists. Klee visited Egypt in 1928, which impressed him less than Tunisia. In 1929, the first major monograph on Klee's work was published, written by Will Grohmann.


title: Paul Klee

text: Klee also taught at the Düsseldorf Academy from 1931 to 1933, and was singled out by a Nazi newspaper, "Then that great fellow Klee comes onto the scene, already famed as a Bauhaus teacher in Dessau. He tells everyone he's a thoroughbred Arab, but he's a typical Galician Jew." His home was searched by the Gestapo and he was fired from his job. His self-portrait "Struck from the List" (1933) commemorates the sad occasion. In 1933–34, Klee had shows in London and Paris, and finally met Pablo Picasso, whom he greatly admired. The Klee family emigrated to Switzerland in late 1933.


title: Paul Klee

text: Klee was at the peak of his creative output. His "Ad Parnassum" (1932) is considered his masterpiece and the best example of his pointillist style; it is also one of his largest, most finely worked paintings. He produced nearly 500 works in 1933 during his last year in Germany. However, in 1933, Klee began experiencing the symptoms of what was diagnosed as scleroderma after his death. The progression of his fatal disease, which made swallowing very difficult, can be followed through the art he created in his last years. His output in 1936 was only 25 pictures. In the later 1930s, his health recovered somewhat and he was encouraged by a visit from Kandinsky and Picasso. Klee's simpler and larger designs enabled him to keep up his output in his final years, and in 1939 he created over 1,200 works, a career high for one year. He used heavier lines and mainly geometric forms with fewer but larger blocks of color. His varied color palettes, some with bright colors and others somber, perhaps reflected his alternating moods of optimism and pessimism. Back in Germany in 1937, seventeen of Klee's pictures were included in an exhibition of "Degenerate art" and 102 of his works in public collections were seized by the Nazis.


title: Paul Klee

text: In 1935, 2 years after moving to Switzerland and working in a very confined situation, Klee developed scleroderma, an autoimmune disease resulting in hardening of connective tissue.


title: Paul Klee

text: He endured pain that seems to be reflected in his last works of art. In his last months he created 50 drawings of angels. One of his last paintings, "Death and Fire", features a skull in the center with the German word for death, "Tod", appearing in the face. He died in Muralto, Locarno, Switzerland, on 29 June 1940 without having obtained Swiss citizenship, despite his birth in that country. His art work was considered too revolutionary, even degenerate, by the Swiss authorities, but eventually they accepted his request six days after his death. His legacy comprised about 9,000 works of art. The words on his tombstone, Klee's credo, placed there by his son Felix, say, "I cannot be grasped in the here and now, for my dwelling place is as much among the dead as the yet unborn. Slightly closer to the heart of creation than usual, but still not close enough." He was buried at Schosshaldenfriedhof, Bern, Switzerland.


title: Paul Klee

text: Klee has been variously associated with Expressionism, Cubism, Futurism, Surrealism, and Abstraction, but his pictures are difficult to classify. He generally worked in isolation from his peers, and interpreted new art trends in his own way. He was inventive in his methods and technique. Klee worked in many different media—oil paint, watercolor, ink, pastel, etching, and others. He often combined them into one work. He used canvas, burlap, muslin, linen, gauze, cardboard, metal foils, fabric, wallpaper, and newsprint. Klee employed spray paint, knife application, stamping, glazing, and impasto, and mixed media such as oil with watercolor, watercolor with pen and India ink, and oil with tempera.


title: Paul Klee

text: He was a natural draftsman, and through long experimentation developed a mastery of color and tonality. Many of his works combine these skills. He uses a great variety of color palettes from nearly monochromatic to highly polychromatic. His works often have a fragile childlike quality to them and are usually on a small scale. He often used geometric forms and grid format compositions as well as letters and numbers, frequently combined with playful figures of animals and people. Some works were completely abstract. Many of his works and their titles reflect his dry humor and varying moods; some express political convictions. They frequently allude to poetry, music and dreams and sometimes include words or musical notation. The later works are distinguished by spidery hieroglyph-like symbols. Rainer Maria Rilke wrote about Klee in 1921, "Even if you hadn’t told me he plays the violin, I would have guessed that on many occasions his drawings were transcriptions of music."


title: Paul Klee

text: Pamela Kort observed: "Klee's 1933 drawings present their beholder with an unparalleled opportunity to glimpse a central aspect of his aesthetics that has remained largely unappreciated: his lifelong concern with the possibilities of parody and wit. Herein lies their real significance, particularly for an audience unaware that Klee's art has political dimensions."


title: Paul Klee

text: Among the few plastic works are hand puppets made between 1916 and 1925, for his son Felix. The artist neither counted them as a component of his oeuvre, nor did he list them in his catalogue raisonné. Thirty of the preserved puppets are stored at the Zentrum Paul Klee, Bern.


title: Paul Klee

text: Some of Klee's early preserved children's drawings, which his grandmother encouraged, were listed on his catalogue raisonné. A total of 19 etchings were produced during the Bern years; ten of these were made between 1903 and 1905 in the cycle "Inventionen" (Inventions), which were presented in June 1906 at the "Internationale Kunstausstellung des Vereins bildender Künstler Münchens 'Secession'" (International Art Exhibition of the Association for Graphic Arts, Munich, Secession), his first appearance as a painter in the public. Klee had removed the third Invention, "Pessimistische Allegorie des Gebirges" (Pessimistic Allegory of the Mountain), in February 1906 from his cycle. The satirical etchings, for example "Jungfrau im Baum/Jungfrau (träumend)" (Virgin on the tree/Virgin (dreaming)) from 1903 and "Greiser Phoenix" (Aged Phoenix) from 1905, were classified by Klee as "surrealistic outposts". "Jungfrau im Baum" ties on the motive "Le cattive madri" (1894) by Giovanni Segantini. The picture was influenced by grotesque lyric poetries of Alfred Jarry, Max Jacob and Christian Morgenstern. It features a cultural pessimism, which can be found at the turn of the 20th century in works by Symbolists. The Invention Nr. 6, the 1903 etching "Zwei Männer, einander in höherer Stellung vermutend" (Two Men, Supposing the Other to be in a Higher Position), depicts two naked men, presumably emperor Wilhelm II and Franz Joseph I of Austria, recognizable by their hairstyle and beards. As their clothes and insignia were bereft, "both of them have no clue if their conventional salute […] is in order or not. As they assume that their counterpart could have been higher rated", they bow and scrape.


title: Paul Klee

text: Klee began to introduce a new technique in 1905: scratching on a blackened glass panel with a needle. In that manner he created about 57 Verre églomisé pictures, among those the 1905 "Gartenszene" (Scene on a Garden) and the 1906 "Porträt des Vaters" (Portrait of a Father), with which he tried to combine painting and scratching. Klee's solitary early work ended in 1911, the year he met and was inspired by the graphic artist Alfred Kubin, and became associated with the artists of the "Blaue Reiter".


title: Paul Klee

text: During his twelve-day educational trip to Tunis in April 1914 Klee produced with Macke and Moilliet watercolor paintings, which implement the strong light and color stimulus of the North African countryside in the fashion of Paul Cézanne and Robert Delaunay's cubistic form concepts. The aim was not to imitate nature, but to create compositions analogous to nature's formative principle, as in the works "In den Häusern von Saint-Germain" (In the Houses of Saint-Germain) and "Straßencafé" (Streetcafé). Klee conveyed the scenery in a grid, so that it dissolves into colored harmony. He also created abstract works in that period such as "Abstract" and "Farbige Kreise durch Farbbänder verbunden" (Colored Circles Tied Through Inked Ribbons). He never abandoned the object; a permanent segregation never took place. It took over ten years that Klee worked on experiments and analysis of the color, resulting to an independent artificial work, whereby his design ideas were based on the colorful oriental world.


title: Paul Klee

text: "Föhn im Marc'schen Garten" (Foehn at Marc's Garden) was made after the Turin trip. It indicates the relations between color and the stimulus of Macke and Delaunay. Although elements of the garden are clearly visible, a further steering towards abstraction is noticeable. In his diary Klee wrote the following note at that time:


title: Paul Klee

text: In the large molding pit are lying ruins, on which one partially hangs. They provide the material for the abstraction. […] The terrible the world, the abstract the art, while a happy world produces secularistic art.


title: Paul Klee

text: Under the impression of his military service he created the painting "Trauerblumen" (Velvetbells) in 1917, which, with its graphical signs, vegetal and phantastic shapes, is a forerunner of his future works, harmonically combining graphic, color and object. For the first time birds appear in the pictures, such as in "Blumenmythos" (Flower Myth) from 1918, mirroring the flying and falling planes he saw in Gersthofen, and the photographed plane crashes.


title: Paul Klee

text: In the 1918 watercolor painting "Einst dem Grau der Nacht enttaucht", a compositional implemented poem, possibly written by Klee, he incorporated letters in small, in terms of color separated squares, cutting off the first verse from the second one with silver paper. At the top of the cardboard, which carries the picture, the verses are inscribed in manuscript form. Here, Klee did not lean on Delaunay's colors, but on Marc's, although the picture content of both painters does not correspond with each other. Herwarth Walden, Klee's art dealer, saw in them a "Wachablösung" (changing of the guard) of his art. Since 1919 he often used oil colors, with which he combined watercolors and colored pencil. The "Villa R" (Kunstmuseum Basel) from 1919 unites visible realities such as sun, moon, mountains, trees and architectures, as well as surreal pledges and sentiment readings.


title: Paul Klee

text: His works during this time include "Camel (in rhythmic landscape with trees)" as well as other paintings with abstract graphical elements such as "betroffener Ort" (Affected Place) (1922). From that period he created "Die Zwitscher-Maschine" (The Twittering Machine), which was later removed from the National Gallery. After being named defamatory in the Munich exhibition "Entartete Kunst", the painting was later bought by the Buchholz Gallery, New York, and then transferred in 1939 to the Museum of Modern Art. The "twittering" in the title refers to the open-beaked birds, while the "machine" is illustrated by the crank. The watercolor painting appears at a first glance childish, but it allows more interpretations. The picture can be interpreted as a critic by Klee, who shows through denaturation of the birds, that the world technization heist the creatures' self-determination.


title: Paul Klee

text: Other examples from that period are "der Goldfisch" (The Goldfish) from 1925, "Katze und Vogel" (Cat and Bird), from 1928, and "Hauptweg und Nebenwege" (Main Road and Byways) from 1929. Through variations of the canvas ground and his combined painting techniques Klee created new color effects and picture impressions.


title: Paul Klee

text: From 1916 to 1925, Klee created 50 hand puppets for his son Felix. The puppets are not mentioned in the Bauhaus catalog of works, since they were intended as private toys from the beginning. Nevertheless, they are an impressive example of Klee's imagery. He not only dealt with puppet shows privately, but also in his artistic work at the Bauhaus.


title: Paul Klee

text: In 1931, Klee transferred to Düsseldorf to teach at the Akademie; the Nazis shut down the Bauhaus soon after. During this time, Klee illustrated a series of guardian angels. Among these figurations is "In Engelshut" (In the Angel's Care). Its overlaying technique evinces the polyphonic character of his drawing method between 1920 and 1932.


title: Paul Klee

text: The 1932 painting "Ad Parnassum" was also created in the Düsseldorf period. This is one of his largest paintings, as he usually worked with small formats. In this mosaic-like work in the style of pointillism he combined different techniques and compositional principles. Influenced by his trip to Egypt from 1928 to 1929, Klee built a color field from individually stamped dots, surrounded by similarly stamped lines, which results in a pyramid. Above the roof of the "Parnassus" there is a sun. The title identifies the picture as the home of Apollo and the Muses. During his 1929 travels through Egypt, Klee developed a sense of connection to the land, described by art historian Olivier Berggruen as a mystical feeling: "In the desert, the sun's intense rays seemed to envelop all living things, and at night, the movement of the stars felt even more palpable. In the architecture of the ancient funerary moments Klee discovered a sense of proportion and measure in which human beings appeared to establish a convincing relationship with the immensity of the landscape; furthermore, he was drawn to the esoteric numerology that governed the way in which these monuments had been built." In 1933, his last year in Germany, he created a range of paintings and drawings; the catalogue raisonné comprised 482 works. The self-portrait in the same year—with the programmatic title "von der Liste gestrichen" (removed from the list)—provides information about his feeling after losing his professorship. The abstract portrait was painted in dark colors and shows closed eyes and compressed lips, while on the back of his head there is a large "X", symbolizing that his art was no longer valued in Germany.


title: Paul Klee

text: In this period Klee mainly worked on large-sized pictures. After the onset of illness, there were about 25 works in the 1936 catalogue, but his productivity increased in 1937 to 264 pictures, 1938 to 489, and 1939—his most productive year—to 1254. They dealt with ambivalent themes, expressing his personal fate, the political situation and his wit. Examples are the watercolor painting "Musiker" (musician), a stick-man face with partially serious, partially smiling mouth; and the "Revolution des Viadukts" (Revolution of the Viadukt), an anti-fascist art. In "Viadukt" (1937) the bridge arches split from the bank as they refuse to be linked to a chain and are therefore rioting.


title: Paul Klee

text: Since 1938, Klee worked more intensively with hieroglyphic-like elements. The painting "Insula dulcamara" from the same year, which is one of his largest (), shows a white face in the middle of the elements, symbolizing death with its black-circled eye sockets. Bitterness and sorrow are not rare in much of his works during this time.


title: Paul Klee

text: Klee created in 1940 a picture which strongly differs from the previous works, leaving it unsigned on the scaffold. The comparatively realistic still life, "Ohne Titel", later named as "Der Todesengel" (Angel of Death), depicts flowers, a green pot, sculpture and an angel. The moon on black ground is separated from these groups. During his 60th birthday Klee was photographed in front of this picture.


title: Paul Klee

text: "Klee's act is very prestigious. In a minimum of one line he can reveal his wisdom. He is everything; profound, gentle and many more of the good things, and this because: he is innovative", wrote Oskar Schlemmer, Klee's future artist colleague at the Bauhaus, in his September 1916 diary.


title: Paul Klee

text: Novelist and Klee's friend Wilhelm Hausenstein wrote in his work "Über Expressionismus in der Malerei" (On Expressionism in Painting), "Maybe Klee's attitude is in general understandable for musical people—how Klee is one of the most delightsome violinist playing Bach and Händel, who ever walked on earth. […] For Klee, the German classic painter of the Cubism, the world music became his companion, possibly even a part of his art; the composition, written in notes, seems to be not dissimilar."


title: Paul Klee

text: When Klee visited the Paris surrealism exhibition in 1925, Max Ernst was impressed by his work. His partially morbid motifs appealed to the surrealists. André Breton helped to develop the surrealism and renamed Klee's 1912 painting "Zimmerperspektive mit Einwohnern" (Room Perspective with People) to "chambre spirit" in a catalogue. Critic René Crevel called the artist a "dreamer" who "releases a swarm of small lyrical louses from mysterious abysses." Paul Klee's confidante Will Grohmann argued in the "Cahiers d'art" that he "stands definitely well solid on his feet. He is by no means a dreamer; he is a modern person, who teaches as a professor at the Bauhaus." Whereupon Breton, as Joan Miró remembers, was critical of Klee: "Masson and I have both discovered Paul Klee. Paul Éluard and Crevel are also interested in Klee, and they have even visited him. But Breton despises him."


title: Paul Klee

text: The art of mentally ill people inspired Klee as well as Kandinsky and Max Ernst, after Hans Prinzhorns book "Bildnerei der Geisteskranken" (Artistry of the Mentally Ill) was published in 1922. In 1937, some papers from Prinzhorn's anthology were presented at the National Socialist propaganda exhibition "Entartete Kunst" in Munich, with the purpose of defaming the works of Kirchner, Klee, Nolde and other artists by likening them to the works of the insane.


title: Paul Klee

text: In 1949 Marcel Duchamp commented on Paul Klee: "The first reaction in front of a Klee painting is the very pleasant discovery, what everyone of us could or could have done, to try drawing like in our childhood. Most of his compositions show at the first glance a plain, naive expression, found in children's drawings. […] At a second analyse one can discover a technique, which takes as a basis a large maturity in thinking. A deep understanding of dealing with watercolors to paint a personal method in oil, structured in decorative shapes, let Klee stand out in the contemporary art and make him incomparable. On the other side, his experiment was adopted in the last 30 years by many other artists as a basis for newer creations in the most different areas in painting. His extreme productivity never shows evidence of repetition, as is usually the case. He had so much to say, that a Klee never became another Klee."


title: Paul Klee

text: One of Klee's paintings, "Angelus Novus", was the object of an interpretative text by German philosopher and literary critic Walter Benjamin, who purchased the painting in 1921. In his "Theses on the Philosophy of History" Benjamin suggests that the angel depicted in the painting might be seen as representing the angel of history.


title: Paul Klee

text: Another aspect of his legacy, and one demonstrating his multi-faceted presence in the modern artistic imagination, is his appeal for those interested in the history of the algorithm as exemplified by "Homage to Paul Klee" by computer art pioneer Frieder Nake.


title: Paul Klee

text: Unlike his taste for adventurous modern experiment in painting, Klee, though musically talented, was attracted to older traditions of music; he appreciated neither composers of the late 19th century, such as Wagner, Bruckner and Mahler, nor contemporary music. Bach and Mozart were for him the greatest composers; he most enjoyed playing the works by the latter.


title: Paul Klee

text: Klee's work has influenced composers such as Argentinian Roberto García Morillo in 1943, with "Tres pinturas de Paul Klee". Others include the American composer David Diamond in 1958, with the four-part Opus "Welt von Paul Klee" (World of Paul Klee). Gunther Schuller composed "Seven Studies on Themes of Paul Klee" in the years 1959/60, consisting of "Antique Harmonies", "Abstract Trio", "Little Blue Devil", "Twittering Machine", "Arab Village", "An Eerie Moment", and "Pastorale". The Spanish composer Benet Casablancas wrote "Alter Klang", Impromptu for Orchestra after Klee (2006); Casablancas is author also of the "Retablo on texts by Paul Klee", Cantata da Camera for Soprano, Mezzo and Piano (2007). In 1950, Giselher Klebe performed his orchestral work "Die Zwitschermaschine" with the subtitle "Metamorphosen über das Bild von Paul Klee" at the Donaueschinger Musiktage. "8 Pieces on Paul Klee" is the title of the debut album by the Ensemble Sortisatio, recorded February and March 2002 in Leipzig and August 2002 in Lucerne, Switzerland. The composition "Wie der Klee vierblättrig wurde" (How the clover became four-leaved) was inspired by the watercolor painting "Hat Kopf, Hand, Fuss und Herz" (1930), "Angelus Novus" and "Hauptweg und Nebenwege".


title: Paul Klee

text: In 1968, a jazz group called The National Gallery featuring composer Chuck Mangione released the album "Performing Musical Interpretations of the Paintings of Paul Klee". In 1995 the Greek experimental filmmaker, Kostas Sfikas, created a film based entirely on Paul Klee's paintings. The film is entitled ""Paul Klee's Prophetic Bird of Sorrows"", and draws its title from Klee's Landscape with Yellow Birds. It was made using portions and cutouts from Paul Klee's paintings.


title: Paul Klee

text: Since 1995, the "Paul Klee-Archiv" (Paul Klee archive) of the University of Jena houses an extensive collection of works by Klee. It is located within the art history department, established by Franz-Joachim Verspohl. It encompasses the private library of book collector Rolf Sauerwein which contains nearly 700 works from 30 years composed of monographs about Klee, exhibition catalogues, extensive secondary literature as well as originally illustrated issues, a postcard and a signed photography portrait of Klee.


title: Paul Klee

text: Architect Renzo Piano constructed the Zentrum Paul Klee in June 2005. Located in Bern, the museum exhibits about 150 (of 4000 Klee works overall) in a six-month rotation, as it is impossible to show all of his works at once. Furthermore, his pictures require rest periods; they contain relatively photosensitive colors, inks and papers, which may bleach, change, turn brown and become brittle if exposed to light for too long. The San Francisco Museum of Modern Art has a comprehensive Klee collection, donated by Carl Djerassi. Other exhibitions include the Sammlung Rosengart in Luzern, the Albertina in Wien and the Berggruen Museum in Berlin. Schools in Gersthofen, Lübeck; Klein-Winternheim, Overath; his place of birth Münchenbuchsee and Düsseldorf bear his name.


title: Paul Klee

text: In addition to Klee's works that Nazis seized from museums, several of his artworks were looted by Nazis from Jewish collectors and their families. Some of these have been restituted while others have been the subject of lawsuits and claims for restitution. One of the most famous claims was for Klee's Swamp Legend,


title: Rebecca Broussard

text: She was born in Louisville, Kentucky. From 1987 to 1988, Broussard was married to Richard Perry, a noted record executive who produced albums for Harry Nilsson, Julio Iglesias, Ringo Starr and Carly Simon, though the couple had no children together. Broussard has two children with actor Jack Nicholson, whom she was with from 1989 to 1994: daughter Lorraine Nicholson (born April 16, 1990) and son Raymond Nicholson (born February 20, 1992). Since 2001, she has been married to actor Alex Kelly.


title: National dish

text: A national dish is a culinary dish that is strongly associated with a particular country. A dish can be considered a national dish for a variety of reasons:


title: National dish

text: National dishes are part of a nation's identity and self-image. During the age of European empire-building, nations would develop a national cuisine to distinguish themselves from their rivals.


title: National dish

text: According to Zilkia Janer, a lecturer on Latin American culture at Hofstra University, it is impossible to choose a single national dish, even unofficially, for countries such as Mexico, China or India because of their diverse ethnic populations, cultures, and cuisines. Furthermore, because national dishes are so interwoven into a nation's sense of identity, strong emotions and conflicts can arise when trying to choose a country's national dish.


title: National dish

text: In Latin America, dishes may be claimed or designated as a ""plato nacional"", although in many cases, recipes transcend national borders with only minor variations. Preparations of ceviche are endemic in Peru and Ecuador, while a thin cut of beef known as matambre is considered close to being a national dish in Paraguay. Stews of meat, plantains, and root vegetables are the "platos nacionales" of several countries in Central America, South America, and the Caribbean: Colombian "ajiaco", as well as the "sancocho" of the Dominican Republic, Colombia, and Panama, are examples of platos nacionales. Janer (2008) observes that this sharing of the same "plato nacional" by different countries calls into question the idea that every country has a unique national dish that is special to that country; she states that cuisine does not respect national and geopolitical borders.


title: National dish

text: The identification of Latin American national dishes is stronger among expatriate communities in North America. In Latin American countries, the "plato nacional" is usually part of the cuisine of rural and peasant communities, and not necessarily part of the everyday cuisine of city dwellers. In expatriate communities, the dish is strongly reclaimed in order to retain the sense of national identity and ties to one's homeland, and is proudly served in homes and restaurants. By this show of national identity, the community can resist social pressures that push for homogenization of many ethnically and culturally diverse communities into a single all-encompassing group identity, such as Latino or Hispanic American.


title: National dish

text: This is not a definitive list of national dishes, but rather a list of some foods that have been suggested to be national dishes.


title: National dish

text: A national drink is a distinct beverage that is strongly associated with a particular country, and can be part of their national identity and self-image. National drinks fall into two categories, alcoholic and non-alcoholic. An alcoholic national drink is sometimes a national liquor drank straight/neat (as in the case of whiskey in Ireland), but is most often a mixed drink (e.g., caipirinhas in Brazil and pisco sours in Peru and Chile), or beer or wine. Examples of non-alcoholic national drinks include tea for China, Coca-Cola for the US, lassis for India, mate for Uruguay, and kompot for East European nations.


title: Enver Pasha

text: İsmail Enver, better known as Enver Pasha (; ; 22 November 1881 – 4 August 1922) was an Ottoman military officer, revolutionary, and convicted war criminal who formed one-third of the dictatorial triumvirate known as the "Three Pashas" (along with Talaat Pasha and Cemal Pasha) in the Ottoman Empire.


title: Enver Pasha

text: Enver was a member of the Committee of Union and Progress (CUP), a Young Turk organization that agitated against Abdul Hamid II's absolute rule. He was a leader of the 1908 Young Turk Revolution which reestablished the Constitution and parliamentary democracy in the Ottoman Empire, and along with Ahmed Niyazi was hailed as "hero of the revolution". However multiple crises in the Empire including the 31 March Incident, the Balkan Wars, and the power struggle with the Freedom and Accord Party made Enver and the Unionists disillusioned of political pluralism. After the 1913 Ottoman coup d’état that brought the CUP directly to power, Enver Pasha took control of the Ottoman army, becoming (4 January 1914) the Minister of War, while Talaat took control over the civilian government.


title: Enver Pasha

text: As war minister and "de facto" Commander-in-Chief (despite his role as the "de jure" Deputy Commander-in-Chief, as the Sultan formally held the title), Enver Pasha was one of the most powerful figures of the government of the Ottoman Empire. Enver Pasha led a disastrous attack on Russian forces in the Battle of Sarikamish, after which he blamed Armenians for his defeat. Along with Talaat, he was one of the principal perpetrators of the Late Ottoman Genocides and thus is held responsible for the death of between 800,000 and 1,800,000 Armenians, 300,000 Assyrians and 750,000 Greeks. Following defeat in World War I, Enver, along with other leading Unionists, escaped the Ottoman Empire. The Ottoman Military Tribunal convicted Enver Pasha and other Unionists and sentenced them to death "in absentia" for bringing the Empire into World War I and organizing massacres against Greeks and Armenians. Enver ended up in Central Asia, where he was killed leading the Basmachi Revolt against the Bolsheviks. In 1996, his remains were reburied in Turkey and he received rehabilitation by then Turkish president Süleyman Demirel who also praised him and his contributions to Turkish nationalism. In 2020, following the second Nagorno-Karabakh War, incumbent president Recep Tayyip Erdoğan praised Enver Pasha's role during World War I.


title: Enver Pasha

text: In the course of his career he was known by increasingly elevated titles as he rose through military ranks, including Enver Efendi (), Enver Bey (), and finally Enver Pasha, "pasha" being the honorary title Ottoman military officers gained on promotion to the rank of Mirliva (major general).


title: Enver Pasha

text: Enver was born in Constantinople (Istanbul) on 22 November 1881. Enver's father, Ahmed ( 1860–1947), was either a bridge-keeper in Monastir or an Albanian small town public prosecutor in the Balkans. His mother Ayşe Dilara was an Albanian. According to Şuhnaz Yilmaz, he is a descendent of Gagavuz Turks. His uncle was Halil Pasha (later Kut). Enver had two younger brothers, Nuri and Mehmed Kamil, and two younger sisters, Hasene and Mediha. He was the brother in law of Lieutenant Colonel Ömer Nâzım. At the age of six he moved with his father to Monastir where he attended primary school. He studied in different military institutions and ultimately graduated from the Ottoman Military Academy in 1902. As graduate of the Military Academy, he was a "Mektebli". Between 1903 and 1908, while becoming familiar in the guerrilla warfare against the Bulgarians, he became convinced of a need for reform of the Ottoman military loyal to the Sultan.


title: Enver Pasha

text: Enver, through the assistance of his uncle Halil Kut became the twelfth member of the Ottoman Freedom Society (OFS) while the organisation was still at an early phase of development. The OFS merged later with the Paris-based Committee of Union and Progress (CUP) lead by Ahmed Rıza . The CUP gained access to the Third Army through Enver. In 1906 upon returning to Monastir (modern Bitola) Enver formed a CUP cell within the town and worked closely with an Ottoman officer Kâzım Karabekir. Enver became the main figure in the CUP Monastir branch and he initiated Ottoman officers like Ahmet Niyazi bey and Eyüp Sabri into the CUP organisation.


title: Enver Pasha

text: In the early twentieth century some prominent Young Turk members such as Enver developed a strong interest in the ideas of Gustave Le Bon. For example, Enver saw deputies as mediocre and in reference to Le Bon he thought that as a collective mind they had the potential to become dangerous and be the same as a despotic leader. As the CUP shifted away from the ideas of members who belonged to the old core of the organisation to those of the newer membership, this change assisted individuals like Enver in gaining a larger profile in the Young Turk movement.


title: Enver Pasha

text: In Ohri (modern Ohrid) an armed band called the Special Muslim Organisation (SMO) composed mostly of notables was created in 1907 to protect local Muslims and fight Internal Macedonian Revolutionary Organization (IMRO) bands. Enver along with Sabri recruited the SMO and turned it into the Ohri branch of the CUP with its band becoming the local CUP band. CUP Internal headquarters proposed that Enver go form a CUP band in the countryside. Approving the decision by the committee to assassinate his brother in law Lieutenant Colonel Ömer Nâzım, Enver under instructions from CUP headquarters traveled from Selanik to Tikveş on 26 June 1908 to establish a band. CUP headquarters conferred upon Enver the title of "CUP Inspector General of Internal Organisation and Executive Forces".


title: Enver Pasha

text: On July 3, 1908 Niyazi protesting the rule of Abdul Hamid II fled with his band from Resne (modern Resen) into the mountains where he initiated the Young Turk Revolution and issued a proclamation that called for the restoration of the constitution of 1876. Following that example Enver in Tikveş and other officers such as Sabri in Ohri also went into the mountains and formed guerilla bands (çetes). It is unclear whether the CUP had a fixed date for the revolution; in comments made in an interview following the event Enver stated that they planned for action on August 1908, yet events had forced them to begin the revolution at an earlier time. For the revolt to get local support Enver and Niyazi played on fears of possible foreign intervention. Enver led a band composed of volunteers and deserters. For example, he allowed a deserter who had engaged in brigandage in areas west of the river Vardar to join his band at Tikveș. Throughout the revolution, guerilla bands of both Enver and Niyazi consisted of Muslim (mostly Albanian) paramilitaries.


title: Enver Pasha

text: Enver sent an ultimatum to the Inspector General on 11 July 1908 and demanded that within 48 hours Abdul Hamid II issue a decree for CUP members that had been arrested and sent to Constantinople to be freed. He warned that if the ultimatum was not complied with by the Inspector General, he would refuse to accept any responsibility for future actions. In Tikveș a handwritten appeal was distributed to locals calling for them to either stay neutral or join with him. Enver possessed strong authority among fellow Muslims in the area where he resided and could communicate with them as he spoke both Albanian and Turkish. During the revolution, Enver stayed in the homes of notables, and as a sign of respect they would kiss his hands since he had earlier saved them from an attack by an IMRO band. He stated that the CUP had no support in the countryside apart from a few large landowners with CUP membership that lived in towns, yet they retained influence in their villages and were able to mobilise the population for the cause. Whole settlements were enrolled into the CUP through councils of village elders convened by Enver in Turkish villages of the Tikveş region. As the revolution spread by the third week and more officers deserted the army to join the cause, Enver and Niyazi got like minded officials and civilian notables to send multiple petitions to the Ottoman palace. Enver wrote in his memoirs that while he still was involved in band activity in the days toward the end of the revolution he composed more detailed rules of engagement for use by paramilitary units and bands. Facing a deteriorating situation in the Balkans on July 24 sultan Abdul Hamid II restored the constitution of 1876.


title: Enver Pasha

text: In the aftermath of the revolution Niyazi and Enver remained in the political background due to their youth and junior military ranks with both agreeing that photographs of them would not be distributed to the general public; however, this decision was rarely honoured. Instead Niyazi and Enver as leaders of the revolution elevated their positions into near legendary status, with their images placed on postcards and distributed throughout the Ottoman state. Toward the latter part of 1908, photographs of Niyazi and Enver had reached Constantinople and school children of the time played with masks on their faces that depicted the revolutionaries. In other images produced of the time the sultan is presented in the centre flanked by Niyazi and Enver to either side. As the actions of both men carried the appearance of initiating the revolution, Niyazi, an Albanian, and Enver, a Turk, later received popular acclaim as "heroes of freedom" ("hürriyet kahramanları") and symbolised Albanian-Turkish cooperation.


title: Enver Pasha

text: As a tribute to his role in the Young Turk Revolution that began the Second Constitutional Era of the Ottoman Empire, Niyazi is mentioned along with Enver in the ( or "Meclis-i Mebusan Marşı"), the anthem of the Chamber of Deputies, the lower house of the Ottoman parliament. It was performed in 1909 upon the opening of the new parliament. The fourth line of the anthem reads "Long live Niyazi, long live Enver" (). The Ottoman newspaper "Volkan", a strong supporter of the constitution published adulatory pieces about Enver and Niyazi in 1909.


title: Enver Pasha

text: Following the revolution Enver rose within the ranks of the Ottoman military and had an important role within army committee relations. By 1909 he was the military attaché at Berlin and formed personal ties with high ranking German state officials and the Kaiser. It was during this time that Enver came to admire the culture of Germany and power of the German military. He invited German officers to reform the Ottoman Army. In 1909 a reactionary conspiracy to organise a countercoup culminated in the 31 March Incident; the countercoup was put down. Enver for a short time in April 1909 returned to Constantinople and joined the Action Army. As such he took an active role in the suppression of the countercoup, which resulted in the overthrow of Abdul Hamid II, who was replaced by his brother Mehmed V, while the power of the CUP was consolidated. Throughout the Young Turk era, Enver was a member of the CUP central committee from 1908 to 1918.


title: Enver Pasha

text: In 1911, Italy launched an invasion of the Ottoman vilayet of Tripolitania ("Trablus-i Garb", modern Libya), starting the Italo-Turkish War. Enver decided to join the defense of the province and left Berlin for Libya. There, he assumed the overall command after successfully mobilizing 20,000 troops. Because of the outbreak of the Balkan Wars, however, Enver and other Ottoman generals in Libya were called back to Constantinople. This allowed Italy to take control of Libya. In 1912, thanks to his active role in the war, he was made lieutenant colonel.


title: Enver Pasha

text: However, the loss of Libya cost the CUP in popularity, and it fell from government after rigging the 1912 elections (known as the "Sopalı Seçimler", "Election of Clubs"), to be replaced by the Freedom and Accord Party (which was helped by its military arm, the Savior Officers, that denounced the CUP's actions during the 1912 elections).


title: Enver Pasha

text: In October 1912, the First Balkan War broke out, and the Ottoman armies suffered severe defeats at the hands of the Balkan League. These military reversals weakened the government, and gave the committee the chance to seize power from Freedom and Accord. In a coup in January 1913, Enver and CUP leader Mehmed Talaat regained power for the committee and introduced a triumvirate that came to be called the "Three Pashas" which included Enver, Talaat, and Ahmed Cemal Pasha). Turkey then withdrew from the peace negotiations then under way in London and did not sign the Treaty of London (1913), resuming the First Balkan War. The change in government did not change the fact that the war was lost, and the Ottoman Empire gave up almost all of its Balkan territory to the Balkan League. Afterwords the Grand Vizier Mahmud Shevket Pasha was assassinated, allowing the CUP to take full control over the empire.


title: Enver Pasha

text: In June 1913, however, the Second Balkan War broke out between the Balkan Allies. Enver Bey took advantage of the situation and led an army into Eastern Thrace, recovering Adrianople from the Bulgarians, who had concentrated their forces against the Serbs and Greeks, with the Treaty of Constantinople (1913). Enver is therefore recognised by some Turks as the "conqueror of Edirne".


title: Enver Pasha

text: In 1914, he became Minister of War in the cabinet of Said Halim Pasha, and married HIH Princess Emine Naciye Sultan (1898–1957), the daughter of Prince Süleyman, thus entering the royal family as a "damat" ("bridegroom" to the ruling House of Osman).


title: Enver Pasha

text: Being able to communicate in German, Enver Pasha, along with Talaat and Halil Bey were architects of the Ottoman-German Alliance, and expected a quick victory in the war that would benefit the Ottoman Empire. Without informing the cabinet, he allowed the two German warships SMS Goeben and SMS Breslau, under the command of German admiral Wilhelm Souchon, to enter the Dardanelles to escape British pursuit; the subsequent "donation" of the ships to the neutral Ottomans worked powerfully in Germany's favor, despite French and Russian diplomacy to keep the Ottoman Empire out of the war. Finally on 29 October, the point of no return was reached when Admiral Souchon, now Commander-in-Chief of the Ottoman navy, took "Goeben", "Breslau", and a squadron of Ottoman warships into the Black Sea and bombed the Russian ports of Odessa, Sevastopol, and Theodosia. Russia declared war on Ottoman Empire on 2 November, and Britain followed suit on 5 November. Most of the Turkish cabinet members and CUP leaders were against such a rushed entry to the war, but Enver Pasha held that it was the right course of action.


title: Enver Pasha

text: Enver ultimately proved ineffective as War Minister, and the Germans had to frequently support the Ottoman government with generals such as Otto Liman von Sanders, Erich von Falkenhayn, Colmar Freiherr von der Goltz, and Friedrich Freiherr Kress von Kressenstein. The Germans also gave the Ottoman government military supplies and fuel.


title: Enver Pasha

text: As soon as the war started, 31 October 1914, Enver ordered that all men of military age report to army recruiting offices. The offices were unable to handle the vast flood of men, and long delays occurred. This had the effect of ruining the crop harvest for that year.


title: Enver Pasha

text: Enver Pasha assumed command of the Ottoman forces arrayed against the Russians in the Caucasus theatre. He wanted to encircle the Russians, force them out of Ottoman territory, and take back Kars and Batumi, which had been ceded after the Russo-Turkish War of 1877–78. Enver thought of himself as a great military leader, while the German military adviser, Liman von Sanders, thought of him as incompetent. Enver ordered a complex attack on the Russians, placed himself in personal control of the Third Army, and was utterly defeated at the Battle of Sarikamish in December 1914 – January 1915. His strategy seemed feasible on paper, but he had ignored external conditions, such as the terrain and the weather. Enver's army (118,000 men) was defeated by the Russian force (80,000 men), and in the subsequent retreat, tens of thousands of Turkish soldiers died. This was the single worst Ottoman defeat of World War I. On his return to Constantinople, Enver Pasha blamed his failure on his Armenian soldiers, although in January 1915, an Armenian named Hovannes had saved his life during a battle by carrying Enver through battle lines on his back. Nonetheless, Enver Pasha later initiated the deportations and sporadic massacres of Western Armenians, culminating in the Armenian genocide.


title: Enver Pasha

text: After his defeat at Sarıkamısh, Enver returned to Istanbul (Constantinople) and took command of the Turkish forces around the capital. He was confident that the capital was safe from any Allied attacks. The British and French were planning on forcing the approaches to Constantinople in the hope of knocking the Ottomans out of the war. A large Allied fleet assembled and staged an attack on the Dardanelles on 18 March 1915. The attack (the forerunner to the failed Gallipoli campaign) was a disaster, resulting in the loss of several ships. As a result, Enver turned over command to Liman von Sanders, who led the successful defence of Gallipoli. Enver then left to attend to pressing concerns on the Caucasus Front. Later, after many towns on the peninsula had been destroyed and women and children killed by the Allied bombardment, Enver proposed setting up a concentration camp for the remaining French and British citizens in the empire. Henry Morgenthau, the American ambassador to the Ottoman Empire, convinced Enver not to go through with this plan.


title: Enver Pasha

text: Enver's plan for Falkenhayn’s Yildirim Army Group was to retake Baghdad, recently taken by Maude. This was nearly impossible for logistical reasons. Turkish troops were deserting freely, and when Enver visited Beirut in June 1917, soldiers were forbidden to be stationed along his route for fear that he would be assassinated. Lack of rolling stock meant that troops were often detrained at Damascus and marched south.


title: Enver Pasha

text: During 1917, due to the Russian Revolution and subsequent Civil War, the Russian army in the Caucasus fell apart and dissolved. At the same time, the CUP managed to win the friendship of the Bolsheviks with the signing of the Ottoman-Russian friendship treaty (1 January 1918). Enver looked for victory when Russia withdrew from the Caucasus region. When Enver discussed his plans for taking over southern Russia, he ordered the creation of a new military force called the Army of Islam which would have no German officers. Enver's Army of Islam avoided Georgia and marched through Azerbaijan. The Third Army under Vehib Pasha was also moving forward to pre-war borders and towards the First Republic of Armenia, which formed the frontline in the Caucasus. General Tovmas Nazarbekian was the commander on the Caucasus front, and Andranik Ozanian took the command of Armenia within the Ottoman Empire. The Ottoman advance was halted at the Battle of Sardarabad.


title: Enver Pasha

text: The Army of Islam, under the control of Nuri Pasha, moved forward and attacked Australian, New Zealand, British, and Canadian troops led by General Lionel Charles Dunsterville at Baku. General Dunsterville ordered the evacuation of the city on 14 September, after six weeks of occupation, and withdrew to Iran. As the Army of Islam and their Azerbaijani allies entered the city on September 15 following the Battle of Baku, up to 30,000 Armenian civilians were massacred.


title: Enver Pasha

text: However, after the Armistice of Mudros between Great Britain and the Ottoman Empire on 30 October, Ottoman troops were obliged to withdraw and replaced by the Triple Entente. These conquests in the Caucasus counted for very little in the war as a whole but they did however ensure that Baku remained within the boundaries of Azerbaijan while a part of the Soviet Union and later as an independent nation.


title: Enver Pasha

text: Faced with defeat, the Sultan dismissed Enver from his post as War Minister on 4 October 1918, while the rest of Talaat Pasha's government resigned on 14 October 1918. On 30 October 1918, the Ottoman Empire capitulated by signing the Armistice of Mudros. Two days later, the "Three Pashas" all fled into exile. On 1 January 1919, the new government expelled Enver Pasha from the army. He was tried "in absentia" in the Turkish Courts-Martial of 1919–20 for crimes of "plunging the country into war without a legitimate reason, forced deportation of Armenians and leaving the country without permission" and condemned to death.


title: Enver Pasha

text: Enver first went to Germany, where he communicated and worked with German Communist figures like Karl Radek. In April 1919, Enver left for Moscow in order to serve as a secret envoy for his friend General Hans von Seeckt who wished for a German-Soviet alliance. In August 1920, Enver sent Seeckt a letter in which he offered on behalf of the Soviet Union the partition of Poland in return for German arms deliveries to Soviet Russia. Besides working for General von Seeckt, Enver envisioned cooperation between the new Soviet Russian government against the British, and went to Moscow. There he was well-received, and established contacts with representatives from Central Asia and other exiled CUP members as the director of the Soviet Government's Asiatic Department. He also met with Bolshevik leaders, including Lenin. He tried to support the Turkish national movement and corresponded with Mustafa Kemal, giving him the guarantee that he did not intend to intervene in the movement in Anatolia. Between 1 and 8 September 1920, he was in Baku for the Congress of the Peoples of the East, representing Libya, Tunisia, Algeria, and Morocco. His appearance was a personal triumph, but the congress failed in its aim to create a mass pro-Bolshevik movement among Muslims. Victor Serge, a witness, recorded that:


title: Enver Pasha

text: Much has been written about the poor relations between Enver and Mustafa Kemal, two men who played pivotal roles in the Turkish history of the 20th century. Both hailed from the Balkans, and the two served together in North Africa during the wars preceding World War I, Enver being Mustafa Kemal's senior. Enver disliked Mustafa Kemal for his circumspect attitude toward the political agenda pursued by his Committee of Union and Progress, and regarded him as a serious rival. Mustafa Kemal (later known as Atatürk) considered Enver to be a dangerous figure who might lead the country to ruin; he criticized Enver and his colleagues for their policies and their involvement of the Ottoman Empire in World War I. In the years of upheaval that followed the Armistice of October 1918, when Mustafa Kemal led the Turkish resistance to occupying and invading forces, Enver sought to return from exile, but his attempts to do so and join the military effort were blocked by the Ankara government under Mustafa Kemal.


title: Enver Pasha

text: On 30 July 1921, with the Turkish War of Independence in full swing, Enver decided to return to Anatolia. He went to Batum to be close to the new border. However, Mustafa Kemal did not want him among the Turkish revolutionaries. Mustafa Kemal had stopped all friendly ties with Enver Pasha and the CUP as early as 1912, and he explicitly rejected the pan-Turkic ideas and what Mustafa Kemal perceived as Enver Pasha's utopian goals. Enver Pasha changed his plans and traveled to Moscow where he managed to win the trust of the Soviet authorities. In November 1921 he was sent by Lenin to Bukhara in the Bukharan People's Soviet Republic to help suppress the Basmachi Revolt against the local pro-Moscow Bolshevik regime. Instead, however, he made secret contacts with some of the rebellion's leaders and, along with a small number of followers, defected to the "Basmachi" side. His aim was to unite the numerous Basmachi groups under his own command and mount a co-ordinated offensive against the Bolsheviks in order to realise his pan-Turkic dreams. After a number of successful military operations he managed to establish himself as the rebels’ supreme commander, and turned their disorganized forces into a small but well-drilled army. His command structure was built along German lines and his staff included a number of experienced Turkish officers.


title: Enver Pasha

text: On 4 August 1922, as he allowed his troops to celebrate the Kurban Bayramı (Eid al-Adha) holiday while retaining a guard of 30 men at his headquarters near the village of Ab-i-Derya near Dushanbe, the Red Army Bashkir cavalry brigade under the command of ethnic Armenian, Yakov Melkumov (Hakob Melkumian), launched a surprise attack. According to some sources, Enver and some 25 of his men mounted their horses and charged the approaching troops, when Enver was killed by machine-gun fire. In his memoirs, Enver Pasha's aide Yaver Suphi Bey stated that Enver Pasha died of a bullet wound right above his heart during a cavalry charge. Alternatively, according to Melkumov's memoirs, Enver managed to escape on horseback and hid for four days in the village of Chaghan. His hideout was located after a Red Army officer infiltrated the village in disguise. Melkumov's troops ambushed Enver at Chaghan, and in the ensuing combat he was killed by machine gun fire. Some sources write that Melkumov personally killed Enver Pasha with his sabre, although Melkumov does not claim this in his memoirs.


title: Enver Pasha

text: Enver's body was buried near Ab-i-Derya in Tajikistan. In 1996, his remains were brought to Turkey and reburied at Abide-i Hürriyet (Monument of Liberty) cemetery in Şişli, Istanbul. He was re-buried on the 4 August, the anniversary of his death in 1922. Enver Pasha’s image remains controversial in Turkey, since Enver and Atatürk had a personal rivalry at the end of the Ottoman Empire and his memory was cultivated by the Kemalists. But upon his body's arrival in Turkey, he was rehabilitated by the Turkish President Süleyman Demirel who held a speech acknowledging his contributions to Turkish nationalism. Following renewed hostilities between Armenia and Azerbaijan over the Nagorno Karabakh region in 2020, Enver Pasha's role during World War I was praised by Turkish President Recep Erdoğan during an Azeri victory parade in Baku.


title: Enver Pasha

text: After Enver's death, three of his four siblings, Nuri (1889–1949), Mehmed Kamil (1900–62), and Hasene Hanım, adopted the surname "Killigil" after the 1934 Surname Law required all Turkish citizens to adopt a surname.


title: Enver Pasha

text: Enver's sister Hasene Hanım married Nazım Bey. Nazım Bey, an aid-de-camp of Abdul Hamid II, survived an assassination attempt by Talaat during the 1908 Young Turk Revolution of which his brother-in-law Enver was a leader. With Nazım, Hasene gave birth to (1910–2000), who would become a famous Turkish film director and producer.


title: Enver Pasha

text: Enver's other sister, Mediha Hanım (later Mediha Orbay; 1895–1983), married Kâzım Orbay, a prominent Turkish general and politician. On 16 October 1945, their son Haşmet Orbay, Enver's nephew, shot and killed a physician named Neşet Naci Arzan, an event known as the "". At the urging of the Governor of Ankara, Nevzat Tandoğan, Haşmet Orbay's friend Reşit Mercan initially took the blame. After a second trial revealed Haşmet Orbay as the perpetrator, however, he was convicted. The murder became a political scandal in Turkey after the suicide of Tandoğan, the suspicious death of the case's public prosecutor , and the resignation of Kâzım Orbay from his position as Chief of the General Staff of Turkey after his son's conviction.


title: Enver Pasha

text: By his marriage to Naciye Sultan, daughter of Şehzade Selim Suleiman and Ayşe Terziter Hanım, and granddaughter of sultan Abdulmejid I, Enver had:


title: Enver Pasha

text: Enver Pasha plays an important role in "The Golden House of Samarkand", a comic book by Hugo Pratt, from the italian series "Corto Maltese".


title: Boy Erased

text: Boy Erased is a 2018 American biographical drama film based on Garrard Conley's 2016 . It is written and directed by Joel Edgerton, who also produced with Kerry Kohansky Roberts and Steve Golin. The film stars Lucas Hedges, Nicole Kidman, Russell Crowe, and Edgerton, and follows the son of Baptist parents who is forced to take part in a conversion therapy program.


title: Boy Erased

text: "Boy Erased" premiered at the Telluride Film Festival on September 1, 2018, and also screened at the Toronto International Film Festival. The film was theatrically released in the United States on November 2, 2018, by Focus Features and grossed over $11 million worldwide. It received generally positive reviews from critics, who mostly praised the performances of the cast, and received various award nominations, including two Golden Globe Award nominations: Best Actor for Hedges and Best Original Song for "Revelation". The film won the GLAAD Media Award for Outstanding Film – Limited Release at the 30th GLAAD Media Awards.


title: Boy Erased

text: Jared Eamons is the son of Marshall Eamons, a successful car dealer and Baptist preacher in Arkansas, and Nancy Eamons, a hairdresser. He begins his first day at the Love In Action gay conversion therapy assessment program in Memphis, Tennessee. Chief therapist Victor Sykes tells the group that their sexuality is a choice influenced by poor parenting. He instructs them to perform harsh "moral inventories" of themselves and their families and requires them not to tell anyone else about what occurs during the sessions.


title: Boy Erased

text: While performing his moral inventory, Jared thinks of his life prior to entering the program. In high school, he was happy, though he broke up with his girlfriend upon starting college. Once there, he became friends with another student, Henry. While staying the night in Jared's dorm room in bunk beds, Henry rapes Jared, apologizes and tearfully confesses doing the same to another young man. Traumatized, Jared returned home.


title: Boy Erased

text: Henry called the Eamons's home and posed as a school counselor in order to out Jared and ensure his silence. Jared tells his parents this was another student who had told him things about his past and was afraid of Jared revealing his secrets. Jared later agrees that he is attracted to men.


title: Boy Erased

text: After consulting with other pastors, Marshall prays over his son, and then signs him up for conversion therapy, to which Jared reluctantly agrees.


title: Boy Erased

text: Nancy rents a nearby motel room for her and Jared to stay in until he completes the assessment; however, Jared soon discovers that the therapy has no set end point if he fails to convince Sykes that he has become heterosexual. Some students are "confessing" and playing the game so they can leave; others truly hope to change.


title: Boy Erased

text: Jared tells his mother the program teaches the participants to see their parents as troubled and that is why they are not supposed to talk about what goes on to their parents, to safeguard the program's continued funding. Nancy insists Jared lets her read the program's handbook, which contains questionable psychology and many grammatical and typographical errors.


title: Boy Erased

text: It appears that Jared will be at the institution for some time. After failing an exercise, attendee Cameron is humiliated by Sykes in front of the group and intimidated with a fake funeral service. Cameron is beaten with bibles by both the therapists and his own family and is forcibly dunked in a bathtub. A horrified Jared looks on.


title: Boy Erased

text: Later, Jared thinks of a brief encounter he had with an art student in college. He uses it when it his time to confess, but Sykes finds holding hands with a boy to be an inadequate admission and pushes him to give more explicit details. Jared says he will not lie, so Sykes pushes him to talk about Henry. Jared is shocked and refuses. Sykes then attempts to make Jared "use his anger" and say he hates his father. Jared refuses to do this, as he knows it is Sykes that he is angry with. Jared storms out of the room, retrieves his phone and calls Nancy, begging her to pick him up. Sykes, his assistants and the other attendees corner Jared behind a locked door despite Nancy's presence. Cameron stands up for him and helps get Jared to Nancy, who takes him home.


title: Boy Erased

text: Nancy is horrified that she has allowed her husband to enroll Jared in an unvetted program without researching its practices. Marshall remains adamant about Jared remaining in the program, but Nancy steadfastly overrules him. Soon after, Jared learns from the police, via his mother, that Cameron committed suicide while still in the program's care. Marshall approaches Jared to console him, but Jared turns away.


title: Boy Erased

text: Four years later, Jared is living in New York City with his boyfriend. He writes an article that exposes the realities of the Love In Action program. Jared returns home to convince his father to read the article and tells him he is the one who must change, not Jared. He asks his father to join his mother in visiting him for Christmas.


title: Boy Erased

text: On June 8, 2017, it was revealed that a bidding war had begun between Netflix, Annapurna Pictures, Focus Features, and Amazon Studios for distribution rights to a film package set to star Lucas Hedges, Joel Edgerton, Nicole Kidman and Russell Crowe, and be directed and written by Edgerton, based on Garrard Conley's memoir "". On June 21, 2017, it was announced that the bidding war for distribution rights for "Boy Erased" had boiled down to Netflix and Focus Features, and the latter ultimately won the rights.


title: Boy Erased

text: In August 2017, the majority of the supporting cast was announced. In September 2017, Joe Alwyn and Madelyn Cline joined the cast as well, and principal photography on the film began September 8, 2017, in Atlanta, Georgia. In April 2018, re-shoots took place.


title: Boy Erased

text: The film makes several key changes to Garrard Conley's 2016 memoir. One pivotal scene in the film depicts the director of Love in Action pushing a lapsed participant onto his knees in front of a coffin and then having the young man beaten with a Bible. This scene does not take place in Conley's memoir. Scenes where a young man is dunked underwater and guards physically attempt to prevent Conley from leaving the treatment facility were also not present in the memoir.


title: Boy Erased

text: Commentators on this film have focused on the film's portrayal of conversion therapy and the context surrounding its implementation. According to Ross Ufberg in his article "Survival Tales from the Ex-Gay Movement", conversion therapy is best understood as "a form of counseling (vigorously opposed by the American Psychiatric Association) that aims to change the sexual orientation of patients by treating homosexuality as a mental disorder". The specific program referenced in the movie, Love in Action (LIA), was a facility in which individuals spent anywhere from a few weeks to multiple years. LIA represented a faction of a broader Christian, ex-gay movement that was sparked following the removal of homosexuality from the Diagnostic and Statistical Manual by the American Psychological Association in 1973, according to Austin Williams Miller. In the years following this removal, various associations funded research to showcase the efficacy of conversion therapy, including the National Association for Research and Therapy of Homosexuality. Williams Miller notes that activism fueled "Boy Erased". Such activism protests the fact that as of May 2019, conversion therapy is still legal for minors in most jurisdictions in the United States.


title: Boy Erased

text: Multiple sources point out the hypocrisy in some of the members of LIA who are noted in the film. In further analysis of the true story behind the film, Ross Ufberg discussed John Smid, an individual who spent years preaching the LIA ideology but eventually abandoned the program to live an openly gay life. According to Ufberg's analysis, Smid married two women prior to marrying a man. Subsequently, Smid publicly apologized and acknowledged that his "public presence is a trigger" to some people. Williams Miller noted that many of the lead members of LIA now live openly gay lives.


title: Boy Erased

text: The film had its world premiere at the Telluride Film Festival on September 1, 2018. It also screened at the Toronto International Film Festival, first for the press and industry on September 8, 2018, and then for the public on September 11, 12 and 15. The film was initially scheduled for release on September 28, 2018, but was pushed back to November 2, 2018.


title: Boy Erased

text: "Boy Erased" opened in five theaters and grossed $207,057, an average of $41,411 per venue, the thirteenth-highest opening weekend per-theater average of 2018. In its second weekend, it grossed $758,173 from 77 theaters. Overall, "Boy Erased" grossed $6.8 million in the United States and Canada and $4.6 million in other territories for a total worldwide gross of $11.4 million.


title: Boy Erased

text: On review aggregator Rotten Tomatoes, the film holds an approval rating of based on reviews, with an average rating of . The website's critical consensus reads, "Anchored in empathy by writer-director-star Joel Edgerton, "Boy Erased" proves the road to complex, powerfully performed drama can also be paved with good intentions." On Metacritic, the film has a weighted average score of 69 out of 100, based on 48 critics, indicating "generally favorable reviews". Audiences polled by PostTrak gave the film a 95 percent overall positive score and an 85 percent "definite recommend".


title: Boy Erased

text: A.O. Scott of the "New York Times" noted a lack of nuance in the characterization of the Eamons family. Consequently, Scott felt the movie became no more than a "summary of its noble intentions". Ben Travis's review of the film on the news site "Empire" held a similar sentiment to Scott's, acknowledging that it "navigates the intersection between traditional religious beliefs and internalized homophobia". Despite positive remarks, Travis believed that the film failed to "connect as a human drama". Chris Nashawaty of "Entertainment Weekly" held a similar attitude, noting the film's strong message but stating it could have been better executed. Another critique, from Peter Bradshaw of "The Guardian", declared that the movie was lacking "comedy and lightness". Some critics homed in on the film's quality, like Benjamin Lee of "The Guardian", who remarked of the film: "It's a curiously underwhelming, muted, often plodding two hours that fails to reach the emotional highs and devastating lows" that would be anticipated.


title: Xavier Dolan

text: Xavier Dolan-Tadros (; born 20 March 1989) is a Canadian filmmaker, actor and costume designer. He began his career as a child actor in commercials before directing several arthouse feature films. He first received international acclaim in 2009 for his feature film directorial debut, "I Killed My Mother" (), which he also starred in, wrote, and produced, and which premiered at the 62nd Cannes Film Festival in the Directors' Fortnight section and won three awards from the program.


title: Xavier Dolan

text: Since 2009, he has written and directed eight feature films, all of which have premiered at Cannes, with the exception of "Tom at the Farm"—which premiered at the 70th Venice International Film Festival in 2013—and his first English-language film, "The Death & Life of John F. Donovan", which premiered at the 2018 Toronto International Film Festival. Dolan has also directed music videos, notably with Adele for the videos of her singles "Hello" (2015), and "Easy on Me" (2021), for which he received a Grammy Award for Best Music Video nomination.


title: Xavier Dolan

text: Dolan has won many accolades for his work, including the Jury Prize at the 2014 Cannes Film Festival for "Mommy" and the Grand Prix at the 2016 Cannes Film Festival for "It's Only the End of the World." He has also won several Canadian Screen Awards and César Awards.


title: Xavier Dolan

text: Outside of his own films, Dolan has also starred in films from other directors, including "Elephant Song" (2014), "Boy Erased" (2018), "Bad Times at the El Royale" (2018), and "It Chapter Two" (2019).