title: Survivor: Blood vs. Water

text: The players were divided into two tribes of ten: Galang, composed of returning players, and Tadhana, the returning players’ loved ones. Tadhana lost the first four consecutive challenges, and was initially dominated by a men's alliance led by Brad. Brad's decision to blindside his ally John resulted in Brad's subsequent elimination and the end of the men's alliance. When Galang first went to Tribal Council, Aras spearheaded the elimination of Laura M. in hopes that she could eliminate Brad in a Redemption Island challenge to ensure the loyalty of Brad's wife, Monica. The plan was successful, and Laura M. returned to the game at the merge.


title: Survivor: Blood vs. Water

text: The tribes merged with 11 players remaining, including three pairs of loved ones: Aras and Vytas, Tina and Katie, and Laura M. and Ciera. The five players without loved ones remaining in the game formed an alliance led by Tyson, and were able to recruit Laura M. and Ciera to send Aras, Vytas, and Tina to Redemption Island before betraying Laura M. for being the stronger member of the final intact pair. With no pairs remaining, the new players outnumbered the returnees four to three, but the new players’ attempt to seize control was foiled by Ciera, who sided with the returnees. However, with six players left, she changed allegiances, forcing a tie which was resolved through random draw, resulting in Katie's elimination. This allowed the returning players alliance of Tyson, Monica, and Gervase to take control, voting out the others and making it to the end of the game.


title: Survivor: Blood vs. Water

text: At the Final Tribal Council, Gervase was berated by the jury for his perceived rudeness and hiding behind more dominant players, while Monica was castigated for threatening to flip to the other alliance but ultimately never following through. This led the jury to award Tyson the title of Sole Survivor, receiving seven of the eight votes to win, and Monica receiving one.


title: Survivor: Blood vs. Water

text: "In the case of the immunity and reward winner being able to share their reward with others, the invitees are in brackets."


title: Survivor: Blood vs. Water

text: The season received generally positive reception, primarily for the theme of returning players competing against their loved ones (which allowed for some less memorable returning players to introduce more memorable loved ones to the game), the gameplay of winner Tyson Apostol, and the alterations to the Redemption Island twist that made it somewhat more enjoyable than in previous seasons. Dalton Ross of "Entertainment Weekly" ranked it #12 in the series, saying that "the returning contestants playing with/against their loved ones twist added new dimensions and forced players – and us – to think about the strategic elements of the game in an entirely new way." Despite him not being a fan of Redemption Island, he added that "it is undeniable that the RI element is what led to many of the intriguing strategic decisions of whom to vote out and why," and concluded that the season was "a super solid season from top to bottom and a nice change of pace." Tom Santilli of Examiner.com, ranking it as the 9th-greatest season, particularly praised the "fine cast of 10 returning players," some of the new players whom he felt were "potential future all-stars" (including Brad Culpepper, Eastin, and Moss), and "the dominance of winner Tyson that made the season end on a strong note," while also claiming that "the Tribal Councils throughout the season were arguably the show's strongest ever, and featured an unpredictability we hadn’t experienced since earlier seasons." In 2014, the annual poll of fansite “Survivor Oz” saw "Blood vs. Water" rank as the 3rd-greatest season of the series out of the first 28, only behind "", and "Blood vs. Water"’s successor, "". In 2015, a poll by "Rob Has a Podcast" ranked this season 9th out of 30 with Rob Cesternino ranking this season 10th. This was updated in 2021 during Cesternino's podcast, "Survivor All-Time Top 40 Rankings", ranking 14th out of 40. In 2020, The "Purple Rock Podcast" ranked this season 16th out of 40 and praised the cast and the strategy that came from the blood vs. water concept. Later that same year, "Inside Survivor" ranked this season 19th out of 40 calling it "a genuinely fun and entertaining season, albeit with a predictable winner."


title: Bell V-280 Valor

text: The Bell V-280 Valor is a tiltrotor aircraft being developed by Bell and Lockheed Martin for the United States Army's Future Vertical Lift (FVL) program. The aircraft was officially unveiled at the 2013 Army Aviation Association of America's (AAAA) Annual Professional Forum and Exposition in Fort Worth, Texas. The V-280 made its first flight on 18 December 2017 in Amarillo, Texas.


title: Bell V-280 Valor

text: On 5 December 2022, the V-280 was chosen by the US Army as the winner of the Future Long-Range Assault Aircraft program to replace the Sikorsky UH-60 Black Hawk.


title: Bell V-280 Valor

text: In June 2013, Bell Helicopter announced that the V-280 Valor design had been selected by the US Army for the Joint Multi-Role (JMR) Technology Demonstrator (TD) phase. The JMR-TD phase is the technology demonstration precursor to Future Vertical Lift (FVL). The Army classified the offering as a Category I proposal, meaning it is a well-conceived, scientifically or technically sound proposal pertinent to program goals and objectives with applicability to Army mission needs, offered by a responsible contractor with the competent scientific and technical staff supporting resources required to achieve results. JMR-TD contracts were expected to be awarded in September 2013, with flights scheduled for 2017.


title: Bell V-280 Valor

text: In September 2013, Bell announced it would partner with Lockheed Martin to develop the V-280. Lockheed will provide integrated avionics, sensors, and weapons to the aircraft. Additional partners were announced in the following months, including Moog Inc. for the flight control systems, GE Aviation for the engines, GKN for the tail structure, Spirit AeroSystems for the composite fuselage, Eaton Corporation as the distributor of hydraulics and power generation systems, and Astronics Advanced Electric Systems to design and manufacture power distribution systems. Israel Aerospace Industries, the first international partner recruited for the V-280, will supply the nacelle structures. Textron sister company TRU Simulation & Training will build a high-fidelity marketing simulator and desktop maintenance trainer.


title: Bell V-280 Valor

text: In October 2013, the U.S. Army awarded a technology investment agreement (TIA) to Bell for the V-280 Valor tiltrotor under the Joint Multi-Role program. Awards were also given to AVX Aircraft, Karem Aircraft, and a Sikorsky-Boeing team. The JMR program is not intended to develop a prototype for the next family of vehicles, but to develop technologies and interfaces. The TIAs give the four teams nine months to complete preliminary design of their rotorcraft, which the Army will then review and authorize the construction of two competing demonstrators to fly in 2017. While there is a potential for an early downselect, the four teams are focused on the 2017 flight demonstrations. Each of the four teams received $6.5 million from the Army for phase I of the program, although Bell is investing an undisclosed amount of its own money. On 21 October 2013, Bell unveiled the first full-scale mock-up of the V-280 Valor at Association of the United States Army 2013.


title: Bell V-280 Valor

text: On 11 August 2014, the Army informed the Bell-Lockheed team that they had chosen the V-280 Valor to continue with the JMR demonstration program. The Boeing-Sikorsky team offering the SB-1 Defiant was also chosen. Announcement of the selections was officially made on 3 October 2014, and the teams began building technology demonstration aircraft for test flights in 2017. Bell unveiled a full-scale mock-up of the V-280 Valor on the floor at AUSA 2014 to showcase the configuration and design of the high-speed platform. It is focused on the infantry squad and is to handle much like a helicopter in terms of low-speed agility to have unprecedented pitch, roll, and yaw response for those operations. Roughly the size of the current medium-lift helicopter, the V-280 is designed to travel twice as fast and twice as far. Bell is pitching these capabilities for movement over vast areas like the Pacific. The program director said the need for forward arming and refueling points could be eliminated and that one FOB (forward operating base) in the middle of a country, such as Afghanistan, could cover the entire country.


title: Bell V-280 Valor

text: Although Bell sold its share in the AW609 program in 2011, Bell continues to work on the AW609 and considers commercial potential for the V-280, as a military mass production of 2,000–4,000 aircraft could reduce unit cost to commercially acceptable levels. In 2016, Bell stated that it preferred the 609 for commercial use, and intended to offer the V-280 for military use only. Bell also stated that conventional helicopters were not part of Bell's military future.


title: Bell V-280 Valor

text: In June 2015, Bell's subcontractor Spirit AeroSystems began assembly of the composite fuselage for the first prototype V-280 Valor, which was delivered in September 2015. In total, the design and manufacturing of the fuselage was completed in only 22 months. Although the V-280 is initially planned for the JMR demonstration program, Bell does not anticipate much difference between it and a final FVL entry. By January 2016, the V-280 demonstrator was 23 percent complete, with the fuselage and wings mated together in early May 2016. The demonstrator aircraft began ground vibration testing in Amarillo in February 2017, with the aircraft reaching 95 percent completion.


title: Bell V-280 Valor

text: The demonstrator was undergoing ground testing in October 2017. Bell released a video on 18 December showing the first flight with the area around the pivots blurred. In April 2018, it ran for 75 hours on the ground and flew for 19 hours, up to , before transitioning to airplane flight by the end of the month. By the end of the month, it attained with proprotors 60-deg. forward, and is planned to reach its airplane cruise configuration with horizontal pylons in summer. It reached in cruise mode with horizontal propellers in May 2018.


title: Bell V-280 Valor

text: After 155 hours of rotor turn time and 70 flight hours, by October 2018 it had reached at 80% proprotor cruise speed. It was flown to a 45° bank angle at up to , achieved a climb rate at , exceeded with less than 50% torque, and recorded a peak load factor of 1.9 g. Its longest flight covered as it performed a ferry flight to Arlington, Texas to continue testing closer to the US Army.


title: Bell V-280 Valor

text: After one year of flight tests, it reached its target by January 2019, as it will continue to expand its flight envelope: low-speed agility, bank angles, and autonomous operations.


title: Bell V-280 Valor

text: The V-280 is designed for a cruising speed of , hence the name V-280. It has a top speed of , a range of , and an effective combat range of . Expected maximum takeoff weight is around . In one major difference from the earlier V-22 Osprey tiltrotor, the engines remain in place while the rotors and drive shafts tilt. A driveshaft runs through the straight wing, allowing both prop rotors to be driven by a single engine in the event of engine loss. The V-280 will have retractable landing gear, a triple-redundant fly by wire control system, and a V-tail configuration.


title: Bell V-280 Valor

text: The wings are made of a single section of carbon fiber reinforced polymer composite, reducing weight and production costs. The V-280 will have a crew of four and be capable of transporting up to 14 troops. Dual cargo hooks will give it a lift capacity to carry a M777A2 Howitzer while flying at a speed of . The fuselage is visually similar to that of the UH-60 Black Hawk medium lift helicopter. When landed, the wing is more than 7 ft (2.1 m) from the ground, allowing soldiers to egress easily out of two wide side doors and door gunners to have wide fields of fire.


title: Bell V-280 Valor

text: Although the initial design is a utility configuration, Bell is also working on an attack configuration. Whether different variants of the V-280 would fill utility and attack roles or a single airframe could interchange payloads for either mission, Bell is confident the Valor tiltrotor platform can fulfill both duties. The U.S. Marine Corps is interested in having one aircraft to replace utility and attack helicopters, but the Army, which leads the program, is not committed to the idea and wants distinct platforms for each mission. Bell and Lockheed claim an AV-280 variant can launch rockets, missiles, and even small unmanned aerial vehicles forward or aft with no rotor interference, even in forward flight and cruise modes with the rotors forward.


title: Bell V-280 Valor

text: The V-280 prototype (air vehicle concept demonstrator, or AVCD) was powered by the General Electric T64. The specific engine for the model performance specification (MPS) was unknown at the time, but has funding from the Army's future affordable turbine engine (FATE) program. The V-tail structure and ruddervators, made by GKN, will provide high levels of maneuverability and control to the airframe. It will be made of a combination of metals and composites. Features in the interior include seats that wirelessly charge troops’ radios, night-vision goggles, and other electronic gear and windows that display three-dimensional mission maps.


title: Bell V-280 Valor

text: Special emphasis has been placed on reducing the weight of the V-280 in comparison to the V-22, which would reduce cost. To do this, composites are used extensively in the wing, fuselage, and tail. Wing skins and ribs are made of a honeycomb-stiffened "sandwich" construction with large-cell carbon cores for fewer, larger, and lighter parts. Skins and ribs are paste-bonded together to eliminate fasteners. With these measures, costs are reduced by over 30 percent compared to a scaled V-22 wing. Bell expects the V-280 to cost around the same as an AH-64E or MH-60M. While the Osprey has a higher disk loading and lower hover efficiency than a helicopter, the V-280 will have a lower disk loading, and longer wing for greater hover and cruise efficiency.


title: Bell V-280 Valor

text: In October 2021, Bell and Rolls Royce jointly announced that the V-280 Valor powerplant would switch from the T64 turboshaft used on the prototype to a derivative of the Rolls-Royce T406/AE 1107C used on the Osprey, which would be named the AE 1107F. At the same time as increasing power from 5,000 to 7,000 horsepower, the AE 1107 is a known element in tiltrotor aircraft with its two decades of prior use, which lowers sustainment costs and decreases risks of the project.


title: José Santacruz Londoño

text: José Santacruz Londoño (also known as Chepe Santacruz; 1 October 1943 – 5 March 1996) was a Colombian drug lord. Along with Gilberto Rodríguez Orejuela, Miguel Rodríguez Orejuela, and Hélmer Herrera Buitrago, Londoño was a leader of the Cali Cartel.


title: José Santacruz Londoño

text: Londoño and the Rodríguez Orejuela brothers formed the Cali Cartel in the 1970s. They were primarily involved in marijuana trafficking. In the 1980s, they branched out into cocaine trafficking. At some point, the cartel supplied 80% of the United States' and 90% of the European cocaine market.


title: José Santacruz Londoño

text: The Cali Cartel was less violent than its rival, the Medellín Cartel. While the Medellín Cartel was involved in a brutal campaign of violence against the Colombian government the Cali Cartel grew. The cartel was much more inclined toward bribery than violence. After the demise of the Medellín Cartel, the DEA and Colombian authorities turned their attention toward Cali. The campaign began in the summer of 1995.


title: José Santacruz Londoño

text: Several Cali Cartel leaders were arrested during the summer of 1995; Gilberto was arrested on June 9th, Londoño on July 4th in a restaurant at north of Bogotá, and Miguel on August 6th. However, Londoño escaped on January 11th, 1996, from La Picota prison in Bogotá, after bribing several people, Santacruz escaped through security glass from a faceless prosecutor's interrogation room and fled in a van. The government offered a reward for his capture. His motives for escaping were attributed to a number of reasons.


title: José Santacruz Londoño

text: He was in charge of consolidating the network of hitmen and armed men of the cartel, for which he established an alliance with old members of the Medellín Cartel; he was to exert more control over some of the smuggling networks, which had begun acting more independently after the cartel's leaders were incarcerated; and he coordinated the assassination of about 27 potential witnesses against him and some of the other capos of the cartel, and apparently was arranging for the assassination of important figures of the government.


title: José Santacruz Londoño

text: Being at war against the Norte del Valle Cartel, the leaders of this organization contacted the corrupt Colonel Danilo González for the eventual capture of him. They allied themselves with the paramilitary chief Carlos Castaño Gil and after the news that Santacruz was allying with the FARC to rebuild the Cali Cartel and form urban militias, Castaño and González set a trap for him and killed him along with a companion, pretending that Santacruz had eluded a police checkpoint.


title: Ultra HD Blu-ray

text: Ultra HD Blu-ray (4K Ultra HD, UHD-BD, or 4K Blu-ray) is a digital optical disc data storage format that is an enhanced variant of Blu-ray. Ultra HD Blu-ray discs are incompatible with existing standard Blu-ray players, though a traditional Blu-ray and digital copy are often packaged with Ultra HD Blu-ray discs. Ultra HD Blu-ray supports 4K UHD (3840 × 2160 pixel resolution) video at frame rates up to 60 progressive frames per second, encoded using High-Efficiency Video Coding. The discs support both high dynamic range by increasing the color depth to 10-bit per color and a greater color gamut than supported by conventional Blu-ray video by using the Rec. 2020 color space. The format is supported on Microsoft's Xbox One X, One S, Series X, and Sony's PlayStation 5. Video games made for the Xbox Series X and the PlayStation 5 can use 100 GB UHD Blu-ray discs.


title: Ultra HD Blu-ray

text: To differentiate retail Ultra HD Blu-ray releases, the format usually uses a black opaque or slightly transparent keep case packaging format (as opposed to blue). The case size is the same as that of a normal Blu-ray disc.


title: Ultra HD Blu-ray

text: The specification allows for three disc capacities, each with its own data rate: 50 GB at 72 or 92 Mbit/s, and 66 GB and 100 GB at 92, 123, or 144 Mbit/s. On 66 GB and 100 GB discs, the pits and lands are not narrower than those of a standard Blu-ray Disc, but shorter, which increases the capacity of each layer from 25 GB to 33 1/3 GB. This also means that each revolution of such a disc transfers more data than that of a standard Blu-ray Disc, which means the transfer rate is higher with the same linear velocity. In addition, the disc can be encoded to have the drive spin back up to the full 5,000 rpm starting from a point slightly away from the innermost part of the disc if an even higher transfer rate is needed. 50 and 66 GB use two layers, and 100 GB uses three layers. Ultra HD Blu-ray technology was licensed in mid-2015, and players had an expected release date of Christmas 2015. Ultra HD Blu-ray uses a new revision of AACS DRM: AACS 2. In addition, AACS 2.1 is used on certain releases ("Stand by Me", "Fury", "The Patriot", "Zombieland").


title: Ultra HD Blu-ray

text: On May 12, 2015, the Blu-ray Disc Association revealed completed specifications and the official Ultra HD Blu-ray logo. Unlike conventional DVDs and Blu-rays, the new 4K format does not have region coding.


title: Ultra HD Blu-ray

text: On February 14, 2016, the BDA released Ultra HD Blu-ray with mandatory support for HDR10 Media Profile video and optional support for Dolby Vision.


title: Ultra HD Blu-ray

text: On January 23, 2018, the BDA spec v3.2 gained optional support for HDR10+ and Philips and Technicolor's SL-HDR2, also known as Advanced HDR by Technicolor. However, no Ultra HD Blu-ray player has ever supported SL-HDR2, and no discs encoded in SL-HDR2 have been released.


title: Ultra HD Blu-ray

text: Most retail Ultra HD Blu-ray discs are encoded with Ateme TITAN. Ultra HD Blu-ray discs use HDMV or BD-J for menus. Subtitles use Presentation Graphics Stream, which is the same format as normal Blu-ray discs.


title: Ultra HD Blu-ray

text: Only computers with activated Software Guard Extensions (SGX) support Ultra HD Blu-ray playback. Intel introduced SGX in the Skylake generation Core processors in 2016, enabling PCs to play protected Blu-ray discs for the first time. In January 2022, Intel deprecated support for SGX for the Rocket Lake and Alder Lake generation desktop processors, leading to Ultra HD Blu-ray discs being unplayable on those systems.


title: Ultra HD Blu-ray

text: Commercial performance of UHD Blu-ray players has been modest compared to older-generation video disc players, based on official US sales data from the Consumer Technology Association (CTA). Peak sales occurred in 2017 with 884,000 units sold, and sales have declined in the years since, as have all disc player sales. Meanwhile, previous generations of disc players were sold in excess of four times as many units per year as did UHD Blu-ray. However, due to reported consumer fear of the Warner Bros. Discovery merger as well as the removal of several films and TV series from streaming services, physical media has been getting more mentions on social media and purchases in retail, further supporting physical media such as UHD Blu-ray.


title: Alex Rocco

text: Alex Rocco (born Alessandro Federico Petricone Jr.; February 29, 1936 – July 18, 2015) was an American actor. Known for his distinctive, gravelly voice, he was often cast as villains, including Moe Greene in "The Godfather" (1972) and his Primetime Emmy Award-winning role in "The Famous Teddy Z". Rocco did a significant amount of voice-over work later in his career.


title: Alex Rocco

text: Rocco was born as Alessandro Federico Petricone, Jr., in Cambridge, Massachusetts, in 1936, and raised in nearby Somerville, the son of an Italian immigrant, Mary (née DiBiase; 1909–1978) and Alessandro Sam Petricone (1896–1949), a native of Gaeta, Italy. Rocco served in the California Army National Guard during the Korean War.


title: Alex Rocco

text: In January 1960, Petricone was one of 28 persons indicted by a Middlesex County grand jury in a gambling case, and in September 1961, he was arrested along with James McLean and others on charges related to an assault on the owner of a diner in Somerville, and the wrecking of his establishment, the previous August.


title: Alex Rocco

text: According to organized crime turncoat Vincent Teresa, Rocco was a hanger-on with the Winter Hill Gang of the Boston area. An unwanted advance toward Petricone's then-girlfriend on Labor Day 1961, touched off the Boston Irish Gang War of the 1960s. Georgie McLaughlin, who made the advance, was beaten by Winter Hill Gang members.


title: Alex Rocco

text: Rocco, then known as Alexander F. Petricone, was arrested in Charlestown on October 31, 1961, along with McLean on suspicion of murder following the death of Bernie McLaughlin of the Charlestown Mob, the first murder of the war. He was working as a bartender at the time.


title: Alex Rocco

text: A witness claimed that Petricone was the driver of the getaway car, and he and McLean were formally charged in the slaying on November 1, 1961. Petricone and McLean were released after a grand jury found a lack of evidence, but both served a prison term for the diner wrecking. In 1962, while in prison, his wife's car was bombed. Police believed the bomb was intended for Howie Winter, head of the Winter Hill Gang, who had driven the car to her earlier.


title: Alex Rocco

text: After completing his prison term for the diner assault, Petricone and his wife divorced and he moved to California. He later recounted, "I had to get out of Boston, so I flipped a coin and said 'Heads, Miami, tails, California'." He began taking acting lessons from actor Leonard Nimoy, a fellow Boston native. Nimoy worked with him to eliminate his heavy Boston accent and had him take speech lessons. Rocco followed through with Nimoy's instructions, and started working in the film industry, adopting the name "Alex Rocco" after seeing the "Rocco" on a bakery truck.


title: Alex Rocco

text: In 1972, Rocco played the part of Moe Greene, a Las Vegas casino owner, in Coppola's "The Godfather". Greene's character represented the top Jewish mobster in Las Vegas; although he sought an Italian role, director Francis Ford Coppola remarked "I got my Jew!" on seeing Rocco. The same year, Rocco returned to the Boston area to play a bank robber in the film "The Friends of Eddie Coyle." He set up a meeting between Robert Mitchum and local Irish-American gangsters to help Mitchum research his part as Eddie Coyle, a low-level Irish-American criminal. Rocco introduced Mitchum to Howie Winter, leader of the Winter Hill Gang. Another Winter Hill Gang member who met with Mitchum was Johnny Martorano, who had murdered Billy O'Brien, a low-level gangster.


title: Alex Rocco

text: In the fall of 1975, Rocco starred as Pete Karras, a widowed father, writer, and photographer, in the 12-week CBS drama series "Three for the Road", with Vincent Van Patten as his older son, John Karras, and Leif Garrett as his younger son, Endy Karras. After the death of their wife and mother, the Karrases sell their house, buy a recreational vehicle, and roam throughout the United States. In the long-running, 1980s TV series "The Facts of Life", Rocco played Charlie Polniaczek, Jo's father. In 1989, he played Gus Keller in the Corey Feldman and Corey Haim movie "Dream a Little Dream". In the period 1989–90, Rocco was a regular on the television comedy series "The Famous Teddy Z" as Al Floss, a Hollywood talent agent. He received an Emmy Award as Best Supporting Actor in a Comedy Series for this role in 1990. In 1995, Rocco appeared as Jimmy Cap, a tough Miami mob boss, in the John Travolta mob drama, "Get Shorty". In 1997, he appeared, along with Rodney Dangerfield and others, in the annual Thanksgiving episode of the ABC sitcom "Home Improvement".


title: Alex Rocco

text: In the 1996 film "That Thing You Do!", Rocco had a cameo part as Sol Siler, the founder of Playtone Records, a performance that was rated by "The Observer"'s critic as his "favorite [part] in the movie." Rocco appeared as Salvatore in the 2001 film "The Wedding Planner", and (uncredited) in the action thriller" Smokin' Aces".


title: Alex Rocco

text: Rocco had a recurring voiceover part in the long-running animated series "The Simpsons" as the head of Itchy and Scratchy Studios, Roger Meyers Jr. In the DVD commentaries, Rocco expressed true gratitude to "The Simpsons" staff for allowing him his first voiceover role. He did further voice work on two early episodes of the Fox hit sitcom, "Family Guy" and on the 1998 Disney/Pixar film "A Bug's Life". He deemed the latter to have been his "greatest prize in life," since he was paid $1 million to record eight lines.


title: Alex Rocco

text: In 2008, Rocco starred in the Super Bowl commercial for the Audi R8 supercar. The commercial was inspired by "The Godfather". He played a rich man who finds the front fascia of his luxury car in his bed, a nod to the scene from the original movie in which Jack Woltz, a rich movie producer, finds the head of his prized racehorse in his bed. He was also featured on the Starz cable channel's crime-drama series, "Magic City". His last role was in the 2010s BBC2 TV series "Episodes", playing the "curmudgeonly" father of Matt LeBlanc's character.


title: Alex Rocco

text: After moving to Los Angeles, Rocco became a member of the Baháʼí Faith, and he appeared in a number of productions related to the religion over the years. He also thanked Baháʼu'lláh, the Prophet Founder of the Baháʼí Faith in his Emmy Award acceptance speech.


title: Alex Rocco

text: After moving to California, he married Sandra Elaine Rocco (September 1, 1942 – June 12, 2002) on March 24, 1964. He adopted her son, Marc King, who became known as Marc Rocco (June 19, 1962 – May 1, 2009), a film producer, screenwriter, and director. The couple had two children, a daughter Jennifer and a son, Lucien, and one grandson. Sandra Rocco died of cancer, aged 59.


title: Sin

text: In a religious context, sin is a transgression against divine law. Each culture has its own interpretation of what it means to commit a sin. While sins are generally considered actions, any thought, word, or act considered immoral, selfish, shameful, harmful, or alienating might be termed "sinful".


title: Sin

text: From Middle English sinne, synne, sunne, zen, from Old English synn (“sin”), from Proto-West Germanic *sunnju, from Proto-Germanic *sunjō (“truth, excuse”) and *sundī, *sundijō (“sin”), from Proto-Indo-European *h₁s-ónt-ih₂, from *h₁sónts ("being, true", implying a verdict of "truly guilty" against an accusation or charge), from *h₁es- (“to be”); compare Old English sōþ ("true"; see sooth). Doublet of suttee.


title: Sin

text: Baháʼís consider humans to be naturally good, fundamentally spiritual beings. Human beings were created because of God's immeasurable love for us. However, the Baháʼí teachings compare the human heart to a mirror, which, if turned away from the light of the sun (i.e. God), is incapable of receiving God's love. It is only by turning unto God that spiritual advancement can be made. In this sense, "sinning" is to follow the inclinations of one's own lower nature, to turn the mirror of one's heart away from God. One of the main hindrances to spiritual development is the Baháʼí concept of the "insistent self" which is a self-serving inclination within all people. Baháʼís interpret this to be the true meaning of Satan, often referred to in the Baháʼí Writings as "the Evil One".Watch over yourselves, for the Evil One is lying in wait, ready to entrap you. Gird yourselves against his wicked devices, and, led by the light of the name of the All-Seeing God, make your escape from the darkness that surroundeth you. — Baháʼu'lláhThis lower nature in humans is symbolized as Satan — the evil ego within us, not an evil personality outside. — ʻAbdu'l-Bahá


title: Sin

text: There are a few differing Buddhist views on sin. American Zen author Brad Warner states that in Buddhism there is no concept of sin at all. The Buddha Dharma Education Association also expressly states "The idea of sin or original sin has no place in Buddhism."


title: Sin

text: Ethnologist Christoph von Fürer-Haimendorf explained, "In Buddhist thinking the whole universe, men as well as gods, are subject to a reign of law. Every action, good or bad, has an inevitable and automatic effect in a long chain of causes, an effect that is independent of the will of any deity. Even though this may leave no room for the concept of 'sin' in the sense of an act of defiance against the authority of a personal god, Buddhists speak of 'sin' when referring to transgressions against the universal moral code."


title: Sin

text: However, Anantarika-kamma in Theravada Buddhism is a heinous crime, which through karmic process brings immediate disaster. In Mahayana Buddhism these five crimes are referred to as "pañcānantarya" (Pāli), and are mentioned in "The Sutra Preached by the Buddha on the Total Extinction of the Dharma", The five crimes or sins are:


title: Sin

text: The doctrine of sin is central to Christianity, since its basic message is about redemption in Christ. Christian hamartiology describes sin as an act of offense against God by despising his persons and Christian biblical law, and by injuring others. In Christian views it is an evil human act, which violates the rational nature of man as well as God's nature and his eternal law. According to the classical definition of St. Augustine of Hippo sin is "a word, deed, or desire in opposition to the eternal law of God." Thus, sin requires redemption, a metaphor alluding to atonement, in which the death of Jesus is the price that is paid to release the faithful from the bondage of sin. In some forms of Christianity, it also requires reparation (see penance).


title: Sin

text: Among some scholars, sin is understood mostly as a legal infraction or contract violation of non-binding philosophical frameworks and perspectives of Christian ethics, and so salvation tends to be viewed in legal terms. Other Christian scholars understand sin to be fundamentally relational—a loss of love for the Christian God and an elevation of self-love ("concupiscence", in this sense), as was later propounded by Augustine in his debate with the Pelagians. As with the legal definition of sin, this definition also affects the understanding of Christian grace and salvation, which are thus viewed in relational terms.


title: Sin

text: This condition has been characterized in many ways, ranging from something as insignificant as the tendency toward sin, referred to as a "sin nature", to something as drastic as total depravity, the teaching that humans, apart from God's grace, are incapable of choosing to do good.


title: Sin

text: The concept of original sin was first alluded to in the 2nd century by Irenaeus, Bishop of Lyon in his controversy with certain dualist Gnostics. Other church fathers such as Augustine also shaped and developed the doctrine, seeing it as based on the New Testament teaching of Paul the Apostle (Romans and 1 Corinthians ) and the Old Testament verse of Psalms . Tertullian, Cyprian, Ambrose and Ambrosiaster considered that humanity shares in Adam's sin, transmitted by human generation. Augustine's formulation of original sin after 412 CE was popular among Protestant reformers, such as Martin Luther and John Calvin, who equated original sin with concupiscence (or "hurtful desire"), affirming that it persisted even after baptism and completely destroyed freedom to do good. Before 412 CE, Augustine said that free will was weakened but not destroyed by original sin. But after 412 CE this changed to a loss of free will except to sin. Modern Augustinian Calvinism holds this later view. The Jansenist movement, which the Catholic Church declared to be heretical, also maintained that original sin destroyed freedom of will. Instead the Catholic Church declares that Baptism erases original sin. Methodist theology teaches that original sin is eradicted through entire sanctification.


title: Sin

text: Sin is an important concept in Islamic ethics. Muslims see sin as anything that goes against the commands of God (Allah), a breach of the laws and norms laid down by religion. Islam teaches that sin is an act and not a state of being. It is believed that God weighs an individual's good deeds against his or her sins on the Day of Judgement and punishes those individuals whose evil deeds outweigh their good deeds. These individuals are thought to be sentenced to an afterlife in the fires of "jahannam" (Hell).


title: Sin

text: Islamic terms for sin include "dhanb" and "khaṭīʾa", which are synonymous and refer to intentional sins; "khiṭʾ", which means simply a sin; and "ithm", which is used for grave sins.


title: Sin

text: Judaism regards the violation of any of the 613 commandments as a sin. Judaism teaches that to sin is a part of life, since there is no perfect man and everyone has an inclination to do evil. Sin has many classifications and degrees, but the principal classification is that of "missing the mark" (cheit in Hebrew). Some sins are punishable with death by the court, others with death by heaven, others with lashes, and others without such punishment, but no sins committed with willful intentions go without consequence. Sins committed out of lack of knowledge are not considered sins, since sin cannot be a sin if the one who committed it did not know it was wrong. Unintentional sins are considered less severe sins.


title: Sin

text: Sins between people are considered much more serious in Judaism than sins between man and God. Yom Kippur, the main day of repentance in Judaism, can atone for sins between man and God, but not for sins between man and his fellow, that is until he has appeased his friend. Eleazar ben Azariah derived [this from the verse]: "From all your sins before God you shall be cleansed" (Book of Leviticus, 16:30) – for sins between man and God Yom Kippur atones, but for sins between man and his fellow Yom Kippur does not atone until he appeases his fellow.


title: Sin

text: When the Temple yet stood in Jerusalem, people would offer Korbanot (sacrifices) for their misdeeds. The atoning aspect of "korbanot" is carefully circumscribed. For the most part, "korbanot" only expiate unintentional sins, that is, sins committed because a person forgot that this thing was a sin or by mistake. No atonement is needed for violations committed under duress or through lack of knowledge, and for the most part, "korbanot" cannot atone for a malicious, deliberate sin. In addition, "korbanot" have no expiating effect unless the person making the offering sincerely repents of his or her actions before making the offering, and makes restitution to any person who was harmed by the violation.


title: Sin

text: Judaism teaches that all willful sin has consequences. The completely righteous suffer for their sins (by humiliation, poverty, and suffering that God sends them) in this world and receive their reward in the world to come. The in-between (not completely righteous or completely wicked), suffer for and repent their sins after death and thereafter join the righteous. The very evil do not repent even at the gates of hell. Such people prosper in this world to receive their reward for any good deed, but cannot be cleansed by and hence cannot leave "gehinnom", because they do not or cannot repent. This world can therefore seem unjust where the righteous suffer, while the wicked prosper. Many great thinkers have contemplated this.


title: Sin

text: The Shinto concept of sin is inexorably linked to concepts of purity and pollution. Shinto does not have a concept of original sin, instead believing that all human beings are born pure. Sin, also called Tsumi, is anything that makes people impure (i.e. anything that separates them from the "kami"). However, Shinto does not believe this impurity is the result of human actions, but rather the result of evil spirits or other external factors.


title: Sin

text: Sin can have a variety of consequences in Japan, including disaster and disease. Because of this, purification rituals, or Harae, are viewed as important not just to the spiritual and physical health of the individual, but to the well-being of the nation.


title: Malmedy massacre

text: The Malmedy massacre was a German war crime committed by soldiers of the on 17 December 1944, at the Baugnez crossroads near the city of Malmedy, Belgium, during the Battle of the Bulge (16 December 1944 – 25 January 1945). Soldiers of summarily killed eighty-four U.S. Army prisoners of war (POWs) who had surrendered after a brief battle. The soldiers had grouped the U.S. POWs in a farmer's field, where they used machine guns to shoot and kill the grouped POWs; the prisoners of war who survived the gunfire of the massacre then were killed with a "coup de grâce" gun-shot to the head.


title: Malmedy massacre

text: Besides the summary execution of the eighty-four U.S. POWs at the farmer’s field, the term "Malmedy massacre" also includes other massacres of civilians and POWs in Belgian villages and towns in the time after their first massacre of U.S. POWs at Malmedy; these war crimes were the subjects of the Malmedy massacre trial (May–July 1946), which was a part of the Dachau trials (1945–1947).


title: Malmedy massacre

text: Late in the Second World War, the Third Reich's war-crime violations of the Geneva Conventions were a type of psychological warfare meant to induce fear of the and of the in the soldiers of the Allied armies and the U.S. Army in the Western Front (1939–1945) — thus Hitler ordered that battles be executed and fought with the same no-quarter brutality with which the and the fought the Red Army in the Eastern Front (1941–1945) in the Soviet Union.


title: Malmedy massacre

text: The objective of the Third Reich's Ardennes Counteroffensive (Battle of the Bulge, 16 Dec. 1944–25 Jan. 1945) was that the 6th SS Panzer Army, commanded by SS General Sepp Dietrich, was to penetrate and break through the Allied front between the towns of Monschau and Losheimergraben (a cross-border village shared by the municipalities of Hellenthal and Büllingen) in order to then cross the River Meuse, and afterwards assault and capture the city of Antwerp.


title: Malmedy massacre

text: For their part of the Ardennes counter-attack, the was the armored spearhead of the left wing of the 6th SS Panzer Army, under the command of Joachim Peiper. After the infantry had breached the U.S. lines, Peiper was to advance his tanks and armored vehicles on the road to Ligneuville and travel through the towns of Stavelot, Trois-Ponts, and Werbomont in order to reach and seize the bridges over the River Meuse that are in the vicinity of the city of Huy. Because the strategy of the Ardennes Counteroffensive had reserved the roads with the strongest roadway for the bulk traffic of the tanks of the 1st SS Panzer Division Leibstandarte SS Adolf Hitler, the convoys of traveled secondary roads with weak roadways that proved unsuitable for the weights of armored military vehicles, such as Tiger II tanks.


title: Malmedy massacre

text: In December 1944, for the Ardennes Counteroffensive the Germans' initial, strategic position was east of the German-Belgium border and the Siegfried Line, near the town of Losheim, Belgium. To realize the German advance to the west, SS General Dietrich planned for the 6th SS Panzer Army to advance northwest, through Losheimergraben and Bucholz Station, and then drive through the towns of Honsfeld and Büllingen, and through the villages of Trois-Ponts, to then reach Belgian Route Nationale N23, and then cross the River Meuse.


title: Malmedy massacre

text: For their part in the German advance to the west, was to travel the Lanzerath-Losheimergraben road and advance onto the town of Losheimergraben, immediately following the infantry tasked to capture the villages and towns immediately west of the International Highway. A destroyed bridge thwarted Peiper's tactical plan; earlier in 1944, the retreating Germans had destroyed the Losheim-Losheimergraben bridge over the railroad, which in mid-December of 1944 prevented from traveling that route to their objective — the town of Losheimergraben.


title: Malmedy massacre

text: Moreover, Peiper's alternative route also was thwarted, because the selected railroad overpass bridge could not bear the weight of armored military vehicles. In the event, the German combat engineers were slow to repair the damaged roadway of the Losheim-Losheimergraben road, which delay detoured the convoy of tanks and armored vehicles of onto the road through the town of Lanzerath enroute to Bucholz Station.


title: Malmedy massacre

text: The Germans were surprised that the Ardennes Counteroffensive on the northern front — the frontline "bulge" in the Battle of the Bulge — met much resistance from the U.S. Army; for most of a day, an American reconnaissance platoon of 22 soldiers (18 infantrymen and four artillery observers) battled and delayed approximately 500 paratroops in the village of Lanzerath, Belgium. The reconnaissance platoon's defense of the village halted the convoy of tanks and armored vehicles for almost an entire day, slowing it for advancing towards the River Meuse and the city of Antwerp, where the delay allowed the U.S. Army time to reinforce against the expected attacks of the .


title: Malmedy massacre

text: At dusk, the German 9th Parachute Regiment (3rd Parachute Division) battled, out-flanked, and captured the American reconnaissance platoon as they withdrew from the fight for want of ammunition to continue the fight — halting the progress of through the village of Lanzerath. In that battle, the paratroops killed one of the artillery observers and wounded 14 of the other American soldiers. Upon capturing the American reconnaissance platoon, the paratroops paused their attack out of caution, believing that a greater force of American infantry and tanks was hiding in the woods. For more than 12 hours, the over-cautious soldiers of the 9th Parachute Regiment did not act until the midnight arrival of Peiper's tanks to Lanzerath; then did the paratroops explore and find the woods empty of American soldiers.


title: Malmedy massacre

text: At 4:30 a.m. on 17 December 1944, the 1st SS Panzer Division was approximately 16 hours behind schedule when the convoys departed the village of Lanzerath enroute west to the town of Honsfeld. After capturing Honsfeld, Peiper detoured from his assigned route to seize a small fuel depot in Büllingen, where the infantry summarily executed dozens of U.S. POWs. Afterwards, Peiper advanced to the west, towards the River Meuse and captured Ligneuville, bypassing the towns of Mödersheid, Schoppen, Ondenval, and Thirimont. The terrain and poor quality of the roads made the advance of difficult; at the exit to the village of Thirimont, the armored spearhead was unable to travel the road directly to Ligneuville, and Peiper deviated from the planned route, and rather than turn to the left, the armored spearhead turned to the right, and advanced towards the crossroads of Baugnez, which is equidistant from the city of Malmedy and Ligneuville and Waimes.


title: Malmedy massacre

text: On 17 December 1944, between noon and 1:00 p.m., approached the Baugnez crossroads, two miles southeast of the city of Malmedy, Belgium. Meanwhile, a U.S. Army convoy of thirty vehicles, from B Battery of the 285th Field Artillery Observation Battalion, was negotiating the crossroads, and then turning right, towards Ligneuville and St. Vith, in order to join the US 7th Armored Division. The Germans saw the US convoy first, and the spearhead unit of fired upon and destroyed the first and last vehicles, which immobilized the convoy and halted the American advance; as their immobilized convoy was out-numbered and out-gunned, those soldiers of the 285th Field Artillery surrendered to the .


title: Malmedy massacre

text: After that brief battle with the American convoy, the tanks and armored vehicles of the convoy continued westwards to Ligneuville; while at the Baugnez crossroads, the infantry assembled the just-surrendered U.S. POWs in a farmer's field, and added them to another group of U.S. POWs, soldiers who had been captured earlier that day. The prisoners of war who survived the massacre at Malmedy said that a group of approximately 120 U.S. POWs stood in the farmer's field when the fired machine guns at the grouped POWs. Panicked by the machine gun fire, some POWs ran and fled the field, but the soldiers shot and killed most of the grouped POWs where they stood; and some G.I.s had dropped to the ground and pretended to be dead. Nonetheless, after the initial machine-gunning of the group of POWs, the soldiers walked amongst the POW corpses, searching for wounded survivors to kill with a "coup de grâce" gun-shot to the head. Moreover, some of the POWs who fled the farmer's field had run to and hidden in a café at the Baugnez crossroads; the then set the café afire, and killed every U.S. POW who escaped the burning building.


title: Malmedy massacre

text: There is dispute over which officer ordered the summary killing of U.S. POWs at Malmedy; both Peiper, who had already left the Baugnez crossroads where the massacre occurred, and the commander of the 1st Panzer Battalion, Werner Poetschke, are each considered most likely responsible. After the end of the war, Poetschke was identified by various persons involved and eyewitnesses as the officer directly responsible for the initiative and for giving the order to subaltern officers to execute the American prisoners near the Baugnez crossroads. Whether or not Peiper himself gave the actual order, in addition to his command responsibility, he was responsible for creating the culture that prevailed in the unit and which viewed the care of prisoners of war as a burden to be avoided.


title: Malmedy massacre

text: In the early afternoon of 17 December 1944, 43 U.S. POWs who survived the Malmedy massacre emerged from hiding from the and then sought help and medical aid in the nearby city of Malmédy, which was held by the U.S. Army. The first of the 43 survivors of the massacre were encountered by a patrol from the 291st Combat Engineer Battalion at about 2:30 p.m. on 17 December, hours after the massacre.


title: Malmedy massacre

text: The inspector general of the First Army learned of the Malmedy massacre approximately four hours after the fact; by evening time, rumors that the were summarily executing U.S. POWs had been communicated to the rank and file soldiers of the U.S. Army in Europe. Unofficial orders spread to not take any SS men prisoner. American soldiers of the 11th Armored Division later summarily executed 80 Wehrmacht POWs in the Chenogne massacre on 1 January 1945.


title: Malmedy massacre

text: Until the Allied counter-attack against the Ardennes Counteroffensive, the crossroads at Baugnez, Belgium, lay behind the Nazi lines until 13 January 1945; and on 14 January, the U.S. Army reached the killing field where the German soldiers had summarily executed 84 U.S. POWs on 17 December 1944. The military investigators photographed the war-crime scene and the frozen, snow-covered corpses where they lay, which then were removed for autopsy and burial.


title: Malmedy massacre

text: The forensic investigation documented the gun-shot wounds for the war-crime prosecutions of the enemy officers and soldiers who killed surrendered U.S. POWs. Twenty of the 84 corpses of the soldiers murdered as POWs had gunpowder burn residue on the head, indicating of a "coup de grâce" gun-shot to the head, a wound not sustained in self-defense. The corpses of 20 soldiers showed evidence of small-calibre gun-shot wounds to the head, without the residue of a gunpowder burn; other POW corpses had one wound to the head, either in the temple or behind an ear; and 10 corpses showed fatal, blunt-trauma injuries to the head, from having been hit or repeatedly hit with a rifle butt until breaking the bones of the skull. The "coup de grâce" gun-shot wounds to the head were additional to the bullet wounds made by the machine guns. Most of the POW corpses were recovered from a small area in the farmer’s field, indicating that the Germans grouped the U.S. POWs to shoot them dead.


title: Malmedy massacre

text: In 1949, a US Senate investigation concluded that in the thirty-six-day Battle of the Bulge the soldiers of murdered between 538 and 749 U.S. POWs, other investigations claimed that the killed fewer U.S. POWs, and put the figure of the dead as being between 300 and 375 US soldiers and 111 civilians executed by the .


title: Malmedy massacre

text: The Malmedy massacre trial, from May to July 1946, established that the commanders in the field bore command responsibility for the killing surrendered U.S. POWs; specifically General Josef Dietrich (6th Panzer Army); Werner Poetschke (1st SS Panzer Division Leibstandarte SS Adolf Hitler); and Joachim Peiper () whose soldiers committed the actual war crime at Malmedy.


title: Malmedy massacre

text: Regarding command responsibility for the actions of his officers and soldiers, Dietrich said he received from Hitler superior orders that no quarter would be given to enemy soldiers. Likewise, regarding command responsibility for the actions of his officers and soldiers, Peiper said he received superior orders that no quarter was to be granted, no prisoners taken, and no pity shown towards Belgian civilians.


title: Malmedy massacre

text: Given that the American public's demand to avenge the Malmedy massacre precluded a fair trial in the U.S., the war-crime cases of the and soldiers and officers were conducted at the Dachau trials held in the deactivated Dachau concentration camp, in occupied Germany, from 1945 to 1947. The Dachau Trials prosecuted and punished war criminals by imposing 43 death sentences, 22 sentences to life-long imprisonment, and eight sentences to short imprisonment.


title: Vince Foster

text: Vincent Walker Foster Jr. (January 15, 1945 – July 20, 1993) was an American attorney who served as deputy White House counsel during the first six months of the Clinton administration.


title: Vince Foster

text: Foster had been a partner at Rose Law Firm in Little Rock, Arkansas, where, as "The Washington Post" later wrote, he rose to "the pinnacle of the Arkansas legal establishment." At the White House, he was unhappy with work in politics and spiraled into depression, and in July 1993, he was found dead of a gunshot wound in Fort Marcy Park. Five official governmental investigations ruled his death a suicide, but several conspiracy theories emerged.


title: Vince Foster

text: Foster was born in Hope, Arkansas, to Vincent W. Foster Sr. and Alice Mae Foster (1914–2012). His father became a successful real estate developer. Vincent had two sisters, Sheila and Sharon.


title: Vince Foster

text: Vincent was a childhood friend of Bill Clinton, then known as Billy Blythe. Clinton, a year and a half younger than Foster, resided in an adjoining property to Foster's with his grandparents while his mother was often away studying nursing. Clinton later recalled, "I lived with my grandparents in a modest little house across from Vince Foster's nice, big, white brick house." Another Clinton recollection was that Foster "was kind to me and never lorded it over me the way so many older boys did with younger ones." Another childhood friend was Mack McLarty, who would one day become White House Chief of Staff for Clinton. In 1950, Clinton's mother remarried and they relocated to a different part of Hope. By several accounts, Foster and Clinton attended Miss Marie Purkins' School for Little Folks together, a private kindergarten, although Foster was a year ahead in school. Then, around late 1952, the Clintons moved away to Hot Springs. However, Clinton would often return to visit his grandparents in Hope during summers, weekends, and holidays and he maintained connections with the people there.


title: Vince Foster

text: Foster excelled as a student and athlete. At Hope High School, he became president of the student council, with McLarty serving as vice president. He graduated from Hope High School in 1963.


title: Vince Foster

text: Foster attended Davidson College, graduating with a bachelor's degree in psychology in 1967. His father wanted him to join the family real estate business, but instead, he opted to attend law school.


title: Vince Foster

text: After starting at Vanderbilt University Law School, he joined the Arkansas National Guard during the height of the Vietnam War to avoid the military draft. To be closer to his guard responsibilities, he transferred to the University of Arkansas School of Law in Fayetteville, Arkansas, where he was managing editor of the law review. He received his Juris Doctor in 1971, graduating first in his class. He scored the highest in his class on the Arkansas bar exam.


title: Vince Foster

text: Foster met Elizabeth Braden, known as Lisa, during his sophomore year at Davidson; she was the daughter of an insurance broker from Nashville and was attending Sweet Briar College. They married on April 20, 1968, at St. Henry Catholic Church in Nashville. They had three children: Vincent III, Laura, and John.


title: Vince Foster

text: In 1971, Foster joined Rose Law Firm in Little Rock, Arkansas, and in 1974 was made partner, one of only nine in the firm at the time. He was the head of the Arkansas Bar Association committee that oversaw legal aid, and as such worked with legal aid clinic worker Hillary Rodham in successfully overcoming an unreasonable measuring requirement for indigent clients. Foster then initiated the hiring of Rodham at Rose Law Firm, where she became its first ever female associate (and later first female partner); Foster and fellow partner Webster Hubbell were instrumental in overcoming the reluctance of other partners to hire a woman. The hiring occurred soon after Bill Clinton was elected attorney general of Arkansas, which led Clinton and Rodham to move from Fayetteville to Little Rock. Foster and Rodham worked together on a number of cases. And as Bill Clinton's political career gained force, Foster supported him. They were also personal friends and Foster was the one who taught their daughter Chelsea Clinton how to swim.


title: Vince Foster

text: Foster practiced mostly corporate law, eventually earning nearly $300,000 a year. Known for his extensive preparation of cases ahead of time, including the creation of decision trees, Foster developed a reputation as one of the best trial litigators in Arkansas. Hillary Rodham Clinton's memoir calls Foster "one of the best lawyers I've ever known," and compared him in style and substance to Gregory Peck's portrayal of Atticus Finch in the classic 1962 film "To Kill a Mockingbird". In Bill Clinton's memoir, he characterizes Foster as "a tall, handsome, wise, good man." Writer Carl Bernstein has described Foster as "tall, with impeccable manners and a formal mien ... elegant in perfectly tailored suits, and soft-spoken to the point of taciturnity." Writer Dan Moldea characterized him as "a 'can-do' lawyer who worked best when under pressure." Phillip Carroll, the leading litigator at Rose Law Firm, once said of Foster, "He was my ideal of a young lawyer." The "ABA Journal" reported that Foster was "acknowledged by many as the soul of the firm".


title: Vince Foster

text: He appeared to experience only success at Rose Law; a partner later said, "I never saw a professional setback. Never. Not even a tiny one." The firm grew five times its size during his time there. The Arkansas Bar Association gave him a number of awards and in June 1993 would name him as its Outstanding Lawyer of the Year. He was also listed in the "Best Lawyers in America" book. His wife Lisa described him as driven to prevail, staying up around the clock to prepare for big cases, believing he would lose the case even though he rarely did; she later viewed this as an early sign of depressed behavior.


title: Vince Foster

text: By 1992, Vince Foster was, as "The Washington Post" later wrote, at "the pinnacle of the Arkansas legal establishment." He was also an established figure in Little Rock society, serving as the chair of the board of the Arkansas Repertory Theatre and belonging to the exclusive Country Club of Little Rock.


title: Vince Foster

text: After Clinton's 1992 election, Foster joined Clinton's presidential transition team. Once Clinton was inaugurated, Foster joined his White House staff as Deputy White House Counsel in early 1993. This was despite Foster's initial reluctance to leave his Little Rock life behind and come to Washington. There he worked under the White House Counsel, Bernard W. Nussbaum, although Nussbaum would consider the pair to be "co-senior partners". He was also joined with two other Rose Law Firm partners, William H. Kennedy, III, who served as his associate counsel, and Webster Hubbell, who became Associate Attorney General. The Foster residence was a small rented house in Georgetown in Washington, D.C.


title: Vince Foster

text: Foster had difficulty making the transition to life and politics in Washington. Unlike some other Clinton-associated figures, he had no experience with campaigns or electoral politics. His wife and youngest son were not with him, having stayed behind in Arkansas so the son could complete his senior year of high school at Catholic High in Little Rock. His initial role was in vetting potential administration appointees. As one subject of the vetting process later said, "I wondered why I was being interviewed by the guy who would be deputy counsel. Seemed his job was to find out how honest I was, and what level of ego I was bringing. It's a measure of how much the Clintons trusted him." But Foster found this involvement in vetting appointments to be causing him depression and anxiety. In particular, he blamed himself for the failed Zoë Baird nomination; he had thought that Baird had been justified in following her lawyer's advice regarding the payment of taxes on household employees, but he had failed to anticipate the political backlash that led to it becoming known as "Nannygate" and that blemished the early days of the administration. The equally unsuccessful Kimba Wood and Lani Guinier appointments were also under Foster's purview. He had to resign from the Country Club of Little Rock once its all-white membership became a political issue for others in the administration.


title: Vince Foster

text: As Deputy Counsel, Foster was also involved in a range of other matters, including preparation of executive orders, analyzing the legal effect of various policies, examining international treaties, discussing the ramifications of authorizations for use of military force, and authorizing expenditures within the White House. Foster worked on placing the Clintons' financial holdings into a blind trust.


title: Vince Foster

text: He handled the Clintons' Madison Guaranty and Industrial Development Corporation paperwork and also several Whitewater-related tax returns. He worked twelve-hour days, six or seven days a week, and although thin to begin with, began losing weight.


title: Vince Foster

text: On May 8, 1993, Foster gave the commencement address at the University of Arkansas Law School, his alma mater, and said:


title: Vince Foster

text: One faculty member listening to it recalled telling another that it was "the most depressing graduation speech I had ever heard, in both content and manner." A friend of Foster's has said, "Look, it's just crazy, right? You get one dent and it can never be fixed? In Washington, you get them all the time. You get twenty dents and you go to the body shop. Vince couldn't see that, apparently."


title: Vince Foster

text: Foster was the target of several critical "Wall Street Journal" editorials in June and July 1993, with titles such as "Who is Vincent Foster?" He became quite upset over the travel office matter and the possibility of a congressional hearing at which he might have been called to testify. Disliking the public spotlight and having continued weight loss and insomnia, he considered resigning his position but feared a personal humiliation upon returning to Arkansas.


title: Vince Foster

text: Struggling with depression, which after his death was assessed as clinical depression, Foster was prescribed the anti-depressant medication trazodone over the phone by his Arkansas doctor, starting with a low initial dosage. The next day, Foster was found dead in Fort Marcy Park, a federal park in Virginia. He was 48 years old. An autopsy determined that he was shot in the mouth and no other wounds were found on his body.


title: Vince Foster

text: A draft resignation letter was found torn into 27 pieces in his briefcase. The letter contained a list of grievances, including, "The WSJ editors lie without consequence" and saying, "I was not meant for the job or the spotlight of public life in Washington. Here ruining people is considered sport."


title: Vince Foster

text: His funeral mass was held at the St. Andrew's Cathedral in Little Rock. Bill Clinton gave a eulogy in which he recalled their boyhood times together and quoted a line from Leon Russell's "A Song for You": "I love you in a place that has no space and time."


title: Vince Foster

text: Foster was buried in Memory Gardens Cemetery in his hometown of Hope. Foster was survived by his wife and three children.


title: Vince Foster

text: Five official or governmental investigations into Foster's death all concluded that he died of suicide.


title: Vince Foster

text: In 2004, the Supreme Court ruled unanimously in "National Archives and Records Administration v. Favish" that the pictures of the scene and autopsy should not be released.


title: Vince Foster

text: Foster's death, occurring just six months into the new administration, is thought by some to have ended the optimism and remaining innocence of the White House staff. White House chief of staff and childhood friend Mack McLarty said that "It was a deep cut. It clearly had a tremendous impact." Nussbaum speculated that if Foster had lived, he would have helped resist the calls to appoint independent counsels and the many investigations lumped under the Whitewater umbrella that occupied the administration and Clinton for the rest of his presidency might not have happened. As it did happen, how Hillary Clinton's chief of staff, Maggie Williams, in particular handled Foster's files and documents immediately after his death became an issue of much investigation itself.


title: Vince Foster

text: Years later, Bill Clinton expressed his continued anger about the Foster rumors and theories, clenching a fist as he spoke: "I heard a lot of the right-wing talk show people ... and all the sleazy stuff they said. They didn't give a rip that he had killed himself or that his family was miserable or that they could break the hearts [of Foster's friends and family]. It was just another weapon to slug us with, to dehumanize us with."


title: Vince Foster

text: Foster's death also had an effect on Rose Law Firm, as many within the firm had expected Foster to become its leader once he returned from service in Washington. As one partner later said, "In meetings of the partners, he didn't often take a vocal stand. ... But when he did, it almost always swayed the firm. When he left for Washington, people here spoke openly about the emotional vacuum." Colleagues speculated that Foster might have someday become president of the state bar association or a choice for a federal judgeship.


title: Vince Foster

text: Beginning in 1993, the Vince Foster, Jr. Outstanding Lawyer Award was given out annually by the Pulaski County Bar Association to recognize members who contributed to the bar and advanced the legal profession. An endowed chair at the University of Arkansas School of Law, the Vincent Foster University Professor of Legal Ethics and Professional Responsibility, was created in his name. In 2015 a holder of the chair, Howard W. Brill, was appointed Chief Justice of the Arkansas Supreme Court.


title: Pictures at an Exhibition

text: Pictures at an Exhibition is a suite of ten piano pieces, plus a recurring, varied Promenade theme, composed by Russian composer Modest Mussorgsky in 1874. The piece is Mussorgsky's most famous piano composition, and it has become a showpiece for virtuoso pianists. It became further widely known through various orchestrations and arrangements produced by other composers and musicians, with Maurice Ravel's 1922 adaptation for full symphony orchestra being the most recorded and performed.


title: Pictures at an Exhibition

text: The composition is based on pictures by the artist, architect, and designer Viktor Hartmann. It was probably in 1868 that Mussorgsky first met Hartmann, not long after the latter's return to Russia from abroad. Both men were devoted to the cause of an intrinsically Russian art and quickly became friends. They likely met in the home of the influential critic Vladimir Stasov, who followed both of their careers with interest. According to Stasov's testimony, in 1868, Hartmann gave Mussorgsky two of the pictures that later formed the basis of "Pictures at an Exhibition". In 1870, Mussorgsky dedicated the second song ("In the Corner") of the cycle "The Nursery" to Hartmann. Stasov remarked that Hartmann loved Mussorgsky's compositions, and particularly liked the "Scene by the Fountain" in his opera "Boris Godunov". Mussorgsky had abandoned the scene in his original 1869 version, but at the requests of Stasov and Hartmann, he reworked it for Act 3 in his revision of 1872.


title: Pictures at an Exhibition

text: The years 1873–74 are associated with the staging of "Boris Godunov", the zenith of Mussorgsky's career as a composer—at least from the standpoint of public acclaim. Mussorgsky's distant relative, friend, and roommate during this period, Arseniy Golenishchev-Kutuzov, describing the January 1874 premiere of the opera, remarked: "During the winter, there were, I think, nine performances, and each time the theatre was sold out, each time the public tumultuously called for Mussorgsky." The composer's triumph was overshadowed, however, by the critical drubbing he received in the press. Other circumstances conspired to dampen Mussorgsky's spirits. The disintegration of The Mighty Handful and their failure to understand his artistic goals contributed to the isolation he experienced as an outsider in Saint Petersburg's musical establishment. Golenishchev-Kutuzov wrote: "[The Mighty Handful's] banner was held by Mussorgsky alone; all the other members had left it and pursued his own path ..."


title: Pictures at an Exhibition

text: Hartmann's sudden death on 4 August 1873 from an aneurysm shook Mussorgsky along with others in Russia's art world. The loss of the artist, aged only 39, plunged the composer into deep despair. Stasov helped to organize a memorial exhibition of over 400 Hartmann works in the Imperial Academy of Arts in Saint Petersburg in February and March 1874. Mussorgsky lent to the exhibition the two pictures Hartmann had given him, and viewed the show in person. Later in June, two-thirds of the way through composing his song cycle "Sunless", Mussorgsky was inspired to compose "Pictures at an Exhibition", quickly completing the score in three weeks (2–22 June 1874). In a letter to Stasov (see photo), probably written on 12 June 1874, he describes his progress:


title: Pictures at an Exhibition

text: Five days after finishing the composition, he wrote on the title page of the manuscript a tribute to Vladimir Stasov, to whom the work is dedicated. One month later, he added an indication that he intended to have it published.


title: Pictures at an Exhibition

text: Golenishchev-Kutuzov gives the following (perhaps biased) account of the work's reception among Mussorgsky's friends and colleagues and an explanation for his failure to follow through on his plans to publish it:


title: Pictures at an Exhibition

text: In August, Mussorgsky completed the last two songs of "Sunless" and then resumed work on "Khovanshchina", composing the prelude to Act 1 ("Dawn on the Moscow River") in September.


title: Pictures at an Exhibition

text: As with most of Mussorgsky's works, "Pictures at an Exhibition" has a complicated publication history. Although composed very rapidly, during June 1874, the work did not appear in print until 1886, five years after the composer's death, when an edition by the composer's friend and colleague Nikolai Rimsky-Korsakov was published. This edition, however, was not a completely accurate representation of Mussorgsky's score but presented a revised text that contained a number of errors and misreadings.


title: Pictures at an Exhibition

text: Only in 1931, marking the 50th anniversary of the composer's death, was "Pictures at an Exhibition" published in a scholarly edition in agreement with his manuscript, to be included in Volume 8 of Pavel Lamm's "M. P. Mussorgsky: Complete Collected Works" (1939).


title: Pictures at an Exhibition

text: In 1940, the Italian composer Luigi Dallapiccola published an important critical edition of Mussorgsky's work with extensive commentary.


title: Pictures at an Exhibition

text: Mussorgsky based his musical material on drawings and watercolours by Hartmann produced mostly during the artist's travels abroad. Locales include Italy, France, Poland, Russia, and Ukraine. Today most of the pictures from the Hartmann exhibition are lost, making it impossible to be sure in many cases which Hartmann works Mussorgsky had in mind.


title: Pictures at an Exhibition

text: Arts critic Alfred Frankenstein gave an account of Hartmann, with reproductions of his pictures, in the article "Victor Hartmann and Modeste Mussorgsky" in "The Musical Quarterly" (July 1939). Frankenstein claimed to have identified seven pictures by catalogue number, corresponding to:


title: Pictures at an Exhibition

text: The surviving works that can be shown with certainty to have been used by Mussorgsky in assembling his suite, along with their titles, are as follows:


title: Pictures at an Exhibition

text: "Note:" Mussorgsky owned the two pictures that together inspired No. 6, the so-called "Two Jews". The title of No. 6b, as provided by the Soviet editors of his letters, is Сандомирский [еврей] ("Sandomirskiy [yevrey]" or "Sandomierz [Jew]"). The bracketed word "yevrey" ( "Hebrew") is the sanitized form of the actual word in the title, very likely the derogatory epithet жид ("zhid" or "yid").


title: Pictures at an Exhibition

text: Vladimir Stasov's program, identified below, and the six known extant pictures suggest the ten pieces that make up the suite correspond to eleven pictures by Hartmann, with "Samuel Goldenberg und Schmuÿle" accounting for two. The five Promenades are not numbered with the ten pictures and consist in the composer's manuscript of two titled movements and three untitled interludes appended to the first, second, and fourth pictures.


title: Pictures at an Exhibition

text: Mussorgsky links the suite's movements in a way that depicts the viewer's own progress through the exhibition. Two Promenade movements stand as portals to the suite's main sections. Their regular pace and irregular meter depicts the act of walking. Three untitled interludes present shorter statements of this theme, varying the mood, colour, and key in each to suggest reflection on a work just seen or anticipation of a new work glimpsed. A turn is taken in the work at the "Catacombae" when the Promenade theme stops functioning as merely a linking device and becomes, in "Cum mortuis", an integral element of the movement itself. The theme reaches its apotheosis in the suite's finale, "The Bogatyr Gates".


title: Pictures at an Exhibition

text: The first two movements of the suite—one grand, one grotesque—find mirrored counterparts, and apotheoses, at the end. The suite traces a journey that begins at an art exhibition, but the line between observer and observed vanishes at the Catacombs when the journey takes on a different character.


title: Pictures at an Exhibition

text: Vladimir Stasov's comment: In this piece Mussorgsky depicts himself "roving through the exhibition, now leisurely, now briskly in order to come close to a picture that had attracted his attention, and at times sadly, thinking of his departed friend."


title: Pictures at an Exhibition

text: Hartmann's sketch, now lost, is thought to represent a design for a nutcracker displaying large teeth. The lurching music, in contrasting tempos with frequent stops and starts, suggests the movements of the gnome.


title: Pictures at an Exhibition

text: This movement is thought to be based on a watercolor depiction of an Italian castle and is portrayed in Ravel's orchestration by a bassoon and alto saxophone duet. Hartmann often placed appropriate human figures in his architectural renderings to suggest scale.


title: Pictures at an Exhibition

text: Another brief statement of the promenade melody (8 measures) gives it more extroversion and weight than before.


title: Pictures at an Exhibition

text: Hartmann's picture of the Jardin des Tuileries near the Louvre in Paris (France) is now lost. Figures of children quarrelling and playing in the garden were likely added by the artist for scale (see note on No. 2 above).


title: Pictures at an Exhibition

text: The movement is cast in through-composed ternary form (ABA) with coda. Mussorgsky's original piano version of this movement begins "fortissimo" (), suggesting that the lumbering oxcart's journey begins in the listener's foreground. After reaching a climax ("con tutta forza"), the dynamic marking is abruptly "piano" (bar 47), followed by a "diminuendo" to a final "pianississimo" (), suggesting the oxcart receding into the distance. Rimsky-Korsakov's edition, and arrangements based on it such as Ravel's, begin quietly, build gradually ("crescendo") to "fortissimo" and then undergo a "diminuendo", suggesting the oxcart approaching, passing the listener, and then receding.


title: Pictures at an Exhibition

text: Gerald Abraham provides the following details: ""Trilby" or "The Demon of the Heath", a ballet with choreography by Petipa, music by Julius Gerber, and décor by Hartmann, based on Charles Nodier's "Trilby", or "The Elf of Argyle", was produced at the Bolshoi Theatre, Saint Petersburg, in 1871. The fledglings were canary chicks."


title: Pictures at an Exhibition

text: Stasov's explanatory title elucidates the personal names used in Mussorgsky's original manuscript. Published versions display various combinations, such as "Two Polish Jews, Rich and Poor (Samuel Goldenberg and Schmuyle)". The movement is thought to be based on two separate extant portraits.


title: Pictures at an Exhibition

text: The use of augmented second intervals approximates Jewish modes such as the Phrygian dominant scale. The movement is in ternary form :


title: Pictures at an Exhibition

text: A nearly bar-for-bar restatement of the opening promenade. Differences are slight: condensed second half, block chords voiced more fully. Structurally, the movement acts as a reprise, giving listeners another hearing of the opening material before these are developed in the second half of the suite.


title: Pictures at an Exhibition

text: Limoges is a city in central France. Mussorgsky originally provided two paragraphs in French that described a marketplace discussion (the 'great news'), but subsequently crossed them out in the manuscript.


title: Pictures at an Exhibition

text: The movement is a scherzo in through-composed ternary form (ABA). A scurrying coda leads without a break into the next movement.


title: Pictures at an Exhibition

text: Stasov's comment: "Hartmann represented himself examining the Paris catacombs by the light of a lantern."


title: Pictures at an Exhibition

text: The movement is in two distinct parts. Its two sections consist of a nearly static Largo consisting of a sequence of block chords with elegiac lines adding a touch of melancholy and a more flowing, gloomy Andante that introduces the Promenade theme into the scene.


title: Pictures at an Exhibition

text: The first section's alternating loud and soft chords evoke the grandeur, stillness, and echo of the catacombs. The second section suggests a merging of observer and scene as the observer descends into the catacombs. Mussorgsky's manuscript of "Catacombs" (shown right) displays two pencilled notes, in Russian: "NB – Latin text: With the dead in a dead language" and, along the right margin, "Well may it be in Latin! The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly."


title: Pictures at an Exhibition

text: Stasov's comment: "Hartmann's drawing depicted a clock in the form of Baba Yaga's hut on fowl's legs. Mussorgsky added the witch's flight in a mortar."


title: Pictures at an Exhibition

text: A scherzo marked "Feroce" with a slower middle section. Motives in this movement evoke the bells of a large clock and the whirlwind sounds of a chase. Structurally, the movement mirrors the grotesque qualities of "Gnomus" on a grand scale.


title: Pictures at an Exhibition

text: Stasov's comment: "Hartmann's sketch was his design for city gates at Kiev (spelled as Kyiv in modern Ukrainian language) in the ancient Russian massive style with a cupola shaped like a slavonic helmet."


title: Pictures at an Exhibition

text: Bogatyrs are heroes that appear in Russian epics called "bylinas". Hartmann designed a monumental gate for Tsar Alexander II to commemorate the monarch's narrow escape from an assassination attempt on April 4, 1866. Hartmann regarded his design as the best work he had done. His design won the national competition but plans to build the structure were later cancelled.


title: Pictures at an Exhibition

text: The movement's grand main theme exalts the opening Promenade much as "Baba Yaga" amplified "Gnomus"; also like that movement, it evens out the meter of its earlier counterpart. The solemn secondary theme is based on a baptismal hymn from the repertory of Russian Orthodox chant.


title: Pictures at an Exhibition

text: The movement is cast as a broad rondo in two main sections: ABAB–CADA. The first half of the movement sets up the expectation of an ABABA pattern. The interruption of this pattern with new music just before its expected conclusion gives the rest of the movement the feeling of a vast extension. This extended leave-taking acts as a coda for the suite as a whole.


title: Pictures at an Exhibition

text: In 2009 the German pianist published the original version of Gnomus on his Mussorgsky album (Enharmonic) as a premiere. In 2014 the Russian pianist Andrej Hoteev presented (in a CD recording) a performance of "Pictures at an Exhibition" based on original manuscripts he consulted in the Russian National Library at Saint Petersburg. Hoteev found numerous discrepancies with conventional sheet music editions. He believes his recorded version expresses the composer's original intent. The most important deviations are documented with illustrations from the manuscripts in the accompanying CD booklet.


title: Pictures at an Exhibition

text: The first musician to arrange Mussorgsky's "Pictures at an Exhibition" for orchestra was the Russian composer and conductor Mikhail Tushmalov. However, his version (first performed in 1891 and possibly produced as early as 1886 when he was a student of Rimsky-Korsakov) does not include the entire suite: Only seven of the ten "pictures" are present, leaving out "Gnomus", "Tuileries", and "Cattle", and all the Promenades are omitted except for the last one, which is used in place of the first.


title: Pictures at an Exhibition

text: The next orchestration was undertaken by the British conductor Henry Wood in 1915. He recorded a few sections of his arrangement on a pair of acoustic Columbia 78rpm discs in 1920. However, he withdrew his version when Maurice Ravel's orchestration was published, and banned every public performance in the 1930s in deference to Ravel's work. Wood's arrangement has also been recorded by the London Philharmonic Orchestra under Nicholas Braithwaite and issued on the Lyrita label. All but the first of the Promenade movements were omitted and other passages extensively re-composed. Wood's orchestration was once described by Gordon Jacob as "superior to Ravel's in picturesqueness and vividness", with its off-stage camel-bells in "Cattle" and grand organ in "The Great Gate of Kyiv".


title: Pictures at an Exhibition

text: The first person to orchestrate the piece in its entirety was the Slovenian-born conductor and violinist Leo Funtek, who finished his version in 1922 while living and working in Finland.


title: Pictures at an Exhibition

text: The version by Maurice Ravel, produced in 1922 on a commission by Serge Koussevitzky, represents a virtuoso effort by a master colourist. The orchestration has proved the most popular in the concert hall and on record.


title: Pictures at an Exhibition

text: Ravel omitted the Promenade between "Samuel Goldenberg and Schmuÿle" and "Limoges" and applied artistic license to some particulars of dynamics and notation. His instrumental colors—a trumpet solo for the opening Promenade, dark woodwind tones for passages suggesting Orthodox chant, the piccolo and high strings for the children's "chicks in shells"—are widely admired. The influence of Ravel's version may often be discerned in subsequent versions of the suite.


title: Pictures at an Exhibition

text: Koussevitzky's commission, worked out with the publishers of the piano suite, gave him sole conducting rights for several years. He conducted the first performance in Paris on October 19, 1922. He published Ravel's score himself and in 1930 made the first recording of it with the Boston Symphony Orchestra. The exclusive nature of his commission prompted the release of a number of contemporary versions by other arrangers until Ravel's became generally available.


title: Pictures at an Exhibition

text: The original publisher of Mussorgsky's piano suite, W. Bessel & Co. rushed to produce an orchestral version of its own after Ravel's proved popular. The publisher had passed on the opportunity to publish Ravel's arrangement, seeing no great commercial advantage in printing a score and set of parts for large orchestra; it had granted Koussevitzky permission to commission the setting and publish the score himself on the condition that no one else be allowed to perform it. Bessel turned to a Ravel student, 21-year-old Russian-born pianist Leonidas Leonardi (1901–1967), a.k.a. Leon Leonardi or Leonid Leonardi, to create an orchestral version that could meet the now burgeoning demand and help the publisher regain some of its lost advantage. Leonardi's orchestration requires even larger forces than the version made by his mentor. The young pianist dedicated his setting of the suite to Igor Stravinsky and conducted the premiere in Paris with the Lamoureux Orchestra on 15 June 1924. The US premiere took place on 4 December 1924 when the New York Symphony Orchestra performed it under the baton of Walter Damrosch. Regardless, Leonardi's orchestration was soon eclipsed by Ravel's, and today only the third Promenade and "Tuileries" movement of his version may be heard on audio record (Leonard Slatkin/Saint Louis Symphony: "The Slatkin Years: 6 CD Set").


title: Pictures at an Exhibition

text: Another arrangement appeared when Eugene Ormandy took over the Philadelphia Orchestra in 1936 following Leopold Stokowski's decision to resign the conductorship. Ormandy wanted a version of "Pictures" of his own and commissioned Lucien Cailliet, the Philadelphia Orchestra's 'house arranger' and player in the woodwind section, to produce one. This version was premiered and recorded by Ormandy in 1937. Walter Goehr published a version in 1942 for smaller forces than Ravel but curiously dropped "Gnomus" altogether and made "Limoges" the first piece.


title: Pictures at an Exhibition

text: The conductor Leopold Stokowski had introduced Ravel's version to Philadelphia audiences in November 1929; ten years later he produced his own very free orchestration (incorporating much re-composition), aiming for what he called a more Slavic orchestral sound instead of Ravel's more Gallic approach. Stokowski revised his version over the years and made three gramophone recordings of it (1939, 1941 and 1965). The score, finally published in 1971, has since been recorded by other conductors, including Matthias Bamert, Gennady Rozhdestvensky, Oliver Knussen and José Serebrier.


title: Pictures at an Exhibition

text: Although Ravel's version is most often performed and recorded, a number of conductors have made their own changes to the scoring, including Arturo Toscanini, Nikolai Golovanov, and James Conlon. Conductor and pianist Vladimir Ashkenazy produced his own orchestral arrangement, expressing dissatisfaction with Ravel's interpretive liberties and perpetuation of early printing errors. The conductor Leonard Slatkin has performed compendium versions, in which each Promenade and picture is interpreted by a different orchestral arranger.


title: Pictures at an Exhibition

text: Many other orchestrations and arrangements of "Pictures" have been made. Most show debts to Ravel; the original piano composition is, of course, frequently performed and recorded. A version for chamber orchestra exists, made by Taiwanese composer Chao Ching-Wen. Elgar Howarth arranged it for the Philip Jones Brass Ensemble in 1977, subsequently recasting it for Grimethorpe Colliery Band. Kazuhito Yamashita wrote an adaptation for solo classical guitar. Excerpts have also been recorded, including a 78 rpm disc of "The Old Castle" and "Catacombs" orchestrated by Sir Granville Bantock, and a spectacular version of "The Great Gate of Kyiv" was scored by Douglas Gamley for full symphony orchestra, male voice choir and organ. The Amadeus Orchestra (UK) commissioned ten composers to orchestrate one movement each to make a version first performed complete in 2012. Movements were provided by Alastair King, Roger May, Tolib Shakhidi, David Butterworth, Philip Mackenzie, Simon Whiteside, Daryl Griffiths, Natalia Villanueva, James McWilliam and Julian Kershaw.


title: Pictures at an Exhibition

text: The suite has inspired homages in a broad range of musical styles. Emerson, Lake & Palmer's version incorporated elements of progressive rock, jazz and folk music (1971/2008). An electronic music adaptation by Isao Tomita was done in 1975. A heavy metal arrangement of the entire suite was released by German band Mekong Delta; another metal band, Armored Saint, utilised the "Great Gate of Kyiv" theme as an introduction for the track "March of the Saint". In 2002 electronic musician-composer Amon Tobin paraphrased "Gnomus" for the track "Back From Space" on his album "Out from Out Where". In 2003 guitarist-composer Trevor Rabin released an electric guitar adaptation of the Promenade originally intended for the Yes album "Big Generator" and later included on his demo album "90124". In 2005 "Animusic 2" included a track entitled "Cathedral Pictures", which included only the first Promenade and the final two movements from the suite. The Michael Jackson song "HIStory" samples a short section of "The Great Gate of Kiev", with a longer part featured during the HIStory World Tour 5 minute-countdown before the MJ-2040 spaceship departs, a snippet before continuing They Don't Care About Us and in the flag parade finale in 1996/97. Re-issues of the "" album further changed the sample on the track. The same thing can be heard in the , which during the Jacksons's ultimate medley, after Can You Feel It, the song starts and then ABC starts.


title: Pictures at an Exhibition

text: In 1928, the Russian artist Wassily Kandinsky created a stage show by combining his own designs for the pictures with a performance of the piano score. Since it was put on at Dessau, elements of the staging have been lost. However, it has proved possible to animate the surviving art work using video technology.


title: Pictures at an Exhibition

text: In a hall on Attisholz-Areal, Switzerland, Gen Atem and S213 had a premiere performance on the basis of Ravel's orchestration of Mussorgsky's piano cycle in August 2021. Kaspar Zehnder and the Theatre Orchester Biel Solothurn provided the acoustical background in its entirety.


title: Pictures at an Exhibition

text: In 2014, choreographer Alexei Ratmansky created the ballet "Pictures at an Exhibition", based on the orchestral score, for the New York City Ballet. The set featured a 1913 painting by Wassily Kandinsky, unrelated to Kandinsky’s 1928 staging.


title: Hated in the Nation

text: "Hated in the Nation" is the sixth and final episode in the third series of the British science fiction anthology series "Black Mirror". Written by series creator and showrunner Charlie Brooker and directed by James Hawes, it premiered on Netflix on 21 October 2016, along with the rest of series three. It is the longest episode of "Black Mirror", at 89 minutes.


title: Hated in the Nation

text: A Nordic noir-inspired episode, "Hated in the Nation" follows Detectives Karin Parke (Kelly Macdonald) and Blue Coulson (Faye Marsay) as they investigate a spate of deaths targeting the subjects of social media hatred, at the hands of Autonomous Drone Insects (ADIs) that have been deployed to combat environmental catastrophe as bees near extinction. It was filmed largely in London.


title: Hated in the Nation

text: Informed by Brooker's experience of receiving hate mail after writing a 2004 "Guardian" column that disparaged George W. Bush, the episode drew comparison to "The X-Files" and explored themes including government surveillance and environmentalism. Across mostly positive reviews, critics praised the acting but gave mixed comments on the story and episode's length. It received middling rankings on "Black Mirror" instalments by quality.


title: Hated in the Nation

text: Before a public inquiry, London Detective Chief Inspector Karin Parke (Kelly Macdonald) explains her role investigating the death of Jo Powers (Elizabeth Berrington), a far-right journalist found dead after writing a widely condemned column that derided a self-immolating disability rights activist. Parke works with Trainee Detective Constable Blue Coulson (Faye Marsay) and Nick Shelton (Joe Armstrong). Powers' hospitalised husband claims that she cut her own throat with a wine bottle. Parke and Coulson talk to a teacher who sent Powers a cake with "fucking bitch" iced on it. She tweeted "#DeathTo @JoPowersWriter", but denies violent intent.


title: Hated in the Nation

text: The next day, the rapper Tusk (Charles Babalola)—attacked on social media after insulting a child fan—has a seizure and dies in an MRI machine as its magnetic field pulls a metallic object out of his brain, through his eye socket. The object is an autonomous drone insect (ADI), created by Granular and deployed by the government to replace near-extinct bees. An ADI is found in Powers' brain, also. Parke and Coulson talk to Rasmus Sjoberg (Jonas Karlsson) at Granular and find an ADI with odd behaviour. Shaun Li (Benedict Wong) begins work on the case on behalf of the National Crime Agency (NCA).


title: Hated in the Nation

text: Coulson finds #DeathTo was started by spambots posting a "Game of Consequences" video, where the most-mentioned person with the hashtag each day will be killed. Currently top is Clara Meades (Holli Dempsey), who posed for an inappropriate photo at a war memorial. Meades is taken to a safe house. Granular lose control of all ADIs, which surround the house. Parke and Coulson try to protect Meades, but an ADI infiltrates and kills her.


title: Hated in the Nation

text: Coulson deduces that the ADIs use facial recognition and Sjoberg reveals that the government use them to surveil citizens. Meanwhile, the public and news media realise the consequences of #DeathTo. The most-mentioned person is now Chancellor Tom Pickering (Ben Miles). Parke interviews ex-Granular employee Tess Wallander (Georgina Rich) and learns that she was found attempting suicide by colleague Garrett Scholes (Duncan Pow) after receiving online hate. Scholes' manifesto is found, containing a geotagged image. A raid on this location yields Scholes' hacking toolkit. As Coulson discovers a file of IMEI numbers of everyone who used #DeathTo, Li forces Sjoberg to deactivate the system. This fails and triggers the ADIs to kill the 387,036 people who used the hashtag.


title: Hated in the Nation

text: Concluding her evidence, Parke indicates that Coulson is believed dead by suicide. However, she later receives a text from Coulson, who has tracked Scholes down in an unnamed country.


title: Hated in the Nation

text: Whilst series one and two of "Black Mirror" were shown on Channel 4 in the UK, in September 2015 Netflix commissioned the series for twelve episodes (split into two series of six episodes). In March 2016, Netflix outbid Channel 4 for the rights to distributing the third series, with an offer of $40 million. Due to its move to Netflix, the show had a larger budget than in previous series. "Hated in the Nation" is the sixth and final episode of the third series; all six episodes in the series were released on Netflix simultaneously on 21 October 2016. As "Black Mirror" is an anthology series, each instalment can be watched in any order.


title: Hated in the Nation

text: The episode was written by series creator Charlie Brooker. The initial idea was for characters to vote for an individual to be killed by a robot—a concept also used to shape the series four episode "Metalhead". "Hated in the Nation" took inspiration from Scandinavian noir thriller television series such as "The Killing". Brooker found the episode difficult to write; he had previously written a spoof police procedural television series "A Touch of Cloth" but had not written serious works in the genre. After writing half of the script, the episode was put to one side and Brooker began working on other series three episodes. When he came back to the script, he decided to introduce the framing device of the inquiry to speed up exposition. Garrett Scholes was written to be mysterious, his character being inspired by terrorists Ted Kaczynski—nicknamed the Unabomber—and Anders Behring Breivik.


title: Hated in the Nation

text: The script was also informed by Jon Ronson's book "So You've Been Publicly Shamed" (2015), about online shaming and its historical antecedents, and hate mail addressed to the comedian Stewart Lee over "". Brooker had personal experience of a public backlash after mentioning attempted and successful presidential assassins in a satirical 2004 "Guardian" article about then-U.S. president George W. Bush (he wrote: "John Wilkes Booth, Lee Harvey Oswald, John Hinckley Jr, where are you now that we need you?"). After many violent messages were sent to Brooker, he apologised and "The Guardian" removed the article from their website. The experience informed the dialogue in the episode which compares online shaming to weather, in Brooker's words "like there's this [...] ominous ion cloud hanging over you, and rather like a mental illness". However, the experience was prior to the formation of Twitter; Brooker said that around 2013 he sensed a change in public opinion over the identification of social media as a toxic environment.