title: Spratly Islands

text: Despite the fact that China and Vietnam both made a claim to these territories simultaneously, at the time, neither side was aware that its neighbour had already charted and made claims to the same stretch of islands.


title: Spratly Islands

text: An early European map, "A correct chart of the China Seas" of 1758 by William Herbert, left the Spratly Islands region (known then as the Dangerous Ground) as largely blank, indicating that region has yet to be properly surveyed, although some islands and shoals at its western edge were marked (one appears at the same place as Thitu Island). A number of maps of the South China Sea were later produced, but the first map that gives a reasonably accurate delineation of the Spratly Islands region (titled "[South] China Sea, Sheet 1") was only published in 1821 by the hydrographer of the East India Company James Horsburgh after a survey by Captain Daniel Ross. A later 1859 edition of the map named the Spratly Island as Storm Island. The islands were sporadically visited throughout the 19th and early 20th centuries by mariners from different European powers (including Richard Spratly, after whom the island group derives its most recognisable English name, who visited the group in the 1840s in his whaler "Cyrus"). However, these nations showed little interest in the islands. In 1883, German boats surveyed the Spratly and the Paracel Islands but eventually withdrew the survey, after receiving protests from the Guangdong government representing the Qing dynasty. China sent naval forces on inspection tours in 1902 and 1907 and placed flags and markers on the islands.


title: Spratly Islands

text: In the 1950s, a group of individuals claimed sovereignty over the islands in the name of Morton F. Meads, supposedly an American descendant of a British naval captain who gave his name to Meads Island (Itu Aba) in the 1870s. In an affidavit made in 1971, the group claimed to represent the Kingdom of Humanity/Republic of Morac-Songhrati-Meads, which they asserted was in turn the successor entity for a supposed Kingdom of Humanity established between the two world wars on Meads Island, allegedly by the son of the British captain. This claim to this would-be micronation fell dormant after 1972, when several members of the group drowned in a typhoon.


title: Spratly Islands

text: The following are political divisions for the Spratly Islands claimed by various area nations (in alphabetical order):


title: Spratly Islands

text: In the 19th century, Europeans found that Chinese fishermen from Hainan annually sojourned on the Spratly islands for part of the year, while in 1877 it was the British who launched the first modern legal claims to the Spratly Islands.


title: Spratly Islands

text: When the Spratly Islands and Paracels were surveyed by Germany in 1883, China issued protests against them. The 1887 Chinese-Vietnamese Boundary convention signed between France and China after the Sino-French War said that China was the owner of the Spratly and Paracel islands. China sent naval forces on inspection tours in 1902 and 1907 and placed flags and markers on the islands. The Qing dynasty's successor state, the Republic of China, claimed the Spratly and Paracel islands under the jurisdiction of Hainan.


title: Spratly Islands

text: In 1933, France asserted its claims to the Spratly and Paracel Islands on behalf of its then-colony French Indochina. It occupied a number of the Spratly Islands, including Taiping Island, built weather stations on two of the islands, and administered them as part of French Indochina. This occupation was protested by the Republic of China (ROC) government because France admitted finding Chinese fishermen there when French warships visited nine of the islands. In 1935, the ROC government also announced a sovereignty claim on the Spratly Islands. Japan occupied some of the islands in 1939 during World War II, and it used the islands as a submarine base for the occupation of Southeast Asia. During the Japanese occupation, these islands were called "Shinnan Shoto" (), literally the New Southern Islands, and together with the Paracel Islands (), they were put under the governance of the Japanese colonial authority in Taiwan.


title: Spratly Islands

text: Japan occupied the Paracels and the Spratly Islands from February 1939 to August 1945. Japan annexed the Spratly Islands via Taiwan's jurisdiction and the Paracels via Hainan's jurisdiction. Parts of the Paracels and Spratly Islands were again controlled by Republic of China after the 1945 surrender of Japan, since the Allied powers assigned the Republic of China to receive Japanese surrenders in that area, however no successor was named to the islands.


title: Spratly Islands

text: In November 1946, the ROC sent naval ships to take control of the islands after the surrender of Japan. It had chosen the largest and perhaps the only inhabitable island, Taiping Island, as its base, and it renamed the island under the name of the naval vessel as Taiping. Also following the defeat of Japan at the end of World War II, the ROC re-claimed the entirety of the Spratly Islands (including Taiping Island) after accepting the Japanese surrender of the islands based on the Cairo and Potsdam Declarations. The Republic of China then garrisoned Itu Aba (Taiping) island in 1946 and posted Chinese flags. The aim of the Republic of China was to block the French claims. The Republic of China drew up the map showing the U-shaped claim on the entire South China Sea, showing the Spratly and Paracels in Chinese territory, in 1947. Japan had renounced all claims to the islands in the 1951 San Francisco Peace Treaty together with the Paracels, Pratas and other islands captured from the Chinese, and upon these declarations, the government of the Republic of China reasserted its claim to the islands. The Chinese Kuomintang force withdrew from most of the Spratly and Paracel Islands after they retreated to Taiwan from the opposing Chinese Communist Party due to their losses in the Chinese Civil War and the founding of the People's Republic of China (PRC) in 1949. Taiwan quietly withdrew troops from Taiping Island in 1950, but then reinstated them in 1956 in response to Tomás Cloma's sudden claim to the island as part of Freedomland. , Taiping Island is administered by Taiwan.


title: Spratly Islands

text: After pulling out its garrison in 1950 when the Republic of China evacuated to Taiwan, when the Filipino Tomas Cloma uprooted an ROC flag on Itu Aba laid claim to the Spratly Islands and, Taiwan again regarrisoned Itu Aba in 1956. In 1946, the Americans allegedly reminded the Philippines at its independence that the Spratly Islands were not Philippine territory, both to not anger Chiang Kai-shek in China and because the Spratly Islands were not part of the Philippines per the 1898 treaty Spain signed with the United States. However, no document was found to that effect. The Philippines then claimed the Spratly Islands in 1971 under President Marcos, after Taiwanese troops attacked and shot at a Philippine fishing boat on Itu Aba.


title: Spratly Islands

text: Taiwan's garrison from 1946 to 1950 and 1956-now on Itu Aba represents an "effective occupation" of the Spratly Islands. China established a coastal defence system against Japanese pirates or smugglers.


title: Spratly Islands

text: In 1958, China issued a declaration defining its territorial waters that encompassed the Spratly Islands. North Vietnam's prime minister, Phạm Văn Đồng, sent a formal note to Zhou Enlai, stating that the Government of the Democratic Republic of Vietnam (DRV) respected the Chinese decision regarding the limit of territorial waters. While accepting the 12-nmi principal with respect to territorial waters, the letter did not actually address the issue of defining actual territorial boundaries.


title: Spratly Islands

text: North Vietnam recognised China's claims on the Paracels and Spratly Islands during the Vietnam War as it was being supported by China. Only after winning the war and conquering South Vietnam did North Vietnam retract its recognition and admitted it recognised them as part of China to receive aid from China in fighting the Americans.


title: Spratly Islands

text: In 1987, China installed a small military structure on Fiery Cross Reef under the pretext of building an oceanic observation station and installing a tide gauge for the Global Sea Level Observing System. After a deadly skirmish with the Vietnamese Navy, China installed some military structures on more reefs in the vicinity of the Philippines and Vietnamese occupied islands and this led to escalating tensions between these countries and China over the status and ownership of reefs.


title: Spratly Islands

text: In 1988, the Vietnamese and Chinese navies engaged in a skirmish in the area of Johnson South Reef (also called Gạc Ma Reef in Vietnam and Yongshu Reef in China).


title: Spratly Islands

text: Under President Lee Teng-hui, Taiwan stated that "legally, historically, geographically, or in reality", all of the South China Sea and Spratly islands were Taiwan's territory and under Taiwanese sovereignty, and denounced actions undertaken there by Malaysia and the Philippines, in a statement on 13 July 1999 released by the foreign ministry of Taiwan. Taiwan and China's claims "mirror" each other; during international talks involving the Spratly islands, China and Taiwan have cooperated with each other since both have the same claims.


title: Spratly Islands

text: It was unclear whether France continued its claim to the islands after World War II, since none of the islands, other than Taiping Island, was habitable. The South Vietnamese government took over the Trường Sa administration after the defeat of the French at the end of the First Indochina War. "The French bestowed its titles, rights, and claims over the two island chains to the Republic of Vietnam (RoV) in accordance with the Geneva Accords", said Nguyen Hong Thao, Associate Professor at Faculty of Law, Vietnam National University.


title: Spratly Islands

text: In 1999, a Philippine navy ship (Number 57 – BRP "Sierra Madre") was purposely run aground near Second Thomas Shoal to enable establishment of an outpost. it had not been removed, and Filipino marines have been stationed aboard since the grounding.


title: Spratly Islands

text: Taiwan and mainland China are largely strategically aligned on the Spratly islands issue, since they both claim exactly the same area, so Taiwan's control of Itu Aba (Taiping) island is viewed as an extension of China's claim. Taiwan and China both claim the entire island chain, while all the other claimants only claim portions of them. China has proposed co-operation with Taiwan against all the other countries claiming the islands. Taiwanese lawmakers have demanded that Taiwan fortify Itu Aba (Taiping) island with weapons to defend against the Vietnamese, and both China and Taiwanese NGOs have pressured Taiwan to expand Taiwan's military capabilities on the island, which played a role in Taiwan expanding the island's runway in 2012. China has urged Taiwan to co-operate and offered Taiwan a share in oil and gas resources while shutting out all the other rival claimants. Taiwanese lawmakers have complained about repeated Vietnamese aggression and trespassing on Taiwan's Itu Aba (Taiping), and Taiwan has started viewing Vietnam as an enemy over the Spratly Islands, not China. Taiwan's state run oil company CPC Corp's board director Chiu Yi has called Vietnam as the "greatest threat" to Taiwan. Taiwan's airstrip on Taiping has irritated Vietnam. China views Taiwan's expansion of its military and airstrip on Taiping as benefiting China's position against the other rival claimants from southeast Asian countries. China's claims to the Spratly Islands benefit from legal weight because of Taiwan's presence on Itu Aba, while America on the other hand has regularly ignored Taiwan's claims in the South China Sea and does not include Taiwan in any talks on dispute resolution for the area.


title: Spratly Islands

text: Taiwan performed live fire military exercises on Taiping island in September 2012; reports said that Vietnam was explicitly named by the Taiwanese military as the "imaginary enemy" in the drill. Vietnam protested against the exercises as violation of its territory and "voiced anger", demanding that Taiwan stop the drill. Among the inspectors of the live fire drill were Taiwanese national legislators, adding to the tensions.


title: Spratly Islands

text: In May 2011, Chinese patrol boats attacked two Vietnamese oil exploration ships near the Spratly Islands. Also in May 2011, Chinese naval vessels opened fire on Vietnamese fishing vessels operating off East London Reef (Da Dong). The three Chinese military vessels were numbered 989, 27 and 28, and they showed up with a small group of Chinese fishing vessels. Another Vietnamese fishing vessel was fired on near Fiery Cross Reef (Chu Thap). The Chief Commander of Border Guards in Phú Yên Province, Vietnam, reported that a total of four Vietnamese vessels were fired upon by Chinese naval vessels. These incidents involving Chinese forces sparked mass protests in Vietnam, especially in Hanoi and Ho Chi Minh City, and in various Vietnamese communities in the West (namely in the US state of California and in Paris) over attacks on Vietnamese citizens and the intrusion into what Vietnam claimed was part of its territory.


title: Spratly Islands

text: In June 2011, the Philippines began officially referring to parts of the South China Sea as the "West Philippine Sea" and the Reed Bank as "Recto Bank".


title: Spratly Islands

text: In July 2012, the National Assembly of Vietnam passed a law demarcating Vietnamese sea borders to include the Spratly and Paracel Islands.


title: Spratly Islands

text: In 2010, it was reported that the former Malaysian Prime Minister (now the current Malaysian Prime Minister) Mahathir Mohamad believed Malaysia could profit from China's economic growth through co-operation with China, and said that China "was not a threat to anyone and was not worried about aggression from China", as well accusing the United States of provoking China and trying to turn China's neighbours against China. Malaysian authorities displayed no concern over China conducting a military exercise at James Shoal in March 2013, with its Defence Minister Hishammuddin Hussein suggested they might work with China and saying that Malaysia had no problem with China patrolling the South China Sea, and telling ASEAN, America, and Japan that "Just because you have enemies, doesn't mean your enemies are my enemies". However, until present Malaysia still maintained a balance relations with the countries involved in this dispute. But since China has started encroaching its territorial waters, Malaysia has become active in condemning China.


title: Spratly Islands

text: The editorial of the Taiwanese news website "Want China Times" accused America of being behind the May 2014 flareup in the South China Sea, saying that Vietnam rammed a Chinese vessel on 2 May over an oil rig drilling platform and the Philippines detained 11 Chinese fishermens occurred because of Obama's visit to the region and that they were incited by America "behind the scenes". "Want China Times" claimed America ordered Vietnam on 7 May to complain about the drilling platform, and noted that a joint military exercise was happening at this time between the Philippines and America, and also noted that the American "New York Times" newspaper supported Vietnam.


title: Spratly Islands

text: In a series of news stories on 16 April 2015, it was revealed, through photos taken by Airbus, that China had been building an airstrip on Fiery Cross Reef, one of the southern islands. The runway covers a significant portion of the island, and is viewed as a possible strategic threat to other countries with claims to the islands, such as Vietnam and the Philippines.


title: Spratly Islands

text: Champa historically had a large presence in the South China Sea. The Vietnamese broke Champa's power in an invasion of Champa in 1471, and then finally conquered the last remnants of the Cham people in an invasion in 1832. A Cham named Katip Suma who received Islamic education in Kelantan declared a Jihad against the Vietnamese, and fighting continued until the Vietnamese crushed the remnants of the resistance in 1835. The Cham organisation Front de Libération du Champa was part of the United Front for the Liberation of Oppressed Races, which waged war against the Vietnamese for independence in the Vietnam War along with the Montagnard and Khmer Krom minorities. The last remaining FULRO insurgents surrendered to the United Nations in 1992.


title: Spratly Islands

text: The Vietnamese government fears that evidence of Champa's influence over the disputed area in the South China Sea would bring attention to human rights violations and killings of ethnic minorities in Vietnam such as in the 2001 and 2004 uprisings, and lead to the issue of Cham autonomy being brought into the dispute, since the Vietnamese conquered the Hindu and Muslim Cham people in a war in 1832.


title: Spratly Islands

text: Japanese scholar Taoka Shunji said in a journal article that the assumption amongst many Japanese people that the territory of the Philippines was being invaded by China, was incorrect. He pointed out that the Spratly islands were not part of the Philippines, when the US acquired the Philippines from Spain in the Treaty of Paris in 1898, and when the Japanese-ruled Taiwan itself had annexed the Spratly islands in 1938, the US-ruled Philippines did not challenge the move and never asserted that it was their territory. He also pointed out that other countries did not need to do full land reclamation since they already control islands, and that the reason China engaged in extensive land reclamation is because they needed it to build airfields since China only has control over reefs.


title: Spratly Islands

text: The "Moro" as "people", is used to describe both the Filipino Muslims and their homeland. Ancestors of Moro people were the owners of Spratly Islands prior to the arrival of the Spanish colonials in the 16th century, according to the Sultan of Sulu in the southern Philippines reported in a local paper. "China has no right over the Spratly Islands in what it calls the South China Sea because that is part of our ancestral domain," Majaraj Julmuner Jannaral, Sultanate information officer, told the Philippine Star. "The Spratly Archipelago is part of the Sulu Sea (the inner area around the islands in the southern Philippines, which is part of the West Philippine Sea (designation of parts of the South China Sea claimed by the Philippines to be part of its EEZ)," Jannaral concluded. "Exploration of the marine territory and the waters around the Spratly Archipelago, Palawan in southwestern Philippines and the southern Philippines, belong to the residents in those areas," he added. The Sultanate of Sulu claims historic proprietary rights over the Spratly Islands since before the Spanish colonial era.


title: Spratly Islands

text: Various incidents of fishing boats being harassed by Chinese warships have occurred. At least 2 vessels were rammed or sunk. One was a Vietnamese ship attacked by a Chinese coastguard vessel, and another was a Fillipino ship rammed and sunk by a Chinese fishing boat who let the Fillipino fishermen drift at sea without giving aid. The stranded fishermen were later rescued by a Vietnamese ship.


title: Spratly Islands

text: In 2017, the United States despite not being a claimant in the Spratly dispute, reported using freedom of navigation operations (FONOPs) to challenge what it deemed as excessive and illegal maritime claims from multiple Asia-Pacific states including Cambodia, China, India, Indonesia, Malaysia, Maldives, the Philippines, Sri Lanka, Taiwan, and Vietnam.


title: Spratly Islands

text: In January 2013, the Philippines initiated arbitration proceedings against China under the United Nations Convention on the Law of the Sea (UNCLOS) across a range of issues, including the latter's historic rights claims over parts or all of the Spratly Islands inside the nine-dash line. A tribunal of arbitrators constituted under Annex VII of UNCLOS appointed the Permanent Court of Arbitration (PCA) as registry to the proceedings.


title: Spratly Islands

text: On 12 July 2016, the arbitral tribunal ruled in favor of the Philippines on most of its submissions. While it would not "rule on any question of sovereignty over land territory and would not delimit any maritime boundary between the Parties", it concluded that China had not historically exercised exclusive control within the nine-dash line, hence has "no legal basis" to claim "historic rights" to resources. It also concluded that China's historic rights claims over the maritime areas (as opposed to land masses and territorial waters) inside the nine-dash line would have no lawful effect outside of what is entitled to under UNCLOS. It criticized China's land reclamation projects and construction of artificial islands in the Spratly Islands, saying that they had caused "severe harm to the coral reef environment". Finally, it characterized Taiping Island and other features of the Spratly Islands as "rocks" under UNCLOS, and therefore are not entitled to a 200 nautical mile exclusive economic zone. The award was ruled as final and non-appealable by either country. China rejected the ruling, calling it "ill-founded". Taiwan, which currently administers Taiping Island, the largest of the Spratly Islands, also rejected the ruling. Eight governments have publicly called for the ruling to be respected, 35 have issued generally positive statements without calling for parties to abide by it, and eight have publicly rejected it. The eight governments in support were Australia, Canada, Germany, Japan, New Zealand, the Philippines, United Kingdom, and the United States; the eight in opposition were China, Montenegro, Pakistan, Russia, Sudan, Syria, Taiwan, and Vanuatu. The United Nations itself does not have a position on the legal and procedural merits of the case or on the disputed claims, and the Secretary-General expressed his hope that the continued consultations on a Code of Conduct between ASEAN and China under the framework of the Declaration of the Conduct of Parties in the South China Sea will lead to increased mutual understanding among all the parties.


title: Spratly Islands

text: In 2005, a cellular phone base station was erected by the Philippines' Smart Communications on Pag-asa Island.


title: Spratly Islands

text: Vietnam Military Telecommunications Corp., known commonly as Viettel, established mobile coverage in the Spratly Islands in 2007.


title: Spratly Islands

text: On 18 May 2011, China Mobile announced that its mobile phone coverage has expanded to the Spratly Islands. The extended coverage would allow soldiers stationed on the islands, fishermen, and merchant vessels within the area to use mobile services, and can also provide assistance during storms and sea rescues. The service network deployment over the islands took nearly one year.


title: Jairzinho Rozenstruik

text: Jairzinho Rozenstruik (born 17 March 1988) is a Surinamese mixed martial artist and former kickboxer, who currently competes in the Heavyweight division of the Ultimate Fighting Championship (UFC). He currently holds the record for second fastest knockout in the heavyweight division against Allen Crowder at . In kickboxing, he is a former WLF Super Heavyweight Tournament Champion and a Superkombat World Grand Prix I 2013 Runner-Up. As of August 1, 2022, he is #9 in the UFC heavyweight rankings.


title: Jairzinho Rozenstruik

text: Rozenstruik was born and raised in Paramaribo. His parents were football fans and named him after the Brazilian star Jairzinho. In February 2020, the original Jairzinho reacted to highlights of his namesake's knockouts. Rozenstruik played football and basketball before starting to train kickboxing at the age of seventeen in a local gym. After he competed in kickboxing, he transitioned to mixed martial arts in 2012.


title: Jairzinho Rozenstruik

text: At the age of seventeen, Rozenstruik started training in a gym called Rens Project. There he started to take kickboxing lessons and soon he was discovered by Michael Babb, a coach from the Vos Gym in Amsterdam, Netherlands. Trained by Babb, he came out for the House of Legends under the supervision of Ivan Hippolyte.


title: Jairzinho Rozenstruik

text: Rozenstruik started his combat sports career in kickboxing. He won a total of 76 matches with 64 of them by knockout out of 85 he competed in.


title: Jairzinho Rozenstruik

text: In May 2012, Rozenstruik won his debut MMA fight against Evgeny Boldyrev at DRAKA MMA: Governor's Cup 7 in Vladivostok, Russia.


title: Jairzinho Rozenstruik

text: In April 2017, after five years of focusing on his kickboxing career, Rozenstruik won an MMA match versus Engelbert Berbin during a regional promotion in Aruba.


title: Jairzinho Rozenstruik

text: In May 2018, Rozenstruik won his promotional debut versus Andrey Kovalev at Rizin FF – Rizin 10 by split decision.


title: Jairzinho Rozenstruik

text: Rozenstruik made his UFC debut on February 2, 2019 against Júnior Albini, replacing injured Dmitry Sosnovskiy, at . He won the fight via TKO in the second round.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Allen Crowder on June 22, 2019 at . He won the fight via knockout in round one. This fight earned him the "Performance of the Night" award.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Andrei Arlovski on November 2, 2019 at UFC 244. He won the fight via knockout in round one.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Alistair Overeem, replacing Walt Harris due to the ongoing search for his missing step-daughter, on December 7, 2019 at UFC on ESPN 7. He won the fight via knockout in round five.


title: Jairzinho Rozenstruik

text: Rozenstruik was scheduled to face Francis Ngannou on March 28, 2020 at . However, due to the COVID-19 pandemic, it was announced the event has been postponed. The pair were rescheduled to meet on April 18, 2020 at UFC 249. However, on April 9, Dana White, the president of UFC announced that the event was once again postponed and the bout eventually took place on May 9, 2020. Rozenstruik lost the fight via knockout just 20 seconds into the first round.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Junior dos Santos on August 15, 2020 at UFC 252. He won the fight via technical knockout in the second round.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Augusto Sakai on June 5, 2021 at . He won the fight via knockout in the closing seconds of the first round. This win earned him the "Performance of the Night "award.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Curtis Blaydes on September 25, 2021 at UFC 266. He lost the fight via unanimous decision.


title: Jairzinho Rozenstruik

text: Rozenstruik was scheduled to face Marcin Tybura on February 26, 2022 at UFC Fight Night 202. However, in mid January it was announced the bout was moved to UFC 273 on April 9, 2022. However, the bout was pulled from the card after Tybura withdrew due to an undisclosed illness.


title: Jairzinho Rozenstruik

text: Rozenstruik faced Alexander Volkov on June 4, 2022 at UFC Fight Night 207. He lost the fight via technical knockout in round one.


title: Jairzinho Rozenstruik

text: Rozenstruik was scheduled to face Chris Daukaus on October 1, 2022 at UFC Fight Night 211. However, for unknown reasons, the bout was moved to UFC 282 on December 10, 2022. Rozenstruik won the fight via technical knockout. This win earned him the "Performance of the Night" award.


title: Jairzinho Rozenstruik

text: In August 2014, Rozenstruik was arrested and detained by the Dutch police on suspicion of smuggling drugs along with seven other Surinamese in the Netherlands. The group claimed they were attending a kickboxing event. After 14 days of detention, Rozenstruik was released as the authorities found 7 members of the group had swallowed balls of drugs but not Rozenstruik, and he was the only kickboxer in the group.


title: Atomic Heart (video game)

text: Atomic Heart is an upcoming FPS action role-playing video game developed by Mundfish and published by Focus Entertainment and 4Divinity. The game is planned for release for Microsoft Windows, PlayStation 4, PlayStation 5, Xbox One and Xbox Series X/S on February 21, 2023.


title: Atomic Heart (video game)

text: "Atomic Heart" is a FPS video game with action role-playing elements. The combat in the game consists of shooting and slashing with improvised weapons. There is a crafting system where the weapons can be pieced together from metal parts that can be detached from robots or taken from household appliances. Weapons can also be upgraded via a mechanic called "casettes.” Ammo in the game is scarce, and there is a sneaking option. Quick-time events are also featured in the game. The player wears a special glove, the "Polymer Glove", which grants him powers such as telekinesis, freezing, and electricity to defeat his foes. Its powers can be combined with both melee and ranged weapons.


title: Atomic Heart (video game)

text: Ammunition can also be upgrades with various elemental effects using "cannisters." These cannisters can be looted and crafted, and then equipped by the player on both melee- and ranged weapons. If the cannister depletes, it is discarded from the players inventory.


title: Atomic Heart (video game)

text: Atomic Heart features a wide variety of enemies. These enemies are mechanical, biomechanical, biological or airborne.


title: Atomic Heart (video game)

text: "Atomic Heart" takes place in the Soviet Union in an alternate 1955. Advances in robotics in the 1930s enabled the USSR to defeat Nazi Germany in 1941, though with a much more severe loss of life. This results in the automation of Soviet labor and the development of a proto-Internet called the "Collectiv 1.0" linking these robots to a collective hivemind, vastly increasing productivity and scientific advancement by the end of the 1940s.


title: Atomic Heart (video game)

text: Concurrently, scientist Dmitry Sechenov develops the "neuro-polymer", a programmable module based on living tissue. A believer in a collective consciousness, Sechenov plans to launch the most advanced iteration of the "Collectiv 2.0" on his 55th birthday in 1955. This Collectiv 2.0 (also nicknamed "Thought"), allows the user to enchance its mental capabilities and brain-activity, causing in huge amounts of information to be absorbed in very little time, and more.


title: Atomic Heart (video game)

text: The main protagonist is a mentally unstable KGB special agent called Major Nechaev, nicknamed P-3, who is sent by his contractor Sechenov to keep the situation at facility 3826 from deteriorating. P3 is challenged with taking out robots that went haywire, failed biomechanical experiments, and his own mental health.


title: Atomic Heart (video game)

text: "Atomic Heart" is developed by Mundfish, a Russian studio with headquarters in Cyprus. The team has previously developed the VR game "Soviet Lunapark", but ceased development and delisted the game in late 2018 to focus on "Atomic Heart". The studio uses Unreal Engine 4 and implements Nvidia RTX and DLSS technologies in the GeForce RTX graphics cards.


title: Atomic Heart (video game)

text: In February 2022 a story trailer showed that "Atomic Heart" will launch in "#######BER", suggesting the game's release some time in Q4 2022. However, later in November, it was announced that the game will be released on February 21, 2023, self-published by Mundfish in the CIS, co-published by 4Divinity in Asia, and published by French-based company Focus Entertainment Worldwide except CIS and Asia.


title: Atomic Heart (video game)

text: In January 2019, a report was published on gaming forum ResetEra that cited anonymous sources within Mundfish who reported about mass layoffs and incompetency at the studio. The report stated that development had been rebooted as of August 2018, and it resulted in a gameplay downgrade.


title: Atomic Heart (video game)

text: In November 2022 a report was published on gaming forum ResetEra that cited an article on DTF.ru published on October 17th 2022 by Andrey Apanasik who reported crunch, bad management, no milestones set, reboots, multiple prototypes, feature creep, high turnover rate.


title: Tuesday

text: Tuesday is the day of the week between Monday and Wednesday. According to international standard ISO 8601, Monday is the first day of the week; thus, Tuesday is the second day of the week. According to some commonly used calendars, however, especially in the United States, Sunday is the first day of the week, so Tuesday is the third day of the week. In Muslim countries, Saturday is the first day of the week and thus Tuesday is the fourth day of the week. The English name is derived from Old English "Tiwesdæg" and Middle English "Tewesday," meaning "Tīw's Day", the day of Tiw or Týr, the god of single combat, and law and justice in Norse mythology. Tiw was equated with Mars in the interpretatio germanica, and the name of the day is a translation of Latin "dies Martis".


title: Tuesday

text: The name "Tuesday" derives from the Old English and literally means "Tiw's Day". Tiw is the Old English form of the Proto-Germanic god "*Tîwaz", or Týr in Old Norse. "*Tîwaz" derives from the Proto-Indo-European base "*dei-", "*deyā-", "*dīdyā-", meaning 'to shine', whence comes also such words as "deity".


title: Tuesday

text: The German "Dienstag" and Dutch "dinsdag" are derived from the Germanic custom of the "thing", as Tiw / Týr also had a strong connection to the thing.


title: Tuesday

text: The Latin name ("day of Mars") is equivalent to the Greek (, "day of Ares"). In most languages with Latin origins (Italian, French, Spanish, Catalan, Romanian, Galician, Sardinian, Corsican, but not Portuguese), the day is named after Mars, the Roman parallel of the Ancient Greek Ares ().


title: Tuesday

text: In some Slavic languages the word Tuesday originated from Old Church Slavonic word meaning "the second". Bulgarian and Russian () ( ) is derived from the Bulgarian and Russian adjective for 'second' - () or ().


title: Tuesday

text: In Japanese, the second day of the week is (), from (), the planet Mars. Similarly, in Korean the word Tuesday is (), also meaning Mars day.


title: Tuesday

text: In the Indo-Aryan languages Pali and Sanskrit the name of the day is taken from ('one who is red in colour'), a style (manner of address) for Mangala, the god of war, and for Mars, the red planet.


title: Tuesday

text: In Arabic, Tuesday is (), and in Hebrew it is (), meaning "the third". When added after the word / ( or ) it means "the third day".


title: Tuesday

text: In the Eastern Orthodox Church, Tuesdays are dedicated to Saint John the Baptist. The Octoechos contains hymns on this theme, arranged in an eight-week cycle, that are chanted on Tuesdays throughout the year. At the end of Divine Services on Tuesday, the dismissal begins with the words: "May Christ our True God, through the intercessions of his most-pure Mother, of the honorable and glorious Prophet, Forerunner and Baptist John…"


title: Tuesday

text: In Hinduism, Tuesday is also a popular day for worshipping and praying to Hanuman, Kartikeya, Durga, Kali, and Ganesh, and many Hindus fast during Tuesday.


title: Tuesday

text: In the Greek world, Tuesday (the day of the week of the Fall of Constantinople) is considered an unlucky day. The same is true in the Spanish-speaking world; it is believed that this is due to the association between Tuesday and Mars, the god of war and therefore related to death. For both Greeks and Spanish-speakers, the 13th of the month is considered unlucky if it falls on Tuesday, instead of Friday. In Judaism, on the other hand, Tuesday is considered a particularly lucky day, because in Bereshit (parashah), known in the Christian tradition as the first chapters of Genesis, the paragraph about this day contains the phrase "it was good" twice.


title: Tuesday

text: In the Thai solar calendar, the day is named for the Pali word for the planet Mars, which also means "Ashes of the Dead"; the color associated with Tuesday is pink.


title: Tuesday

text: Tuesday is the usual day for elections in the United States. Federal elections take place on the Tuesday after the first Monday in November; this date was established by a law of 1845 for presidential elections (specifically for the selection of the Electoral College), and was extended to elections for the House of Representatives in 1875 and for the Senate in 1914. Tuesday was the earliest day of the week which was practical for polling in the early 19th century: citizens might have to travel for a whole day to cast their vote, and would not wish to leave on Sunday which was a day of worship for the great majority of them. However, a bill was introduced in 2012 to move elections to weekends, with a co-sponsor stating that "by moving Election Day from a single day in the middle of the workweek to a full weekend, we are encouraging more working Americans to participate. Our democracy will be best served when our leaders are elected by as many Americans as possible."


title: Tuesday

text: Video games are commonly released on Tuesdays in the United States, this fact often attributed to the "Sonic the Hedgehog 2" "Sonic 2s day" marketing campaign in 1992. DVDs and Blu-rays are released on Tuesday. Albums were typically released on Tuesdays as well, but this has changed to Fridays globally in 2015.


title: Tuesday

text: In Australia, the board of the Reserve Bank of Australia meets on the first Tuesday of every month except January. The federal government hands down the federal budget on the second Tuesday in May, the practice since 1994 (except in 1996 and 2016). The Melbourne Cup is held each year on the first Tuesday in November.


title: Kathak

text: Kathak (; ) is one of the eight major forms of Indian classical dance. It is the classical dance form of Uttar Pradesh. The origin of Kathak is traditionally attributed to the traveling bards in ancient northern India known as Kathakars or storytellers. The term Kathak is derived from the Vedic Sanskrit word which means "story", and "Kathakar" which means "the one who tells a story", or "to do with stories". Wandering Kathakars communicated stories from the great epics and ancient mythology through dance, songs and music. Kathak dancers tell various stories through their hand movements and extensive footwork, their body movements and flexibility but most importantly through their facial expressions. Kathak evolved during the Bhakti movement, particularly by incorporating the childhood and stories of the Hindu god Krishna, as well as independently in the courts of north Indian kingdoms. During the period of Mughal rule, the emperors were patrons of Kathak dance and actively promoted it in their royal courts. "Kathak" performances include Urdu Ghazals and commonly used instruments brought during the Mughal period. As a result, it is the only Indian classical dance form to feature Persian elements.


title: Kathak

text: Kathak is found in three distinct forms, called "gharanas", named after the cities where the Kathak dance tradition evolved – Jaipur, Banaras and Lucknow. While the Jaipur gharana focuses more on the foot movements, the Banaras and Lucknow gharanas focus more on facial expressions and graceful hand movements. Stylistically, the Kathak dance form emphasizes rhythmic foot movements, adorned with small bells ("Ghungroo") and the movement harmonized to the music. The legs and torso are generally straight, and the story is told through a developed vocabulary based on the gestures of arms and upper body movement, facial expressions, neck movements, eyes and eyebrow movement , stage movements, bends and turns. The main focus of the dance becomes the eyes and the foot movements. The eyes work as a medium of communication of the story the dancer is trying to communicate. With the eyebrows the dancer gives various facial expressions. The difference between the sub-traditions is the relative emphasis between acting versus footwork, with Lucknow style emphasizing acting and Jaipur style famed for its spectacular footwork.


title: Kathak

text: Kathak as a performance art has survived and thrived as an oral tradition, innovated and taught from one generation to another verbally and through practice. It transitioned, adapted, and integrated the tastes of the Mughal courts in the 16th and 17th centuries, particularly by Akbar, but stagnated and went into decline during the British colonial era, then was reborn as India and Pakistan gained independence and sought to rediscover its ancient roots and a sense of national identity through the arts.


title: Kathak

text: The term "Kathak" is rooted in the Vedic term "Katha" () which means "story, conversation, traditional tale". "Kathak" refers to one of the major classical dance forms primarily found in northern India, with a historical influence similar to Bharatanatyam in south India, Odissi in east India and other major classical dances found in South Asia. It differs from the numerous folk dance forms found in the north and other parts of the Indian subcontinent.


title: Kathak

text: The Kathak dancers, in the ancient India, were traveling bards and were known as "Kathakas", or "Kathakar".


title: Kathak

text: Kathak has inspired simplified regional variants, such as the "Bhavai" – a form of rural theatre focussing on the tales of Hindu goddesses (Shakti), and one which emerged in the medieval era, is presently found in Gujarat, Rajasthan and Madhya Pradesh. Another variant that emerged from ancient Kathak is Thumri.


title: Kathak

text: Thumri was developed by the tawaif community who were called "nautch" dancers by the British.  Their history as Kathak dancers have been erased in modern India ""."", also see ""


title: Kathak

text: According to Mary Snodgrass, the Kathak tradition of India is traceable to 400 BCE. The earliest surviving text with Kathak roots is the Natya Shastra, attributed to sage Bharata, and its first complete compilation is dated to between 200 BCE and 200 CE, but estimates vary between 500 BCE and 500 CE.


title: Kathak

text: The most studied version of the Natya Shastra text consists of about 6000 verses structured into 36 chapters. The text, states Natalia Lidova, describes the theory of Tāṇḍava dance (Shiva), the theory of rasa, of bhāva, expression, gestures, acting techniques, basic steps, standing postures – all of which are part of Indian classical dances including Kathak. Dance and performance arts, states this ancient Hindu text, are a form of expression of spiritual ideas, virtues and the essence of scriptures.


title: Kathak

text: The 2nd century BC panels found in Bharhut show the dancers in a vertical stance with their arms<nowiki>' positions already suggesting today's Kathak movements. Most of the dancers have one arm near the ear in a "pataka hasta"</nowiki> (Mudra). In subsequent years, the hasta was lowered to the bust level.


title: Kathak

text: The term Kathakas in the sense of "storytellers" appears in ancient Hindu texts, such as the Mahabharata:


title: Kathak

text: Bards, actors, dancers, songsters and musical reciters of legends and stories are mentioned hundreds of times in the Hindu Epics.


title: Kathak

text: Textual studies suggest that "Kathak" as a classical dance form likely started in Banares (Varanasi) and from there migrated northwest to Lucknow, Jaipur and other parts of north and northwest India. The Lucknow tradition of Kathak dance attributes the style to a Bhakti movement devotee named Ishwari from the Handia village in Allahabad, Uttar Pradesh, who credited Hindu God Krishna appearing in his dream and asking him to develop "dance as a form of worship". Ishwari taught his descendants, who in turn preserved the learning and developments through an oral tradition over six generations ultimately yielding the Lucknow version of the Kathak dance – a family tree that is acknowledged in both Hindu and Muslim music-related Indian literature.


title: Kathak

text: The evolution in Kathak dance theme during the Bhakti movement centered primarily around divine Krishna, his lover Radha and milkmaids ("gopis") – around legends and texts such as the Bhagavata Purana found in the Vaishnavism tradition of Hinduism. The love between Radha and Krishna became symbolism for the love between Atman (soul within) and the supreme source (Cosmic soul everywhere), a theme that dance ballet and mimetic plays of Kathak artists expressed. Although central Asian influence of Kathak rapid whirls has been proposed, Sangitaratnakara, a 13th-century Sanskrit text on Indian classical music and dance in Chapter 4 mentions a dance movement with rapid whirling around like a wheel keeping the arms in the Dola pose and bending the body inwards called 'Cakramandala' It is employed in worshipping gods and in vigorous movement.


title: Kathak

text: The emergence of Raslila, mainly in the Braj region (Mathura in Western U.P.) was an important development. It combined in itself music, dance, and the narrative. Dance in Raslila, however, was mainly an extension of the basic mime and gestures of the Kathakars or story-tellers which blended easily with the existing traditional dance.


title: Kathak

text: With the coming of the Mughals, this dance form received a new impetus. A transition from the temple courtyard to the palace durbar took place which necessitated changes in presentation. In both Hindu and Muslim courts, Kathak became highly stylized and came to be regarded as a sophisticated form of entertainment. Under the Muslims, there was a greater stress on nritya and bhavag - the dance's graceful, expressive and sensuous dimensions.


title: Kathak

text: The Mughal era courts and nobles accepted Kathak as a form of aristocratic entertainment, which low income families were willing to provide. According to Drid Williams:


title: Kathak

text: Over time, the Kathak repertoire added Persian and Central Asian themes, such as the whirling of Sufi dance, the costumes replaced Saris with items that bared midriff and included a transparent veil of the type common with medieval Harem dancers. When the colonial European officials began arriving in India, the Kathak court entertainment they witnessed was a synthesis of the ancient Indian tradition and Central Asian-Persian dance form, and the Kathak dance performers were called the "nautch girls" (or "natch", a derivative of the more difficult to pronounce Sanskrit "natya").


title: Kathak

text: With the expansion of British colonial rule in 19th-century India, Kathak along with all other classical dance forms were discouraged and it went into decline. This was in part the result of the Victorian morality of sexual repressiveness along with Anglican missionaries who criticized Hinduism. Reverend James Long, for example, proposed that Kathak dancers should forget ancient Indian tales and Hindu legends, and substitute them with European legends and Christian tales. Missionaries recorded their frustration in "Church Missionary Review" when they saw Hindu audiences applaud and shout "Ram, Ram" during Kathak performances.


title: Kathak

text: The seductive gestures and facial expressions during Kathak performances in Temples and family occasions were caricatured in "The Wrongs of Indian Womanhood", published at the start of the 20th century, as evidence of "harlots, debased erotic culture, slavery to idols and priests" tradition, and Christian missionaries demanded that this must be stopped, launching the "anti-dance movement" or "anti-nautch movement" in 1892. Officials and newspapers dehumanized the Kathak dancers and the sources of patronage were pressured to stop supporting the Kathak performing "nautch girls" (also termed as "devadasis" and "tawa'ifs" in mid 20th century literature). Many accused the dance form as a front for prostitution, while revivalists questioned the constructed histories by the colonial writers.


title: Kathak

text: Not only did missionaries and colonial officials ridicule the Kathak dancers, Indian men who had been educated in British institution and had adapted to Victorian prudery joined the criticism, states Margaret Walker, possibly because they had lost their cultural connection, no longer understood the underlying spiritual themes behind the dance, and assumed this was one of the "social ills, immoral and backward elements" in their heritage that they must stamp out. However, the Hindu families continued their private tutoring and kept the Kathak art alive as an oral tradition. Kathak teachers also shifted to training boys to preserve the tradition, as most of the 20th-century ridicule had been directed at Kathak "nautch girls".


title: Kathak

text: Kathak was brought to the attention of audiences outside India in the early 20th century through Kalkaprasad Maharaj.


title: Kathak

text: The movement to end the colonial era and for an independent India, states Walker, also witnessed a revival of Kathak and more broadly, a cultural ferment and effort to reclaim culture and rediscover history. The Kathak revival movements co-developed in Hindu "gharanas", particularly by the Kathak-Misra community. Of these the Jaipur and Lucknow sub-traditions of Kathak have attracted more scholarship.


title: Kathak

text: The oldest Kathak department pat a degree college (university) was formed in 1956 at Indira Kala Sangeet University, a public university located in Khairagarh where Dr. Puru Dadheech instated the first Kathak syllabus for degree programs. It was inspired by the diploma syllabus of Mohanrao Kallianpurkar at Bhatkhande College.


title: Kathak

text: According to a BBC Arts article, Kathak is unique in being practiced by the Muslim community of the India, and thus has a "historical link to Islam." Farah Yasmeen Shaikh, a Muslim and a disciple of Pandit Chitresh Das in the Lucknow school, considers Kathak as a "confluence of Hindu and Muslim cultures", and has presented her performance in Pakistan. In contrast, states BBC, Nahid Siddiqui (a legendary Kathak dancer from Pakistan, settled and nurtured in the UK), has a hard time practising and presenting her [Kathak] art in her birth-country of Pakistan".


title: Kathak

text: While most scholars consider Kathak as an ancient art, some such as Margaret Walker suggest the modern Kathak is a 20th-century phenomenon, more a form of cultural revival, if one relies on the music-related Indian documents.


title: Kathak

text: A modern Kathak, in all three major sub-traditions called Lucknow, Benares and Jaipur styles ("gharana"), states Bruno Nettl, consist of three main sections - the invocation, one pure (abstract) dance recital and one expressive dance.


title: Kathak

text: The invocation ("vandana") consists of the dancer coming to stage and offering respect to his or her guru and the musicians on the stage. If the team is from the Hindu tradition, the dancer(s) combine facial expressions and hand gestures ("mudra") to invoke Hindu gods and goddesses; while a Muslim performance replace the devotional expressions with a "salami" (salutation).


title: Kathak

text: The pure dance is called a "nritta", while the expressive dance is called a "nritya". A Kathak performance can be solo, duo or team. In a technical performance, the speed and energy the dancers exchange with the audience increases in multiples, that is the tempo doubles or quadruples. During the performance, one or more of the Kathak artists may come to the microphone, interact with the audience, explain something, tell an anecdote in a particular language, or rhythmically recite a song.


title: Kathak

text: The costumes of the dancer and the facial cosmetics between a Hindu or Muslim Kathak dance troupe varies. The stage typically is bare with no distracting background, states Williams, with musicians seated on rugs downstage right (audience's left), and if it is a Hindu performance there is an image of dancing Shiva (Nataraja) or a Ganesha on the stage's left with flowers and perfumed incense burning.


title: Kathak

text: The "nritta" performance starts off with a "thàth" sequence, which is a slower graceful movement of wrists, neck and eyebrows. Thereafter, the dancer gradually increases speed and energy, while completing a sequence of "bol" (mnemonic syllables in Indian tradition). Each "bol" has short sections, similar to technical exercises in western dance traditions, wherein the dancer engages the audience with "tora", "tukra", "parhant", "paran" and others stressing footwork, gestures and turns. Each section when completed has a punctuation mark, usually a sharp turn of the head. Each ankle is adorned with small bells ("ghungroo"), which may have just one bell or hundreds. The dancer's rapid movements and footwork in a "nritta" is perfectly timed to the musical beats ("tala") and tempos, and the footwork sequences are called "tatkars".


title: Kathak

text: Most of the "Nritta" performance is abstract, fast and rhythmic aspect of Kathak. In a Kathak "nritta", as with all classical Indian dance forms, the viewer is presented with pure movement, wherein the emphasis is the beauty in motion, form, speed, range and pattern. It aims to engage the senses (prakriti) of the audience.


title: Kathak

text: "Nritya" is slower and expressive aspect of Kathak that attempts to communicate feelings, storyline particularly with spiritual themes in Hindu dance traditions. In a "nritya", the dance expands to include words, musical notes and gestures to articulate a legend or message, it is more than sensory enjoyment, it aims to engage the emotions and mind of the viewer.


title: Kathak

text: The expressiveness of Kathak is also found in other classical dances of India. Its roots are found in the "Natyashastra" text which defines drama in verse 6.10 as that which aesthetically arouses joy in the spectator, through the medium of actor's art of communication, that helps connect and transport the individual into a super sensual inner state of being. The "Natya" connects through "abhinaya" (literally, "carrying to the spectators"), that is applying body-speech-mind and scene, wherein asserts "Natyashastra", the actors communicate to the audience, through song and music. Drama in this ancient Sanskrit text, thus is an art to engage every aspect of life, in order to glorify and gift a state of joyful consciousness. According to Massey, another important ancient text that has influenced Kathak is the "Abhinaya Darpanam" of Nandikeshvara (~2nd century CE).


title: Kathak

text: In Kathak, "abhinaya" is in the form of expressive gestures and pantomime set to music that usually outline a legend or the plot of a well known story. The gestures and facial expressions convey the "ras" (sentiment, emotional taste) and "bhava" (mood) of the underlying story. In the Hindu texts on dance, the guru and the artists successfully express the spiritual ideas by paying attention to four aspects of a performance: "Angik" (gestures and body language), "Vachik" (song, recitation, music and rhythm), "Aharya" (costume, make up, jewelry), and "Satvik" (artist's mental disposition and emotional connection with the story and audience, wherein the artist's inner and outer state resonates). A Kathak nritya performance, however grants flexibility to the artists and invites improvisation, and it may not be accompanied with a song or recital about the legend. The stories in Kathak performance generally tend to be about the Hindu god Krishna (or in some cases Shiva or Devi), and the stories come from sources such as the Bhagavata Purana, or the Indian Epics. This form of expressiveness is also found in "thumri" and Persian "ghazals".


title: Kathak

text: The Hindu costume for female dancers has two variations.One is based on a Sari, but is worn in a style different from the customary style that goes over the left shoulder. A Kathak artist generally wraps the sari around the waist and it hangs down from the left. A blouse called "choli" covers the upper body. The artist may wear a scarf (called "orhni" in some places). Hair, face, ear, neck, hand, wrist and ankle jewellery, typically of gold, may adorn the artist. A "tika" or "bindi" in the middle of forehead is common. The second variation of a Hindu Kathak dancer uses a long, full (just above the ankle), light-weight skirt usually with embroidered border that helps highlight the dance motion. The skirt is contrasted with a different color "choli", and a transparent scarf typically drapes over it and the dancer's head. Jewelry is typically present in the second variation.


title: Kathak

text: The Muslim costume for female dancers also uses a skirt, but includes close fitting churidar pyjamas and sometimes a long coat covering hands and the upper body. The head has a cover scarf and the jewelry is light.


title: Kathak

text: The Hindu costume for male Kathak performers is typically a silk "dhoti" draped around the waist, and covered with a silk scarf tied over the top. The upper body is usually left bare or with only the Hindu thread, but is sometimes covered with a loose sleeveless jacket. Kathak male artists also wear jewelry, but often of stones and much simpler than the female artists.


title: Kathak

text: The Mughal costume for male Kathak performers is kurta-churidar. The kurta can be a simple one, or cut as an angarkha. There is also the possibility of adapting the angarkha or kurta for dance to incorporate wider flare in the lower portion. Particularly older variety costumes include the small peaked cap too.


title: Kathak

text: The ensemble of musical instruments vary with any Kathak performer, ranging from two to twelve classical Indian instruments or more in versions with synthetic innovations. The most common instruments that go with Kathak are "tabla" (a pair of hand drums) that syncs with the dancer's feet rhythms, "sarangi" or harmonium with "manjira" (hand cymbals) that meters the "tal" (cycle), and other instruments to add effect, depth and structure to the expressive stage of a Kathak performance.


title: Kathak

text: The ancient music genre of India, Dhrupad, was re-introduced into Kathak for the first time by India's senior Kathak exponent Mahamahopadhyay Dr. Pandit Puru Dadheech. He is India's first Kathak dancer to bring back 'Dhrupad' on the formal Kathak stage and this composition in 28 matra. Shankar Pralayankar, his Dhrupad composition, has the unique status of regularly being sung in concerts by 'Dhrupad' maestros the Gundecha Brothers.


title: Kathak

text: Kathak is a diffuse tradition, of which three "gharanas" (schools) are more well known and studied – Jaipur, Benares and Lucknow. The schools place different relative emphasis between aspects of a Kathak performance such as the acting versus footwork. The Lucknow style, for example, emphasizes acting while Jaipur style emphasizes the dance and footwork. Traditionally, the Jaipur gharana has had a strong spiritual flavor, covering a diverse range of ideas in Vaishnavism and Shaivism.


title: Kathak

text: The Jaipur gharana traces its origins to Bhanuji, a famed Shiva Tandava dancer who upon visiting Vrindavan was inspired and taught Natvari Nritya. Bhanuji's grandons Laluji and Kanhuji were similarly inspired by Krishna. They returned to Jaipur, and together they began the Jaipur gharana of Kathak. The Jaipur style developed under the sponsorship of Rajput rulers, and they favored the Kathak dance with Hindu religious themes. In the modern era, this school has continued their emphasis on dance and footwork with Jai Lal, Janki Prasad, Kundan Lal, Mohan Lal and Nawal Kishore. This school is best known for its systematic innovations in rhythmic dancing, and the use of dance movement to express a story.


title: Kathak

text: The Lucknow gharana of Kathak dance attributes its origins to a rural Krishna devotee named Ishwari from the village in southeast Uttar Pradesh, who aimed to develop Kathak dance as a form of loving devotion to Krishna. This school thrived after the Mughal Empire collapsed, when Kathak artists moved from Delhi to Lucknow under the sponsorship of Avadh nawabs who favored court dance culture. In the modern era, the Lucknow gharana style influences the dance school in New Delhi with Shambu Maharaj, Birju Maharaj and Lacchu Maharaj. Kathak choreography there has developed themes beyond Krishna-Radha, such as those based on the drama works of Kalidasa's Shiva-Parvati and Bhavabhuti's Malati-Madhav. This school has also attempted a Hindu-Muslim Kathak fusion style, highlighting the court dancers theme.


title: Kathak

text: The Benares gharana is the third major style, traditionally believed to be the oldest. Its history is unclear. According to Kothari, the school started with Janakiprasad from a village near Bikaner who resettled in Varanasi, but one whose ancestors were famed dancers and musicians. Janakiprasad was a dancer and a Sanskrit scholar, and credited with inventing the "bols" of Kathak, which are mnemonic syllables within the language of this classical dance of India.


title: Kathak

text: According to Nicole Lehmann, modern Kathak dancers show, to varying degrees, a fusion of the styles from all three gharanas.


title: Kathak

text: The north Indian "Kathak" dance differs from the south Indian "Bharatanatyam" in several ways, even though both have roots in the Hindu text "Natya Shastra". Kathak expressions – particularly in Hindu devotional styles – are more introverted and withdrawn, while "Bharatanatyam" is more extroverted and expansive. "Kathak" is normally performed in a standing form with legs and torso typically straight, while "Bharatanatyam" extensively utilizes bent knee form ("ara mandi", half sitting position that is somewhat similar to "Demi Plié" ballet move).


title: Kathak

text: "Kathak" is also different from "Kathakali", though both are Indian classical dance traditions of "story play" wherein the stories have been traditionally derived from the Hindu epics and the Puranas. Kathakali emerged in the southwestern region of India (modern Kerala), and is distinctive in its elaborate codified colorful makeup, masks and costumes. Kathakali traditionally has been troupes of predominantly male actor-dancers, who dress up as hero, heroines, gods, goddesses, demons, demonesses, priests, animals and daily life characters. Both dance forms employ elaborate footwork, choreography and hand gestures, but "Kathakali" integrates south Indian martial arts movements such as leaps and jumps. Both dance forms trace their roots to classical Sanskrit texts, but "Kathakali" has relatively more recent origins, more closely follows the "Hastha Lakshanadeepika" text and began flourishing in the 16th century. While each has a different musical and dance language, both deploy a host of similar traditional Indian musical instruments.


title: Kathak

text: According to Miriam Phillips, the Indian Kathak and the Spanish Flamenco dance share many visual, rhythmic and kinesthetic similarities.


title: The Lamb Lies Down on Broadway

text: The Lamb Lies Down on Broadway is the sixth studio album by the English progressive rock band Genesis. It was released as a double album on 18 November 1974 by Charisma Records and is their last to feature original frontman Peter Gabriel. It peaked at No. 10 on the UK Albums Chart and No. 41 on the "Billboard" 200 in the US. It is currently their longest album to date.


title: The Lamb Lies Down on Broadway

text: While the band worked on new material at Headley Grange for three months, they decided to produce a concept album with a story devised by Gabriel about Rael, a Puerto Rican youth from New York City who is suddenly taken on a journey of self-discovery and encounters bizarre incidents and characters along the way. The album was marked by increased tensions within the band as Gabriel, who insisted on writing all of the lyrics, temporarily left to work with filmmaker William Friedkin and needed time to be with his family. Most of the songs were developed by the rest of the band through jam sessions and were put down at Glaspant Manor in Wales using a mobile studio.


title: The Lamb Lies Down on Broadway

text: The album received a mixed critical reaction at first, but it gained acclaim in subsequent years and has a cult following. The songs "Counting Out Time" and "The Carpet Crawlers" were released as singles in the UK in 1974 and 1975, respectively; both failed to chart. A single of "The Lamb Lies Down on Broadway" was released in the US. Genesis promoted the album with their 1974–75 tour across North America and Europe, playing the album in its entirety. The album reached Gold certification in the UK and the US. The album was remastered in 1994 and 2007, the latter as part of the "Genesis 1970–1975" box set which contains a 5.1 surround sound mix and bonus material.


title: The Lamb Lies Down on Broadway

text: In May 1974, the Genesis line-up of frontman and singer Peter Gabriel, keyboardist Tony Banks, bassist Mike Rutherford, drummer Phil Collins and guitarist Steve Hackett finished their 1973–1974 tour of Europe and North America to support their fifth studio album, "Selling England by the Pound" (1973). That album was a critical and commercial success for the group, earning them their highest-charting release in the United Kingdom and the United States. That June they booked three months at Headley Grange, a large former poorhouse in Headley, East Hampshire, in order to write and rehearse new material for their next studio album. Upon their arrival the building had been left in a very poor state by the previous band to use it, with excrement on the floor and rat infestations. By this time the personal lives of some members had begun to affect the mood in the band, causing complications for their work. Hackett explained: "Everybody had their own agenda. Some of us were married, some of us had children, some of us were getting divorced, and we were still trying to get it together in the country". Banks later deemed this period of time as his least favourite of all his time in Genesis.


title: The Lamb Lies Down on Broadway

text: Before discussions were held regarding the album's contents, the band decided to record a double album, for the extended format would give them the opportunity to improvise and put down more of their musical ideas. A single album with songs telling "bits" of a story was an option that did not appeal to them. Banks thought Genesis had gained a strong enough following by this point to put out two albums' worth of material that their fans would be willing to listen to. They had wanted to produce a concept album that told a story for some time, and Rutherford pitched an idea based on the fantasy novel "The Little Prince" by Antoine de Saint-Exupéry, but Gabriel disagreed as he thought it was "too twee" and believed "prancing around in fairyland was rapidly becoming obsolete".


title: The Lamb Lies Down on Broadway

text: Gabriel presented the group with a more complicated and surreal story about Rael, a Puerto Rican youth in New York City, and his spiritual journey of self-discovery and identity as he encounters several bizarre incidents and characters along the way. Gabriel had first thought of the story while touring North America in the previous year, and pitched a synopsis to the group "until they agreed to do the whole thing". It was more detailed and obscure in its initial form, until Gabriel refined it and made Rael the central character. Seeking a name that had "no traceable ethnic origins", he chose the name 'Rael', but later realised the Who had previously used that on "The Who Sell Out" (1967); this annoyed him at first, but he stuck to the choice. As the band searched for a name they realised that "Ra" was common in male names in various nationalities. Gabriel was inspired by a variety of sources for the story, including the novel and musical "West Side Story", "a kind of punk" twist to the Christian allegory "Pilgrim's Progress" (1678), the works of Swiss psychologist Carl Jung, and the surreal Western film "El Topo" (1971) by Alejandro Jodorowsky. In contrast to "Selling England by the Pound", which contained strong English themes, Gabriel made a conscious effort to avoid repetition by portraying American imagery, with references to Caryl Chessman, Lenny Bruce, Groucho Marx, Marshall McLuhan, Howard Hughes, Evel Knievel and the Ku Klux Klan. He also expressed some concern over the album's title, but noted that the lamb itself is purely symbolic and a catalyst for the peculiar events that occur.


title: The Lamb Lies Down on Broadway

text: During the writing sessions at Headley Grange, Gabriel found himself separated from the rest of the band, which caused some friction. He insisted that having devised the concept he should write the lyrics, leaving the majority of the music in the charge of his bandmates. This was a departure from the band's usual method of songwriting; lyrical contributions on previous albums had always involved the other members. This situation left Gabriel often secluded in one room writing the lyrics, and the remaining four rehearsing in another. In one instance Gabriel was unable to meet a scheduled deadline to have the lyrics finished, leaving Rutherford and Banks to write words for "The Light Dies Down on Broadway". At other times, Banks and Hackett suggested lyrics they thought would fit their songs better, "The Lamia" and "Here Comes the Supernatural Anaesthetist" respectively, which Gabriel rebuffed.


title: The Lamb Lies Down on Broadway

text: Further disagreements arose during the writing period when Gabriel accepted an invitation from film producer William Friedkin to write a screenplay; Friedkin had taken a liking to the surreal story by Gabriel that had been printed on the sleeve of "Genesis Live" (1973). Collins then pitched the idea of having the new studio album be purely instrumental, thinking it would favour the other members as Gabriel had made some of their earlier songs too lyrically dense, but the idea was rejected by the rest of the group. However, Gabriel's offer from Friedkin soon came to nothing and he resumed working on the album. Matters were complicated further when Gabriel spent additional time away in London when his first wife Jill underwent a risky and difficult birth of their first child in July 1974, leaving Gabriel often travelling back and forth. Rutherford later admitted that he and Banks were "horribly unsupportive" of Gabriel during this time, and Gabriel saw this as the beginning of his eventual departure from Genesis.


title: The Lamb Lies Down on Broadway

text: After their allocated time at Headley Grange came to an end, Genesis relocated to Glaspant Manor in Capel Iwan, Carmarthenshire, Wales, to record using mobile recording equipment from London's Island Studios. "The Lamb Lies Down on Broadway" is the band's last recording with John Burns as their co-producer, who had assumed the role since "Foxtrot" (1972). The band are credited as co-producers, and engineering duties were carried out by David Hutchins. The recording equipment used included two 3M 24-track recorders, a Helios Electronics 30-input mixing console, Altec monitors, and two A62 Studers for mastering. Burns and Gabriel experimented with different vocal effects, including recording inside a cowshed two miles away from their location, and within a bathroom. Rutherford thought the album's sound was an improvement on those of past Genesis albums, for it was not recorded in a professional studio, which benefited the sound of Collins' drums. Collins compared the sound of the album to that of Neil Young's recordings made in his barn, "not studio, not soundproof, but a woody quality". Gabriel said one track was recorded onto a cassette, which was used on the album.


title: The Lamb Lies Down on Broadway

text: The backing tracks for the entire album were put down in roughly two weeks. Gabriel was still working on the lyrics a month later, and, in one instance, asked the band to produce additional music to fit his words that had no designated section for them. This was the case for "Carpet Crawlers" and "The Grand Parade of Lifeless Packaging". Thinking the extra material was to be instrumental, the band later found that Gabriel had sung over their new parts, something that he also had done on tracks on "Foxtrot" (1972) and "Selling England by the Pound" (1973). Gabriel recorded his vocals at Island Studios, where the album was mixed over a series of shifts as the band struggled to complete the album in time for its November 1974 release date. Collins recalled: "I'd be mixing and dubbing all night and then Tony and Mike would come in and remix what I'd done because I'd lost all sense of normality by that point".


title: The Lamb Lies Down on Broadway

text: The album tells the story of Rael, a half-Puerto Rican adolescent living in New York City, who experiences several bizarre situations and characters. Gabriel was influenced by the band's last American tour to set the story in New York City. He used the location as a tool to make Rael "more real, more extrovert and violent", choosing to develop a character that is the least likely person to "fall into all this pansy claptrap", and aiming for a story that contrasted between fantasy and character. Gabriel explained that as the story progresses Rael finds he is not as "butch" as he hoped, and his experiences eventually bring out a more romantic side to his personality. The end of the story is not directly clear; Gabriel deliberately left the conclusion ambiguous. When asked about it, Gabriel does not declare that Rael dies, though he compared the ending to the buildup of suspense and drama in a film in which "you never see what's so terrifying because they leave it up in the air without ... labelling it". Several of the story's occurrences and settings derived from Gabriel's dreams. Collins remarked that the entire concept was about split personality. The individual songs also make satirical allusions to mythology, the sexual revolution, advertising, and consumerism. Gabriel felt the songs alone were not enough to detail all of the action in his story, so he wrote the full plot on the album's sleeve.


title: The Lamb Lies Down on Broadway

text: One morning in New York City, Rael is holding a can of spray paint, hating everyone around him. He witnesses a lamb lying down on Broadway which has a profound effect on him ("The Lamb Lies Down on Broadway"). As he walks along the street, he sees a dark cloud take the shape of a movie screen and slowly move towards him, finally absorbing him ("Fly on a Windshield"), seeing an explosion of images of the current day ("Broadway Melody of 1974") before he wakes up in a cave and falls asleep once again ("Cuckoo Cocoon"). Rael wakes up and finds himself trapped in a cage of stalactites and stalagmites which slowly close in towards him. As he tries to escape, he sees many other people in many other cages, before spotting his brother John outside. Rael calls to him, but John walks away and the cage suddenly disappears ("In the Cage").


title: The Lamb Lies Down on Broadway

text: Rael now finds himself on the floor of a factory and is given a tour of the area by a woman, where he watches people being processed like packages. He spots old members of his New York City gang, and also John with the number 9 stamped on his forehead. Fearing for his life, Rael escapes into a corridor ("The Grand Parade of Lifeless Packaging") and has an extended flashback of returning from a gang raid in New York City, ("Back in N.Y.C.") a dream where his hairy heart is removed and shaved with a razor, ("Hairless Heart") and his first sexual encounter ("Counting Out Time"). Rael's flashback ends, and he finds himself in a long, red-carpeted corridor of people crawling towards a wooden door. Rael runs past them and exits via a spiral staircase ("Carpet Crawlers"). At the top, he enters a chamber with 32 doors, surrounded by people and unable to concentrate ("The Chamber of 32 Doors").


title: The Lamb Lies Down on Broadway

text: Rael finds a blind woman who leads him out of the chamber ("Lilywhite Lilith") and into another cave ("The Waiting Room"), where he becomes trapped by falling rocks ("Anyway"). Rael encounters Death ("Here Comes the Supernatural Anaesthetist") and escapes the cave. Rael ends up in a pool with three Lamia, beautiful snake-like creatures, and has sex with them, but they die after drinking some of his blood ("The Lamia"). He leaves the pool in a boat ("Silent Sorrow in Empty Boats"), and finds himself in a group of Slippermen, distorted, grotesque men who have all had the same experience with the Lamia, and finds that he has become one of them ("The Arrival"). Rael finds John among the Slippermen, who reveals that the only way to become human again is to visit Doktor Dyper and be castrated ("A Visit to the Doktor"). Both are castrated and keep their removed penises in containers around their necks. Rael's container is taken by a raven and he chases after it, leaving John behind ("The Raven"). The raven drops the container in a ravine and into a rushing underground river ("Ravine").


title: The Lamb Lies Down on Broadway

text: As Rael walks alongside it, he sees a window in the bank above his head which reveals his home amidst the streets ("The Light Dies Down on Broadway"). Faced with the option of returning home, he sees John in a river below him, struggling to stay afloat. Despite being deserted twice by John, Rael dives in to save him and the gateway to New York vanishes ("Riding the Scree"). Rael rescues John and drags his body to the bank of the river and turns him over to look at his face, only to see his own face instead ("In the Rapids"). His consciousness then drifts between both bodies, and he sees the surrounding scenery melting away into a haze. Both bodies dissolve, and Rael's spirit becomes one with everything around him (""it."").


title: The Lamb Lies Down on Broadway

text: Much of the music developed through band improvisations and jams, often after setting a single idea, which Banks found particularly enjoyable. Examples of this are what he described as a "Chinese jam" which ended up as part of "The Colony of Slippermen", one named "Victory at Sea" which was worked into "Silent Sorrow in Empty Boats", and another known as "Evil Jam" which became "The Waiting Room". Though the album is written to a story concept, Gabriel described its format as being split into "self-contained song units". He thought the album contained some of the group's best material and songs that he was most proud of during his time in Genesis.


title: The Lamb Lies Down on Broadway

text: Banks recalled writing "The Lamb Lies Down on Broadway" with Gabriel which turned out to be the last track they developed which was "a pretty good song to end on". At its conclusion, the song borrows music and lyrics from the 1963 single "On Broadway" by The Drifters. "Fly on a Windshield" originally came about through a band improvisation sparked by an idea from Rutherford, who suggested the idea of "Pharaohs going down the Nile" and proceeded to play two chords. Banks said: "Instantly the rest of us would conjure up that particular mood." Banks was particularly fond of the part when the drums and guitar come in, calling it one of the band's best ever moments. Hackett chose to play "Egyptian phrases", and noted that the group used a similar modulation to that of the end section of "Boléro" by Maurice Ravel. "Back in N.Y.C." sees Genesis adopting a more aggressive sound than in past compositions, and includes Gabriel singing an expletive in the line "I'm not full of shit". A personal highlight for Collins is "Silent Sorrow in Empty Boats" and "The Waiting Room" which developed as a "basic good to bad soundscaping" jam while it was raining, before they stopped and a rainbow formed outside. Collins said that "Steve [Hackett] played these dark chords, then Peter [Gabriel] blows into his oboe reeds, then there was a loud clap of thunder and we really thought we were entering another world or something. It was moments like that when we were still very much a unified five-piece".


title: The Lamb Lies Down on Broadway

text: "Carpet Crawlers" developed at a time when Gabriel had written some lyrics, but no music had been written for them. The band put together a chord sequence "in D, E minor and F-sharp minor with a roll from the drums flowing through it". Gabriel spent "hours and hours" on an out-of-tune piano in the house of his then-wife Jill's parents in Kensington to develop it. Jill later spoke of Gabriel's particular fondness of the track. "Anyway" and "Lilywhite Lilith" developed from two early unreleased songs, "Frustration" and "The Light" respectively. Hackett's guitar solo on "Counting Out Time" features him playing an EMS Synthi Hi-Fli guitar synthesizer and Gabriel encourages him – "Take it away mr. Guitar".


title: The Lamb Lies Down on Broadway

text: During the mixing sessions at Island Studios, Brian Eno was working on his album "Taking Tiger Mountain (By Strategy)" (1974) in the adjacent studio. Gabriel asked him to add synthesized effects on his vocals on several tracks, including "The Grand Parade of Lifeless Packaging", which on the album's credits are dubbed "Enossification". As a repayment, Eno asked Collins to play drums on his track "Mother Whale Eyeless".


title: The Lamb Lies Down on Broadway

text: Hipgnosis designed the album's artwork. In a departure from that company's previous album sleeves, which featured more colourful designs, the front cover of "The Lamb Lies Down on Broadway" makes use of black and white and no colour. The band's logo, originally designed by Paul Whitehead and used on "Nursery Cryme" (1971) and "Foxtrot" (1972), was replaced by a new one in an Art Deco style by George Hardie. The left picture on the front depicts Rael in the area where "In the Rapids" and "Riding the Scree" are set.


title: The Lamb Lies Down on Broadway

text: The band considered releasing the album as two single albums released six months apart. Gabriel later thought this idea would have been more suitable, for a double album contained too much new material, and the extra time would have given him more time to work on the lyrics. Nevertheless, "The Lamb Lies Down on Broadway" was released as a double album on 18 November 1974, days after the start of its supporting tour. It became the band's highest-charting album since their formation, peaking at No. 10 on the UK Albums Chart in December 1974 during its six-week stay on the chart, and No. 41 on the US "Billboard" 200 in 1975. Elsewhere, the album reached No. 15 in Canada and No. 34 in New Zealand. Two singles were released; "Counting Out Time" with "Riding the Scree" as its B-side, was released on 1 November 1974. The second, "The Carpet Crawlers" backed with a live performance of "The Waiting Room (Evil Jam)" at the Shrine Auditorium in Los Angeles, followed in April 1975. The album continued to sell, and reached Gold certification by the British Phonographic Industry on 1 February 1975, and Gold by the Recording Industry Association of America for sales in excess of 500,000 copies on 20 April 1990.


title: The Lamb Lies Down on Broadway

text: Members of the group expressed some concern about the album's critical reception, and expected to receive some negative responses over its concept and extended format. Banks hoped the album would end people's comparisons of Genesis to Yes and Emerson, Lake & Palmer, two other popular progressive rock bands of the time. Gabriel knew the album's concept was ideal for critics "to get their teeth into".


title: The Lamb Lies Down on Broadway

text: In giving an interview to "Melody Maker" in October 1974, shortly before the album's release, Gabriel played several tracks from "The Lamb" to reporter Chris Welch, including "In the Cage", "Hairless Heart", "Carpet Crawlers", and "Counting Out Time". Welch wrote, "It sounded superb. Beautiful songs, fascinating lyrics, and sensitive, subtle playing, mixed with humour and harmonies. What more could a Genesis fan desire?" He singled out Collins' playing as "outstanding". Welch's review for "Melody Maker" published a month later included his thoughts on such long concept albums–"A few golden miraculous notes and some choice pithy words are worth all the clutter and verbiage"–and he called the album a "white elephant". For "New Musical Express", Barbara Charone wrote highly of the collection. She summarised "The Lamb" as a combination of the "musical proficiency" on "Selling England by the Pound" (1973) with the "grandiose illusions" on "Foxtrot" (1972) and "a culmination of past elements injected with present abilities and future directions". Charone thought it had more high points than any previous Genesis album, apart from some "few awkward instrumental moments on side three". All members received praise for their performances, including Hackett coming across as a more dominant member of the group with his "frenetic, choppy style", Collins' backup harmony vocals and Rutherford's "thick, foreboding bass chords and gentle acoustics". Colin Irwin wrote a negative review of the "Counting Out Time" single, with its "weary, tepid approach" and a "woeful, dreary three and a half minutes".


title: The Lamb Lies Down on Broadway

text: Since its release, the album has been met with critical acclaim. In 1978, Nick Kent wrote for "New Musical Express" that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together". In a special edition of "Q" and "Mojo" magazines titled "Pink Floyd & The Story of Prog Rock", "The Lamb" ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the ten best concept albums by "Uncut" magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work". AllMusic reviewer Stephen Thomas Erlewine gave a retrospective rating of five stars out of five. He says that despite Gabriel's "lengthy libretto" on the sleeve "the story never makes sense", though its music is "forceful, imaginative piece of work that showcases the original Genesis lineup at a peak ... it's a considerable, lasting achievement and it's little wonder that Peter Gabriel had to leave ... they had gone as far as they could go together".


title: The Lamb Lies Down on Broadway

text: A "Rolling Stone" poll to rank readers' favourite progressive rock albums of all time placed "The Lamb" fifth in the list. In 2014, readers of "Rhythm" voted it the album with the fourth-greatest drumming in the history of progressive rock. In 2015, "NME" included the album in its "23 Maddest and Most Memorable Concept Albums" list for "taking in themes of split personalities, heaven and hell and truth and fantasy". It was one of two albums by Genesis included in the top ten of the "Rolling Stone" list of the 50 Greatest Prog Rock Albums of All Time. The magazine described it as "one of rock's more elaborate, beguiling and strangely rewarding concept albums". The album was also included in the book "1001 Albums You Must Hear Before You Die".


title: The Lamb Lies Down on Broadway

text: Banks later thought the album's concept the weakest thing about it, though the lyrics to some of the individual songs are "wonderful". Rutherford said that, while "The Lamb" is a fan favorite, it was a gruelling album to work on and had a lot of highs, but also a lot of lows. Hackett remarked how his guitar was underutilized in comparison to past albums, but thought the album had a lot of beautiful moments and has grown on him over time. In "", Gabriel stated the album was one of his two high points with the band, along with "Supper's Ready", Also in that documentary, Collins said the band created their best music on the album. He also cites it as his favourite Genesis album.


title: The Lamb Lies Down on Broadway

text: "The Lamb Lies Down on Broadway" was first remastered for CD in 1994, and released on Virgin Records in Europe and Atlantic Records in North America. The included booklet features the lyrics and story printed on the original LP, though some of the inner sleeve artwork was not reproduced. A remastered edition for Super Audio CD and DVD with new stereo and 5.1 surround sound mixes by Nick Davis was released in 2008 as part of the "Genesis 1970–1975" box set.


title: The Lamb Lies Down on Broadway

text: Genesis supported the album with a 102-date concert tour across North America and Europe, playing the album in its entirety with one or two older songs (usually "Watcher of the Skies" and "The Musical Box") as encores. Such a format was not supported by the entire band, considering most of the audience were not yet familiar with the large amount of new material. It was to begin on 29 October 1974 with an 11-date tour of the UK that sold out within four hours of going on sale, but after Hackett crushed a wine glass in his left hand which severed a tendon, and needed time to recover, these dates were rescheduled for 1975. The group lost money, for they were unable to recoup deposits they had paid to the venues. The tour began on 20 November in Chicago, and ended on 22 May 1975 in Besançon, France. The last two scheduled concerts on 24 and 27 May in Toulouse and Paris, respectively, were cancelled due to low ticket sales. Gabriel marked the occasion of his final show with the group by playing the "Last Post" on his oboe. Hackett estimated the band's debts at £220,000 at the tour's end.


title: The Lamb Lies Down on Broadway

text: The tour featured at the time some of the biggest instruments used by the band, including Rutherford's double-neck Rickenbacker and the largest drum kit ever used by Collins. The tour's stage show involved three backdrop screens that displayed 1,450 slides, designed by Geoffrey Shaw, from eight projectors and a laser lighting display. Banks recalled the slides only came close to working perfectly on four or five occasions. The tour was the high point of Gabriel's use of theatrics and costumes. He changed his appearance with a short haircut and styled facial hair and dressed as Rael in a leather jacket, T-shirt and jeans. During "The Lamia", he surrounded himself with a spinning cone-like structure decorated with images of snakes. In the last verse, the cone would collapse to reveal Gabriel wearing a body suit that glowed from lights placed under the stage. "The Colony of Slippermen" featured Gabriel as one of the Slippermen, covered in lumps with inflatable genitalia that emerged onto the stage by crawling out of a penis-shaped tube. Gabriel recalled the difficulty in placing his microphone near his mouth whilst he was in the costume. For ""it."", an explosion set off twin strobe lights that reveal Gabriel and a dummy figure dressed identically on each side of the stage, leaving the audience clueless as to which was real. The performance ended with Gabriel vanishing from the stage in a flash of light and a puff of smoke. At the final concert, roadie Geoff Banks acted as the dummy on stage, wearing nothing but a leather jacket.


title: The Lamb Lies Down on Broadway

text: In one concert review, the theatrics for "The Musical Box", the show's encore and once the band's stage highlight, was seen as "crude and elementary" compared to the "sublime grandeur" of "The Lamb..." set. Music critics often focused their reviews on Gabriel's theatrics and took the band's musical performance as secondary, which irritated the rest of the band. Collins later said, "People would steam straight past Tony, Mike, Steve and I, go straight up to Peter and say, "You're fantastic, we really enjoyed the show." It was becoming a one-man show to the audience." The Rock and Roll Hall of Fame called the tour "a spectacle on par with anything attempted in the world of rock to that point".


title: The Lamb Lies Down on Broadway

text: During their stop in Cleveland in November 1974, Gabriel told the band he would leave at the conclusion of the tour. The decision was kept a secret from outsiders and media all through the tour, and Gabriel promised the band to stay silent about it for a while after its end in June 1975, to give them some time to prepare for a future without him. By August, the news had leaked to the media anyway, and Gabriel wrote a personal statement to the English music press to explain his reasons and his view of his career up to this point; the piece, titled "Out, Angels Out", was printed in several of the major rock music magazines. In his open letter, he explained his disillusion with the music industry and his wish to spend extended time with his family. Banks later stated, "Pete was also getting too big for the group. He was being portrayed as if he was 'the man' and it really wasn't like that. It was a very difficult thing to accommodate. So it was actually a bit of a relief."


title: The Lamb Lies Down on Broadway

text: No complete performance of the album has been officially released, except for the majority of the band's performance from 24 January 1975 at the Shrine Auditorium in Los Angeles, which was released as part of the "Genesis Archive 1967–75" box set. Some tracks feature re-recorded vocals from Gabriel and guitar parts from Hackett; the box set contains a remixed studio version of ""it."", also with re-recorded vocals. The album's 2007 reissue features the album with a visual reconstruction of the tour's stage show using the original backdrop slides, audience bootleg footage, and photographs.


title: The Lamb Lies Down on Broadway

text: All tracks credited to Tony Banks, Phil Collins, Peter Gabriel, Steve Hackett and Mike Rutherford. Actual songwriters listed below. All lyrics written by Peter Gabriel except where noted.


title: Brain on Fire (film)

text: Brain on Fire is a 2016 biographical drama film directed and written by Irish filmmaker Gerard Barrett. The film is based on Susannah Cahalan's memoir "Brain on Fire: My Month of Madness" and stars Chloë Grace Moretz, Jenny Slate, Thomas Mann, Tyler Perry, Carrie-Anne Moss, and Richard Armitage.


title: Brain on Fire (film)

text: The film follows a "New York Post" writer who begins to experience a mysterious illness. After being evaluated extensively by many doctors, she was diagnosed to be psychotic. She would have been committed to the psychiatric ward in a hospital and probably died of encephalitis, if it were not for the efforts and skills of Syrian-American neurologist Souhel Najjar. He empathized with her case and was able to diagnose and treat her rare illness.


title: Brain on Fire (film)

text: Principal photography began on July 13, 2015, in Vancouver, British Columbia. It had its world premiere at the Toronto International Film Festival on September 14, 2016. The film was released on Netflix on June 22, 2018.


title: Brain on Fire (film)

text: Twenty-one-year-old Susannah Cahalan (Chloë Grace Moretz) is a writer for "The New York Post" who lives with her new boyfriend Stephen (Thomas Mann). Susannah becomes suddenly ill, initially showing symptoms of a common flu like a cough and fatigue, but later begins presenting strange behaviour while in a trance state, such as hearing people say things they have not said and hypersensitivity to loud noises.


title: Brain on Fire (film)

text: Over time, her behaviour becomes more and more erratic. Finally, Susannah has a seizure and seeks medical treatment. The doctor consulted is adamant it is down to Susannah partying too much, working too hard and not getting enough sleep. She moves in with her mother Rhona (Carrie-Anne Moss) and, after an emotional outburst, has another seizure, and is taken to a clinic where she undergoes an MRI. Susannah also believes she may have bipolar disorder due to her severe mood changes.


title: Brain on Fire (film)

text: Rhona struggles to care for Susannah, and she later moves in with her father Tom (Richard Armitage) and his fiancée. During dinner one night, she becomes violent towards them while having another outburst, and her parents demand she is hospitalized despite the MRI, EEG, all other tests showing normal results. There, one of the doctors informs Susannah's parents she could have schizophrenia, and says that if her behavior does not improve, she will be transferred to a psychiatric hospital.


title: Brain on Fire (film)

text: Susannah gradually becomes catatonic, and Dr. Souhel Najjar (Navid Negahban) is asked to help in investigating her case. He has Susannah draw a clock; she draws it with all of the numbers (1–12) on the right side of the face, leading him to believe that the right hemisphere of her brain is swollen and inflamed. Najjar has her undergo a brain biopsy for testing. Following the biopsy, it is found that Susannah has a rare disease called anti-NMDA receptor encephalitis, a brain inflammation, which Najjar describes as "a brain on fire". Najjar begins treatment, which leads to a slow but full recovery of her cognitive abilities.


title: Brain on Fire (film)

text: Seven months later, Susannah is back at work. She presents her first written piece since her recovery to her boss Richard (Tyler Perry). It is well received, and he asks her to start writing a book about her experience, which she later titles "Brain on Fire". Closing text on screen: Susannah Cahalan was the 217th person to be diagnosed with anti-NMDA receptor encephalitis, but her memoir has helped people all over the world, leading to thousands being diagnosed and treated since. She and Najjar remain close friends.


title: Brain on Fire (film)

text: On May 1, 2014, "Deadline" reported that Charlize Theron had acquired the film rights to Susannah Cahalan's 2012 memoir "Brain on Fire: My Month of Madness". Dakota Fanning was set to play Cahalan, a young woman who one day wakes up in a hospital with no memory of the events of the previous month. Theron would produce along with Beth Kono and A.J. Dix through her banner Denver and Delilah Productions.


title: Brain on Fire (film)

text: On January 22, 2015, Irish filmmaker Gerard Barrett was set to write and direct the adaptation, while Rob Merilees of Foundation Features would produce and finance the film. London-based Mister Smith Entertainment sold the film to international distributors at 2015 Berlin Film Festival. Will Poulter was added to the cast on February 4, 2015, to play Cahalan's boyfriend. On May 26, 2015, Thomas Mann and Jenny Slate were reportedly in talks to join the film, where Mann would play Cahalan's boyfriend, replacing Poulter. On June 26, 2015, it was announced that Dakota Fanning had left the project due to scheduling issues, and Chloë Grace Moretz replaced her for the lead role.