title: Shine (film)

text: The next day, David returns to the restaurant where the patrons are astounded by his ability to play the piano. One of the owners befriends David and looks after him. In return, David plays at the restaurant. Through the owner, David is introduced to an employee named Gillian (Lynn Redgrave). David and Gillian soon fall in love and marry. With Gillian's help and support, David is able to come to terms with his father's death and to stage a well-received comeback concert, presaging his return to professional music.


title: Shine (film)

text: Scott Hicks decided to make a film on David Helfgott after seeing him perform in Adelaide in 1985. It took a year of convincing for Scott to interview Helfgott and his wife Gillian, which Scott persevered through "because he was so inspired by the pianist’s story."


title: Shine (film)

text: Hicks brought on friend and colleague John MacGregor to help with research and interviewing Helfgott’s friends, family, and teachers. Jan Sardi, who had been a script editor on Hicks’ previous feature, "Sebastian and the Sparrow", was also brought on to work on the final draft of the script, which had materialized by the early 1990s. DurIng the scripting stage, Ronin Films signed on as the Australasian distributor for the film.


title: Shine (film)

text: Hicks met with Geoffrey Rush in 1992, having been familiar with his work in Adelaide theatre. "He was mesmerising on stage and he had the physiognomy, and physiology and the hands to play David," said Hicks. However, Hicks faced resistance from investors in his decision to cast Rush, who was then a theatre actor with no major projects to his name. A crucial deal in the film getting made was Pandora Cinema’s acquisition of the international and U.S. distribution rights. "The difference there was the person we were dealing with had seen Geoffrey Rush on stage in Sydney and so knew what I was talking about when I said this actor is extraordinary," Hicks said.


title: Shine (film)

text: "Shine" grossed $35,892,330 in the United States and Canada. The film also grossed $10,187,418 at the box office in Australia.


title: Shine (film)

text: Roadshow Entertainment released the film on VHS on 4 July 1996, and on DVD on 18 November 1997. Umbrella Entertainment released the film on the 20th anniversary DVD on 5 May 2015.


title: Shine (film)

text: "Shine" was met with acclaim from critics. On Rotten Tomatoes, it holds a 91% approval rating based on 44 reviews, with an average rating of 8/10. The critical consensus states, "featuring a strong performance from Geoffrey Rush, "Shine" succeeds in telling a compelling, inspirational story without resorting to cheap sentimentality". On Metacritic, the film holds an 87 rating out of a possible 100 from 27 critic reviews, indicating "universal acclaim". Critic Roger Ebert rated the film four out of four stars, stating "There has been much talk in 1996 about films whose filmmakers claim they were based on true stories but were kidding ("Fargo"), and films whose filmmakers claimed they were based on true stories but might have been lying ("Sleepers"). Here is a movie that is based on the truth beneath a true story."


title: Shine (film)

text: Critics allege that certain events and relationships in David's life are portrayed with wild inaccuracy, sometimes even fabricated, resulting in damage to the reputations of real people. Helfgott's sister Margaret Helfgott, in her book "Out of Tune", stresses in particular the case of Helfgott's father Peter Helfgott, who was, according to her, a loving husband, over-lenient parent and very far from the abusive tyrant portrayed in "Shine". Peter Helfgott's decision to prevent David from going overseas at the age of 14 was not made with the vindictive spirit portrayed in "Shine", she claims, but a reasonable judgment that he was not ready for such independence. Margaret Helfgott further claims to have been pressured by David's second wife Gillian and by the publishers of the film to stop making trouble for them by telling her story. Although Margaret Helfgott has possession of letters between Helfgott and his father, the copyright is held by Gillian Helfgott, who has prevented their contents from being published.


title: Shine (film)

text: Margaret Helfgott's criticisms have been disputed by people involved with making the film. Scott Hicks published a letter to "The Wall Street Journal" when Margaret Helfgott's book came out, defending the authenticity of the movie's portrayal of Helfgott's childhood and suggesting that David's other siblings, Susie and Les, were at odds with Margaret's claims and were happy with the movie.


title: Shine (film)

text: Writing to "The Australian", John Macgregor—who was involved in the research and wrote an early treatment for "Shine"—claimed that the portrayal of the Helfgotts' father was supported not only by David's 'elephantine' recollections, but (with the exception of Margaret) by every family member and family friend he and Scott Hicks interviewed, as well as by every interviewee who had a professional or musical connection with David throughout his early life.


title: Shine (film)

text: However, David's brother Les has described the portrayal of their father both in "Shine" and in Gillian Helfgott's biography as "all outright lies". David Helfgott's first wife Clare Papp has also said that Peter Helfgott was "quite badly maligned" in the film.


title: Shine (film)

text: In a letter to the editor of "Limelight" magazine, published in the September 2013 edition, Margaret and Les Helfgott refer to certain claims made in an article in the August 2013 edition and state that "there was no estrangement from members of David's family following his return to Australia. On the contrary, he moved straight back into the family home, and was cared for by our family. Dad was not 'overbearing', and his main objection to David's going abroad was his concern for his son's welfare."


title: Shine (film)

text: Critics also claim that Helfgott's pianistic ability is grossly exaggerated. In a journal article, the New Zealand philosopher Denis Dutton claims that Helfgott's piano playing during his comeback in the latter part of the 1990s has "severe technical and aesthetic deficiencies which would be unacceptable in any musician whose reputation had not been inflated beyond recognition". Dutton claims that, while listening to the movie, he covered his eyes during the parts where Helfgott's playing was used in order to concentrate entirely on the music, and not be distracted by the acting. He felt that the musicianship, when perceived in isolation, was not of a particularly high standard. Helfgott's recent tours have been well attended because, according to Dutton, "Shine"s irresponsible glamorisation of Helfgott's ability has attracted a new audience who are not deeply involved in the sound of Helfgott's playing, thereby, he says, drawing deserved public attention away from pianists who are more talented and disciplined.


title: Shine (film)

text: The early career triumphs documented by the film are factual. Violin virtuoso Isaac Stern wanted to bring Helfgott to the US to mentor; conductor Daniel Barenboim was a great admirer; and Helfgott's tutors at the Royal College of Music did indeed praise his playing in such terms as "sheer genius". But the film's makers have pointed out that critics of Helfgott's present-day technical ability are missing the film's point – which is not that Helfgott is now one of the world's great pianists (a claim that has never been made), but that the love of his wife enabled him to sufficiently recover from a long and bitter struggle with mental illness to play again for audiences.


Simon de Montfort, 6th Earl of Leicester ( – 4 August 1265), later sometimes referred to as Simon V de Montfort to distinguish him from his namesake relatives, was a nobleman of French origin and a member of the English peerage, who led the baronial opposition to the rule of King Henry III of England, culminating in the Second Barons' War. Following his initial victories over royal forces, he became "de facto" ruler of the country, and played a major role in the constitutional development of England.


title: Simon de Montfort, 6th Earl of Leicester

text: During his rule, Montfort called two famous parliaments. The first stripped Henry of his unlimited authority, while the second included ordinary citizens from the towns. For this reason, Montfort is regarded today as one of the progenitors of modern parliamentary democracy. As Earl of Leicester he expelled Jews from that city; as he became ruler of England he also cancelled debts owed to Jews through violent seizures of records. Montfort's party massacred the Jews of London, Worcester and Derby, killing scores of Jews from Winchester to Lincoln. After a rule of just over a year, Montfort was killed by forces loyal to the king in the Battle of Evesham.


text: Montfort was a younger son of Simon de Montfort, 5th Earl of Leicester, a French nobleman and crusader, and Alix de Montmorency. His paternal grandmother was Amicia de Beaumont, the senior co-heiress to the Earldom of Leicester and a large estate owned by her brother Robert de Beaumont, 4th Earl of Leicester, in England.


text: With the irrevocable loss of Normandy, King John refused to allow the elder Simon to succeed to the earldom of Leicester and instead placed the estates and title into the hands of Montfort senior's cousin Ranulf, the Earl of Chester. The elder Simon had also acquired vast domains during the Albigensian Crusade, but was killed during the Siege of Toulouse in 1218 and his eldest son Amaury was not able to retain them. When Amaury was rebuffed in his attempt to get the earldom back, he agreed to allow his younger brother Simon to claim it in return for all family possessions in France.


text: Simon arrived in England in 1229, with some education but no knowledge of English, and received a sympathetic hearing from King Henry III, who was well disposed towards foreigners speaking French, then the language of the English court. Henry was in no position to confront the powerful Earl of Chester, so Simon approached the older, childless man himself and convinced him to cede him the earldom. It would take another nine years before Henry formally invested him with the title Earl of Leicester.


text: As a younger son, Simon de Montfort attracted little public attention during his youth, and the date of his birth remains unknown. He is first mentioned when his mother made a grant to him in 1217. As a boy, Montfort accompanied his parents during his father's campaigns against the Cathars. He was with his mother at the Siege of Toulouse in 1218, where his father died after being struck on the head by a stone pitched by a mangonel. In addition to Amaury, Simon had another older brother, Guy, who was killed at the siege of Castelnaudary in 1220. As a young man, Montfort probably took part in the Albigensian Crusades of the early 1220s. He and Amaury both took part in the Barons' Crusade.


text: In 1229 the two surviving brothers (Amaury and Simon) came to an arrangement with King Henry whereby Simon gave up his rights in France and Amaury gave up his rights in England. Thus freed from any allegiance to the king of France, Montfort successfully petitioned for the English inheritance, which he received the next year, although he did not take full possession for several years, and did not win formal recognition as Earl of Leicester until February 1239.


text: Montfort became a favourite of King Henry III and even issued a charter as "Earl of Leicester" in 1236, despite having not yet been granted the title.


text: In that same year, Simon tried to persuade Joan, Countess of Flanders to marry him. The idea of an alliance between the rich County of Flanders and a close associate of Henry III of England did not sit well with the French crown. The French Queen Dowager Blanche of Castile convinced Joan to marry Thomas II of Savoy instead.


text: In January 1238, Montfort married Eleanor of England, daughter of King John and Isabella of Angoulême and sister of King Henry III. While this marriage took place with the king's approval, the act itself was performed secretly and without consulting the great barons, as a marriage of such importance warranted. Eleanor had previously been married to William Marshal, 2nd Earl of Pembroke, and she swore a vow of perpetual chastity upon his death, when she was sixteen, which she broke by marrying Montfort. The Archbishop of Canterbury, Edmund Rich, condemned the marriage for this reason. The English nobles protested the marriage of the king's sister to a foreigner of modest rank. Most notably, the king's and Eleanor's brother Richard, 1st Earl of Cornwall, rose up in revolt when he learned of the marriage. King Henry eventually bought off Richard with 6,000 marks and peace was restored.


text: The marriage brought the manor of Sutton Valence in Kent into Montfort's possession. Relations between King Henry and Montfort were cordial at first. Henry lent him his support when Montfort embarked for Rome in March 1238 to seek papal approval for his marriage. When Simon and Eleanor's first son was born in November 1238 (despite rumours, more than nine months after the wedding), he was baptised Henry in honour of his royal uncle. In February 1239, Montfort was finally invested with the Earldom of Leicester. He also acted as the king's counsellor and was one of the nine godfathers of Henry's eldest son, Prince Edward, who would inherit the throne and become Edward I ("Longshanks").


text: As Earl of Leicester, Montfort expelled the small Jewish community from Leicester city in 1231, banishing them "in my time or in the time of any of my heirs to the end of the world". He justified his action as being "for the good of my soul, and for the souls of my ancestors and successors". His parents had shown a similar hostility to Jews in France, where his father was known for his bigoted Christianity, and his mother had given the Jews of Toulouse a choice of conversion, expulsion or death. Robert Grosseteste, then Archdeacon of Leicester, may have encouraged the expulsion, although he believed that the Jews' lives should be spared. Expelling the Jews enhanced Montfort's popularity in his new domains because it removed the practice of usury (practised exclusively by Jews since it was forbidden to Christians).


text: Leicester's Jews were allowed to move to the eastern suburbs, which were controlled by Montfort's great-aunt Margaret, Countess of Winchester, who had taken advice from Grosseteste.


text: Shortly after Prince Edward's birth, however, there was a falling out between the brothers-in-law. Simon owed a great sum of money to Thomas II of Savoy, uncle of Queen Eleanor, and named King Henry as security for his repayment. The king evidently had not approved this, and was enraged when he discovered that Montfort had used his name. On 9 August 1239, Henry is reported to have confronted Montfort, called him an excommunicant and threatened to imprison him in the Tower of London. "You seduced my sister", King Henry said, "and when I discovered this, I gave her to you, against my will, to avoid scandal." Simon and Eleanor fled to France to escape Henry's wrath.


text: Having announced his intention to go on crusade two years before, Simon raised funds and travelled to the Holy Land during the Barons' Crusade, but does not seem to have faced combat there. He was part of the crusading host which, under Richard of Cornwall, negotiated the release of Christian prisoners including Simon's older brother, Amaury. In autumn 1241, he left Syria and joined King Henry's campaign against King Louis IX in Poitou in July 1242. The campaign was a failure, and an exasperated Montfort declared that Henry should be locked up like King Charles the Simple. Like his father, Simon was a soldier as well as a capable administrator. His dispute with King Henry came about due to the latter's determination to ignore the swelling discontent within the country, caused by a combination of factors, including famine and a sense, among the English Barons, that King Henry was too quick to dispense favour to his Poitevin relatives and Savoyard in-laws.


text: In 1248, Montfort again took the cross with the idea of following Louis IX of France to Egypt. However, at the repeated requests of King Henry, he gave up this project in order to act as the king's Lieutenant of the Duchy of Aquitaine (Gascony). Bitter complaints were excited by the rigour with which Montfort suppressed the excesses of the Seigneurs and of contending factions in the great communes. Henry yielded to the outcry and instituted a formal inquiry into Simon's administration. Simon was formally acquitted on the charges of oppression, but his accounts were disputed by Henry, and Simon retired to France in 1252. The nobles of France offered him the Regency of the kingdom, vacated by the death of Queen Blanche of Castile. The earl preferred to make his peace with Henry III, which he did in 1253, in obedience to the exhortations of the dying Robert Grosseteste, Bishop of Lincoln. He helped the king deal with disaffection in Gascony, but their reconciliation was a hollow one. In the Parliament of 1254, Simon led the opposition in resisting a royal demand for a subsidy. In 1256–57, when the discontent of all classes was coming to a head, Montfort nominally adhered to the royal cause. He undertook, with Peter of Savoy, the Queen's uncle, the difficult task of extricating the king from the pledges which he had given to the Pope with reference to the Crown of Sicily; and Henry's writs of this date mention Montfort in friendly terms. However, at the "Mad Parliament" of Oxford (1258) Montfort appeared with the Earl of Gloucester, at the head of the opposition. He was part of the Council of Fifteen who were to constitute the supreme board of control over the administration. The king's success in dividing the barons and in fostering a reaction, however, rendered such projects hopeless. In 1261, Henry revoked his assent to the Provisions of Oxford and Montfort, in despair, left the country.


text: Simon de Montfort returned to England in 1263, at the invitation of the barons who were now convinced of the king's hostility to all reform, and raised a rebellion with the avowed object of restoring the form of government which the Provisions had ordained. Cancellation of debts (owed to Jews) was part of his call to arms.


text: These "cancellations" involved massacres of Jews by his followers, to obtain their financial records, for instance in Worcester and London. The Worcester attack and killings were led by de Montfort's son Henry, and Robert Earl Ferrers. In London, one of his key followers John fitz John led the attack, and is said to have killed leading Jewish figures Isaac fil Aaron and Cok fil Abraham with his bare hands. He allegedly shared the loot with Montfort. Five hundred Jews died.


text: His son Simon led a further attack on Jews in Winchester. Jews in Canterbury, were murdered or driven out by a force led by Gilbert de Clare. De Montfort's followers massacred most of the Jews who lived in Derby in February 1262. There was further violence in Lincoln, Cambridge, Wilton and Northampton.


text: Each attack was aimed at the seizure of the records of debts, stored in locked chests within each community, called 'archae'. Archae were legally mandated by the king for Jews to be allowed to conduct any business. They were destroyed or gathered for instance at Ely by the rebels.


text: Henry quickly gave in and allowed Montfort to take control of the council. His son Edward, however, began using patronage and bribes to win over many of the barons. Their disruption of parliament in October led to a renewal of hostilities, which saw the royalists able to trap Simon in London. With few other options available, Montfort agreed to allow Louis IX of France to arbitrate their dispute. Simon was prevented from presenting his case to Louis directly on account of a broken leg, but few suspected that the king of France, known for his innate sense of justice, would completely annul the Provisions in his Mise of Amiens in January 1264. Civil war broke out almost immediately, with the royalists again able to confine the reformist army in London. In early May 1264, Simon marched out to give battle to the king and scored a spectacular triumph at the Battle of Lewes on 14 May 1264, capturing the king, together with Prince Edward and Richard of Cornwall, Henry's brother and the titular King of Germany.


text: Montfort announced after the Battle of Lewes that all debts owed to the Jews were cancelled, as he had promised.


text: Montfort used his victory to set up a government based on the provisions first established at Oxford in 1258. Henry retained the title and authority of King, but all decisions and approval now rested with his council, led by Montfort and subject to consultation with parliament. His Great Parliament of 1265 (Montfort's Parliament) was a packed assembly to be sure, but it can hardly be supposed that the representation which he granted to the towns was intended to be a temporary expedient.


text: Montfort sent his summons, in the king's name, to each county and to a select list of boroughs, asking each to send two representatives. This body was not the first elected parliament in England. In 1254, Henry was in Gascony and in need of money. He gave instructions for his regent, Queen Eleanor, to summon a parliament consisting of knights elected by their shires to ask for this 'aid'. Montfort, who was in that parliament, took the innovation further by including ordinary citizens from the boroughs, also elected, and it was from this period that parliamentary representation derives. The list of boroughs which had the right to elect a member grew slowly over the centuries as monarchs granted charters to more English towns. (The last charter was given to Newark in 1674.)


text: The right to vote in Parliamentary elections for county constituencies was uniform throughout the country, related to land ownership. In the Boroughs, the electoral franchise varied and individual boroughs had varying arrangements.


text: The reaction against Montfort's government was baronial rather than popular. The Welsh Marcher Lords were friends and allies of Prince Edward, and when he escaped in May 1265, they rallied around his opposition. The final nail was the defection of Gilbert de Clare, the Earl of Gloucester, the most powerful baron and Simon's ally at Lewes. Clare had grown resentful of Simon's fame and growing power. When he and his brother Thomas fell out with Simon's sons Henry, Simon the Younger, and Guy, they deserted the reforming cause and joined Edward.


text: Though boosted by Welsh infantry sent by Montfort's ally Llywelyn ap Gruffudd, Simon's forces were severely depleted. Prince Edward attacked his cousin, his godfather's son Simon's forces at Kenilworth, capturing more of Montfort's allies. Montfort himself had crossed the Severn with his army, intending to rendezvous with his son Simon the Younger. When he saw an army approaching Evesham, Montfort initially thought it was his son's forces. It was, however, Edward's army flying the Montfort banners they had captured at Kenilworth. At that point, Simon realised he had been out-manoeuvred by Edward.


text: An ominous black cloud hung over the field of Evesham on 4 August 1265 as Montfort led his army in a desperate uphill charge against superior forces, described by one chronicler as the "murder of Evesham, for battle it was none". On hearing that his son Henry had been killed, Montfort replied, "Then it is time to die." Before the battle, Prince Edward had appointed a twelve-man death squad to stalk the battlefield, their sole aim being to find the earl and cut him down. Montfort was hemmed in; Roger Mortimer killed Montfort by stabbing him in the neck with a lance. Montfort's last words were said to have been "Thank God". Also slain with Montfort were other leaders of his movement, including Peter de Montfort and Hugh Despenser.


text: Montfort's body was mutilated in a frenzy by the royalists. News reached the mayor and sheriffs of London that "the head of the earl of Leicester ... was severed from his body, and his testicles cut off and hung on either side of his nose"; and in such guise the head was sent to Wigmore Castle by Roger Mortimer, 1st Baron Mortimer, as a gift to his wife, Maud. His hands and feet were also cut off and sent to diverse places to enemies of his as a great mark of dishonour to the deceased. Such remains as could be found were buried before the altar of Evesham Abbey church by the canons. The grave was visited as holy ground by many commoners until King Henry caught wind of it. He declared that Montfort deserved no spot on holy ground, and had his remains reburied in another "secret" location, probably in the crypt. The remains of some of Montfort's soldiers who had fled the battlefield were found in the nearby village of Cleeve Prior.


text: Montfort's niece, Margaret of England, later killed one of the soldiers responsible for his death, purposely or inadvertently.


text: Matthew Paris reports that the Bishop of Lincoln, Robert Grosseteste, once said to Montfort's eldest son, Henry, "My beloved child, both you and your father will meet your deaths on one day, and by one kind of death, but it will be in the name of justice and truth."


text: In the years that followed his death, Simon de Montfort's grave was frequently visited by pilgrims. Napoleon Bonaparte described Simon de Montfort as "one of the greatest Englishmen ["sic"]". Today, Montfort is mostly remembered as one of the fathers of representative government.


text: Montfort bears responsibility for persecution of Jews. In addition to his expulsion of Jews from Leicester, his faction in the Second Baron's War initiated pogroms killing perhaps the majority of Jews in Derby and Worcester and around 500 in London. The violence and killings unleashed by the war targeting Jews carried on after his death. Jews were living in such terror that King Henry appointed burgesses and citizens of certain towns to protect and defend them because "they fear[ed] grave peril" and were in a "deplorable state." Leicester City Council made a formal statement in 2001 that "rebuked De Montfort for his blatant anti-Semitism".


text: Evesham Abbey and the site of Montfort's grave were destroyed with the Dissolution of the Monasteries in the 16th century. In 1965, a memorial of stone from Montfort-l'Amaury was laid on the site of the former altar by Speaker of the House of Commons Sir Harry Hylton-Foster and Archbishop of Canterbury, Michael Ramsey.


text: Various local honours were dedicated to his memory, and he has become eponymous several times over. De Montfort University in Leicester is named after him, as is the nearby De Montfort Hall, a concert venue. A statue of Montfort is one of four to adorn the Haymarket Memorial Clock Tower in Leicester. A relief of Montfort adorns the wall of the Chamber of the United States House of Representatives.


text: Montfort's banner, known as the "Arms of Honour of Hinckley", blazoned "Party per pale indented argent and gules", and displayed in stained glass in Chartres Cathedral, is used in the coat of arms of the town of Hinckley, part of his earldom in Leicestershire, and by many of its local organisations. Combined with his personal coat of arms, the banner forms part of the club crest for the town's football club Hinckley A.F.C.


text: Simon de Montfort and Eleanor of England had seven children, many of whom were notable in their own right:


title: Ravi Dubey

text: He began his acting career in 2006 with a parallel lead role in the show "Stree Teri Kahaani" and followed it with roles in less successful shows like "Doli Saja Ke" (2007) and "Yahan Ke Hum Sikandar" (2007), before starring in the popular family drama shows "Saas Bina Sasural" (2010) and "Jamai Raja" (2014), which established him as one of the most popular and leading actors of Indian Television industry. He also participated in the reality shows "Nach Baliye 5" (2012) and "" (2017).


title: Ravi Dubey

text: Dubey was born in Gorakhpur, Uttar Pradesh and was brought up in Delhi, India. His father, Sh. Gyan Prakash Dubey, is a Civil Engineer by qualification, and has worked in top management with many real estate organisations in the Delhi/NCR Region.


title: Ravi Dubey

text: Dubey came to Mumbai from Delhi to study telecom engineering, but then he started his modelling career.


title: Ravi Dubey

text: Dubey started his career as a model, then he started his acting career in 2006 with the parallel lead role of Ravi Agarwal in the DD National television show "Stree... Teri Kahaani", which was produced by actors Dilip Kumar and Saira Banu. Later he portrayed the small role of "Veer" in Sahara One's soap opera "Doli Saja Ke". Thereafter, he appeared as the male lead in "Yahan Ke Hum Sikandar", where he played the role of Ravi.


title: Ravi Dubey

text: Dubey has done up to 40 television commercial ads, including Reliance, TVS Victor, Mrs. Marino, Gee Pee Mobile, Nestle, ICICI, Action Milano Shoes, Fairever, Santro and Water Kingdom.


title: Ravi Dubey

text: In December 2008, Dubey replaced Vinay Rohrra for portraying the male lead in Zee television's show "Ranbir Rano". After the show ended, Dubey was cast opposite Sargun Mehta in Zee television's soap opera "12/24 Karol Bagh".


title: Ravi Dubey

text: In October 2010, Dubey featured opposite Aishwarya Sakhuja for Sony Entertainment Television's romantic/drama show "Saas Bina Sasural", in which he portrayed the male lead role of Tej Prakash Chaturvedi. While working in the show, Dubey started his film career in Bollywood; he signed for Aron Govil's 2011 Hindi film "U R My Jaan".


title: Ravi Dubey

text: In January 2012, Dubey participated in Sony Entertainment Television's reality-based comedy series of "Comedy Circus" titled, "Kahani Comedy Circus Ki". Dubey said, "I am super excited as I have always loved the show. So far I have never had the opportunity to try my hands at comedy, which I believe is the toughest of all".


title: Ravi Dubey

text: In December 2012, Dubey participated in the fifth season of Star Plus television's celebrity couple dance reality show "Nach Baliye", along with Sargun Mehta. And on 23 March 2013, in the finale episode, He became the first runner-up of the show. Dubey also participated in another of Nach Baliye's celebrity couple dance reality series titled, "Nach Baliye Shriman v/s Shrimati" in 2013.


title: Ravi Dubey

text: In May 2013, Dubey started hosting television shows, He replaced Mohit Malhotra to host Star Plus television's dance reality show "India's Dancing Superstar".


title: Ravi Dubey

text: In September 2013, he was approached for the lead role of Rajbir in Rashmi Sharma's show "Desh Ki Beti Nandini", but he was out of the show. Dubey has also appeared along with Shweta Salve at Indian Television Academy's ramp show "Fashion Ka Jalwa".


title: Ravi Dubey

text: In March 2014, Dubey got the male lead in Zee television's soap opera "Jamai Raja", in which he plays the role of Siddharth "Sid" Khurana opposite Nia Sharma, the show produced by incredible actor Akshay Kumar and co-produced by Ashvini Yardi, under their own production banner, "Grazing Goat Pictures".


title: Ravi Dubey

text: In December 2014, Dubey hosted an award event of Zee televisions', Zee Rishtey Awards, along with Shabbir Ahluwalia.


title: Ravi Dubey

text: In 2017, Dubey participated in Colors stunt reality show "" in its eighth season where he ended up being the 2nd Runner-up whilst Shantanu Maheshwari was the winner and Hina Khan was the 1st Runner-up.


title: Ravi Dubey

text: In November 2017, Dubey was seen as one of the contestants in the Colors comedy show "Entertainment Ki Raat" along with Dipika Kakar and Asha Negi. He also participated in Star Plus reality show "Lip Sing Battle" along with wife Sargun Mehta, Rithvik Dhanjani & Asha Negi.


title: Ravi Dubey

text: In January 2018, Ravi hosted the Colors singing reality show "Rising Star". In June 2018, he also hosted the Star Plus game show "Sabse Smart Kaun". As of February 2019, Dubey hosted the Seventh Season of Sa Re Ga Ma Pa L'il Champs on Zee TV replace Aditya Narayan.


title: Ravi Dubey

text: He made his debut into the digital space alongside Nia Sharma with the web series "Jamai 2.0", which is a reboot of his Zee TV show "Jamai Raja". The series opened to good reviews. The second season released in February 2021, receiving positive responses. He is currently working as a lead actor in popular web series MatsyaKaand on mxplayer which is one of the highest rated and most watched web series of India.


title: Ravi Dubey

text: In 2019, he had opened his own production house Dreamiyata Entertainment Pvt Ltd, with his wife Sargun Mehta and co-produced several films. In March 2021, Dreamiyata Entertainment produced television series Udaariyaan, which airs on Colors TV.


title: Anbe Sivam

text: Anbe Sivam () is a 2003 Indian Tamil-language comedy drama film directed by Sundar C. and produced by K. Muralitharan, V. Swaminathan and G. Venugopal under the banner of Lakshmi Movie Makers. The film was written by Kamal Haasan, and Madhan provided the dialogues. "Anbe Sivam" stars Haasan, Madhavan and Kiran Rathod, with Nassar, Santhana Bharathi, Seema and Uma Riyaz Khan playing supporting characters. The film tells the story of Nallasivam and Anbarasu, two men of contrasting personalities who undertake an unexpected journey from Bhubaneswar to Chennai.


title: Anbe Sivam

text: Produced on a budget of 120 million, "Anbe Sivam" takes on themes such as communism, atheism, and altruism and depicts Haasan's humanist views. The music was composed by Vidyasagar. Arthur A. Wilson served as the cinematographer and M. Prabhaharan served as the art director.


title: Anbe Sivam

text: The film was released on 15 January 2003 to positive reviews from critics but underperformed at the box office. Despite its initial failure, it has gained recognition over the years through re-runs on television channels and is now regarded as a classic of Tamil cinema and a cult film. "Anbe Sivam" was screened as part of the Indian Panorama section of the International Film Festival of India in 2003. At the 51st Filmfare Awards South, it received a Special Jury Award and nominations in the Best Film and Best Actor (Haasan) categories. Madhavan was awarded Best Actor at the 2003 Tamil Nadu State Film Awards.


title: Anbe Sivam

text: Two men waiting for a flight to Chennai at the Biju Patnaik Airport in Bhubaneswar engage in conversation. One is a commercial director, Anbarasu, who prefers the abbreviated name A.Aras, and the other is a scarred and deformed socialist, Nallasivam (Nalla). When the flight is cancelled due to heavy rain, Aras initially suspects Nalla is a terrorist and informs the authorities, only to discover that he was mistaken. With the rain flooding the city, the two men are forced to share a room for the night. Both need to return to Chennai: Aras to be present at his wedding, and Nalla has to deliver a 3,200,000 cheque, recently awarded to him after he won a court case, to a group of union workers.


title: Anbe Sivam

text: After a traumatic night, and no hope for a flight, the two men take a bus to board the Coromandel Express train. Aras's bag gets stolen on the way leaving him with only his credit card, which no one accepts. Using his presence of mind, Nalla repeatedly bails Aras out of trouble while Aras tries escaping from him at every juncture, only to end up with him again. While waiting for the train at the Ichchapuram railway station, Nalla begins to tell Aras his story.


title: Anbe Sivam

text: A few years earlier, a healthy Nalla took part in various street theatre performances protesting against multinational corporation-driven industrialisation, which resulted in the marginalisation of the labour force. He was at odds with Kandasamy Padayatchi, a manipulative factory owner who refused to give his workers a raise. Nalla satirically imitated Padayatchi in many of his shows. In an unexpected turn of events, Nalla and Balasaraswathi (Bala), Padayatchi's daughter, fell in love with each other. To avoid a potential conflict with Padayatchi, the two decided to elope to Kerala.


title: Anbe Sivam

text: Nalla boarded a bus bound for Kerala, and on his way to meet Bala, the bus met with an accident on a hillside, leaving him scarred, disfigured, and partially paralysed for life. After recovering from his wounds, he visited Bala only to be informed by Padayatchi that his daughter was already married and has settled abroad. Padayatchi had earlier lied to Bala that Nalla died in the accident. It was also at this time that Nalla became a firm believer in kindness and love. Despite suffering from an inferiority complex due to his scarred and deformed body, Nalla performs community service and social work with renewed fervour while continuing to fight for union causes.


title: Anbe Sivam

text: Upon their arrival in Chennai, Aras delivers Nalla's cheque to the union workers. He invites Nalla to his wedding, where, to his utter astonishment, Nalla sees that Aras's bride is Bala. Padayatchi spots Nalla and asks him why he is at the wedding. He tells Padayatchi that he was invited by Aras, and later persuades him to sign the papers which will help Padayatchi's workers get a raise. To prevent the disruption of Bala's wedding and avoid damaging his own reputation, Padayatchi yields to Nalla's demands. After signing the papers, Padayatchi instructs his assistant to eliminate Nalla. However, his assistant has a change of heart as he is about to kill him. Padayatchi's assistant believes that the misdeeds he committed for Padayatchi resulted in the death of the assistant's daughter. Padayatchi's assistant requests Nalla to stay as far away from his boss as possible. Nalla assents and walks away.


title: Anbe Sivam

text: In the late 1990s, Kamal Haasan narrated the premise of a film to the director K. S. Ravikumar as they sought to collaborate following "Avvai Shanmughi" (1996). The initial script followed two men who meet in a train, quarrel, become friends and ultimately, one of them sacrifices everything for the other man. One individual was a Sri Lankan Tamil communist, while the other was a person who followed a right-wing political belief. Haasan had wanted to act in the film alongside Mohanlal, but Ravikumar refused the opportunity, saying it was not his usual film genre of expertise. Haasan and Ravikumar instead moved on to work on a different project titled "Thenali" (2000) and chose to make the film's title character a Sri Lankan Tamil as discussed in the earlier script.


title: Anbe Sivam

text: After completing the draft for the film's script with alterations in early 2002, Haasan approached the Malayalam filmmaker Priyadarshan to direct it. The two men were keen to work together since the late 1990s, and upon reading the script, Priyadarshan believed that it had the potential to be an "emotional love story". The film's title "Anbe Sivam" was derived from the Shaivite saint Tirumular's poem "Tirumantiram". In June 2002, Priyadarshan opted out of the project owing to creative differences. Sundar C. came in as a replacement to work on the film. "Anbe Sivam" was co-produced and distributed by V. Swaminathan, K.Muralitharan and G.Venugopal under the production banner of Lakshmi Movie Makers.


title: Anbe Sivam

text: In addition to being the film's writer, Haasan also played the central character, Nallasivam. Madhavan was selected to play Anbarasu in January 2002. According to Kiran Rathod, she received a phone call from Haasan's office informing her that she was offered the role of Balasaraswathi, which she accepted. Rathod's voice in the film was dubbed by the singer Anuradha Sriram. Uma Riyaz Khan played the role of Nallasivam's friend and professional colleague, Mehrunissa. In a 2019 interview with "The Indian Express", the film's script assistant and costume designer, Sujatha Narayanan, revealed that Nandita Das and Shobana were the original choices for Balasaraswathi and Mehrunissa respectively and that both of them declined due to schedule conflicts.


title: Anbe Sivam

text: The actors Nassar and Santhana Bharathi played the roles of Kandasamy Padaiyatchi and his assistant, respectively, while cartoonist Madhan featured in a cameo appearance as himself in addition to writing the film's dialogues. Screenwriter Crazy Mohan also collaborated with Haasan on writing some dialogues for the film. In an interview with S.R. Ashok Kumar of "The Hindu" in 2006, Bharathi considered both "Anbe Sivam" and "Michael Madana Kama Rajan" (1990) to be the favourite roles of his career.


title: Anbe Sivam

text: Arthur A. Wilson, M. Prabhaharan and P. Sai Suresh handled the film's cinematography, art direction and editing, respectively. Brinda, Chinni Prakash and Dinesh Kumar were in charge of the choreography while the stunt sequences were co-ordinated by Vikram Dharma. Muthulakshmi Varadhan, Bharathi's sister-in-law, worked as an assistant editor in the film. The make-up for Haasan's scars was designed by Michael Westmore and Anil Pemgirkar. In May 2002, Haasan completed the makeup for his character Nallasivam in Los Angeles after filming the song sequences for "Panchatanthiram" (2002).


title: Anbe Sivam

text: Principal photography for "Anbe Sivam" commenced in July 2002. The first scene featuring the lead actors was shot at Pollachi Junction railway station. Haasan and Madhavan interacted closely during the initial stages of the shoot to ensure that the on-screen chemistry between the pair was apparent.


title: Anbe Sivam

text: "Anbe Sivam" was shot on a restricted budget of 120 million, with the train and bus disaster sequences involving the use of settings and CGI. Madhavan, who began shooting his portions in September 2002, stated the film was shot in relatively empty locations. The flood scenes set in Odisha were re-created with outdoor sets consisting of city roads submerged under water erected in the Odisha-Andhra Pradesh border. Filming also took place in Chennai, Visakhapatnam and on the Tamil Nadu-Karnataka border. For a brief sequence in the "Naatukkoru Seithi" song, Haasan learnt how to play the thavil, a barrel-shaped percussion instrument, over three weeks. The pre-climax scenes were filmed in what was then known as the Campa Cola compound in Guindy. The climax scenes were filmed in a single take.


title: Anbe Sivam

text: "Anbe Sivam" follows the events of a journey from Bhubaneswar to Chennai undertaken by two men of contrasting personalities: Nallasivam, a physically challenged and witty socialist, and Anbarasu, a commercial director who supports capitalism and globalisation. Due to unforeseen circumstances, the two are forced to undertake the journey together. Throughout the narrative, a series of themes pertaining to communism, compassion, globalisation, atheism, and altruism are addressed; the film also showcases Haasan's views as a humanist. According to Haasan, the characterisation of Nallasivam was inspired by the life of Communist playwright, actor, director, lyricist and theorist Safdar Hashmi, who was chiefly associated with his work on street theatre in India. Hashmi died on 2 January 1989 after being attacked by members of the Indian National Congress while staging a play, "Halla Bol". S.Anand of "Outlook" magazine notes that Haasan's views on humanism in the film also seemed to be inspired by those of Charlie Chaplin. M. Kalyanaraman and Abdullah Nurullah of "The Times of India" opined that Nallasivam shared similar characteristics with street theatre artist Pralayan. According to Kalyanaraman, "Anbe Sivam" proposes that man can make morally superior choices when he comes face to face with death. As a result, Haasan indicates that the belief of "Siva is love" is the "final stage of evolution of man into God".


title: Anbe Sivam

text: The film critic Baradwaj Rangan, in his review of another Haasan film, "Vishwaroopam" (2013), found the ethnicity of the characters in the film to be a continuation of Haasan's inclusion of non-Tamil characters in his films. Rangan considered this to be Haasan's acknowledgement of the "interconnectedness of the nation" and "the world beyond India". He noted in his article that Haasan had experimented with the concept before by including the usage of Bengali language and meeting Bengalis in "Mahanadhi" (1994), a Telugu-speaking love interest in "Nammavar" (1994), marrying a Bengali woman in "Hey Ram" (2000), conducting investigations with an American associate in "Vettaiyaadu Vilaiyaadu" (2006), and marriage to a Frenchwoman in "Manmadan Ambu" (2010). Rangan notes that in "Anbe Sivam", the inclusion of and interaction with the Odia people was another example of including non-Tamil characters in his films. Rangan also compared Haasan's fight sequence with the use of an umbrella to the way he used a book and stool in "Thoongathey Thambi Thoongathey" (1983).


title: Anbe Sivam

text: The basic plot of "Anbe Sivam" was reported to have similarities with the 1987 road film, "Planes, Trains and Automobiles" directed by John Hughes, which starred Steve Martin and John Candy. The critics noted Haasan and Madhavan's character share similar traits to that of the roles played by Candy and Martin in that film, respectively. The portrait painted by Nallasivam on the walls of Padayatchi's house is inspired by the Mexican painter Diego Rivera's fresco, "Man at the Crossroads". Srinivasa Ramanujam, writing for "The Times of India" in 2008, noted that the religious undertone in the film was similar to that of Rajinikanth's "Baba" (2002).


title: Anbe Sivam

text: The soundtrack album and background score for "Anbe Sivam" were composed by Vidyasagar and the lyrics for the songs were written by Vairamuthu and P. Vijay. After composing the tune for the title song, Vidyasagar explained the situation of the song to Haasan, who wanted the song to be performed in such a way that the protagonist is singing according to the situation he finds himself in. Vidyasagar suggested that Haasan should sing the song himself to achieve the desired result, which the latter accepted. The song "Mouname Paarvayai" was not included in the film. The song "Poovaasam" is based on the "Shuddh Sarang" raga. The male portions for the reprise of "Poovaasam" were sung by Sriram Parthasarathy, while the original version was sung by Vijay Prakash. Sadhana Sargam sang her portion of both versions of the song.


title: Anbe Sivam

text: Malathi Rangarajan of "The Hindu" wrote, "Vidyasagar is scaling great heights as a composer. The theme song and the melodious are pointers. Vairamuthu's lyrics deserve special mention here." Singer Charulatha Mani, in her column for "The Hindu", "A Raga's Journey", noted, "Poovaasam" possessed "a charm that is born out of classicism incorporated in a populist piece". Arkay of Rediff.com found the songs to be "at best, okay". M. Suganth of "The Times of India", in his review for the music album, "Lovers Special – Vol. 2–4", included "Poovaasam" among the "Hot Picks" of the album.


title: Anbe Sivam

text: According to S. R. Ashok Kumar of "The Hindu", the producers were confident that "Anbe Sivam" would be a strong competitor at the 50th National Film Awards that they had the film reviewed by the Central Board of Film Certification before the end of 2002 so that they could enter the film into the annual awards list. The film was released on 15 January 2003, which coincided with the Thai Pongal festival. It opened alongside five other films, including Vikram's "Dhool", Vijayakanth's "Chokka Thangam", and "Vaseegara", which featured Vijay.


title: Anbe Sivam

text: "Anbe Sivam" was screened as a part of the Indian Panorama section of the International Film Festival of India in 2003. As a tribute to Safdar Hashmi, a special preview of the film was organised by Haasan in association with Safdar Hashmi Memorial Trust (SAHMAT) on 9 January 2003 at Siri Fort Auditorium. The film was dubbed into Telugu as "Sathyame Sivam" and released on 28 February 2003. It was dubbed into Hindi as "Shivam" and was released two years later in 2005. After the release of the original Tamil version, the dubbing rights for the Hindi version were sold at a low price, much to the irritation of the lead actors as they were not able to dub for themselves in Hindi.


title: Anbe Sivam

text: Baradwaj Rangan described the film as "Kamal's latest solo attempt to bend, twist, shape-shift Tamil cinema into forms never-before seen." In his review of the film's DVD, M. Suganth, writing for "The Times of India", called it "one of the finest movies of the decade" and praised the story, screenplay and dialogues before terming the film as "a modern classic". Reviewing the Telugu dubbed version, "Sathyame Sivam", Jeevi of Idlebrain.com said that "this art-kind-of film does entertain the people who love Kamal Hassan flicks" while concluding that it "would remain as one of the good films made in the recent times".


title: Anbe Sivam

text: Malathi Rangarajan of "The Hindu" believed that "well-defined characters, a strong storyline and intelligent screenplay" were the film's "vital ingredients". She further complimented Haasan's treatment of the story, and that his "diligence that has gone into the chiselling of the story and screenplay is only too evident" while calling the film "a laudable effort". P.Devarajan of "Business Line" appreciated Haasan's performance and facial expressions and concluded his review by stating, "This man has intrigued me and will always." Another critic from "The Hindu", Gudipoodi Srihari, appreciated the pair of Haasan and Madhavan, noting that the duo "make a fine combination of pals each with different mental make up, but goodness overflowing." Sujatha Narayanan, in a retrospective review for "The New Indian Express" commended Haasan's writing and Madhan's dialogue, finding them to be "peppered with sharp wit, trivia and emotional depth."


title: Anbe Sivam

text: A reviewer from Sify, in comparison, labelled the film as "average", stating that it was "another predictable and corny film which is neither a comedy caper nor a class act." Similarly, Arkay of Rediff.com praised the performances of the lead cast but wrote the film "tries to do too many things, and ends up failing at most, if not all, of them." S.Anand of "Outlook" felt the film's thematic ideas of communism were presented in a "clichéd" manner, and summarised by saying, "If Rajnikant staked claim to divinity on a right-wing plank with "Baba", Kamal does it with pretensions to rationalist-left rhetoric."


title: Anbe Sivam

text: During the first week of its theatrical run, an analysis by Sudhish Kamath of "The Hindu" showed the film to have grossed 13.1 million in Chennai alone. Despite this, the film underperformed at the box office and incurred heavy losses for Lakshmi Movie Makers, effectively stopping them from investing in other ventures for the year 2003. An estimate by D.Govardan of "The Economic Times" places the losses at 65 million, while Arun Ram of "India Today" states the losses incurred to be 50 million. Srinivasa Ramanujam of "The Times of India" compared the film's failure at the box office to that of "Baba". Both K. Muralitharan and Haasan defended the film's failure by blaming video piracy, with the latter stating that "lots of people saw it, but they didn't pay".


title: Anbe Sivam

text: Following its release, "Anbe Sivam" has attained cult status in Tamil cinema and receives re-runs on television channels. When the film was in post-production, Haasan revealed to film critic and journalist Subhash K. Jha that he was impressed with Madhavan's enthusiasm and performance during the making of the film, subsequently signing him to appear as the protagonist in his production venture, "Nala Damayanthi" (2003).


title: Anbe Sivam

text: Baradwaj Rangan wrote that "Anbe Sivam" was "leagues ahead of the average Tamilwhy, even Indianfilm", though he felt that "the masses were unwilling to accept the experimental nature of the film", while talking about the film's box office failure. During his acceptance speech after winning the Vijay Award for Best Director in 2010 for "Naan Kadavul" (2009), director Bala revealed that a scene in "Anbe Sivam" where Haasan says to Madhavan, "when we love others unconditionally without any expectation, we become Gods", inspired him to make his film. Bala also made a reference to "Anbe Sivam" in his 2003 film, "Pithamagan", in a scene where Suriya's character goes for a screening of the film with his friends. A dialogue told by Haasan to Madhavan, "Do you know what a tsunami is? "Periya alai illa... malai"." (It's not just a big wave... it's a mountain) also attained popularity.


title: Anbe Sivam

text: In 2008, S.R. Ashok Kumar of "The Hindu" listed "Anbe Sivam" among the "top five directorial ventures of SundarC." In a 2008 interview with "The Times of India", SundarC. stated that "Anbe Sivam" "changed [him] personally and professionally", making him a more confident person and altering his outlook towards life. He later contradicted his statement after revealing that the film's failure led him to become almost bankrupt and he remained unpaid for his work. The Income Tax Department froze his bank accounts for a year as he was not able to pay his taxes. He admitted that while he received praises for the film after its theatrical run, he would not make a film similar to "Anbe Sivam" anymore and that he chose to continue making commercial cinema, which he felt better matched his interests. In 2013, Haricharan Pudipeddi of the Indo-Asian News Service agency, included "Anbe Sivam" in his list of "Kamal's most underrated films". He believed the reason for the film's commercial failure was that audiences misunderstood the "sarcastic undertones associated with atheism". On Haasan's birthday, 7 November 2015, Latha Srinivasan of "Daily News and Analysis" considered "Anbe Sivam" to be one of the "films you must watch to grasp the breadth of Kamal Haasan's repertoire". The character of Nallasivam was ranked fourth in "The Times of India"'s list of "Kamal Haasan's top 10 mind-blowing avatars".


title: Anbe Sivam

text: In "Vasool Raja MBBS" (2004), the character Vasool Raja (Haasan), while attending a class asks whether being a doctor is equivalent to being God, and in doing so says "Anbe Venkatachalam", to which one of his classmates gently asks him, "isn't it Anbe Sivam?". Haasan retorts: "Let it be. Let's try something different for a change." The street theatre sequence featuring Nallasivam and his friends performing to make people aware of the atrocities committed by Kandasamy Padayatchi was re-created at Tiruchirappalli in 2008 by Pralayan and his troupe from "Chennai Kalai Kuzhu" under the title "Nammal Mudiyum". In contrast, Pralayan's play explored gender inequality and domestic violence instead of unemployment. Kannada actor Vishnuvardhan noted in 2010 that fellow actor Sudeep's film "Just Maath Maathalli" (2010) bears resemblance to "Anbe Sivam". Hari Narayan, writing for "The Hindu" in 2014, mentions in his article on the Indian rationalist and author Narendra Dabholkar that Umesh Shukla's "OMG – Oh My God!" (2012) was "a toned down version of "Anbe Sivam" where rationality propels humans to find God in themselves, with flaws, which extols the virtue of becoming as much as that of being". In 2015 Uthiran of "Hindu Tamil Thisai" in Tamil, mentions in his review of "Orange Mittai" (2015) that the film's plot might remind viewers of "Anbe Sivam".


title: Robert Pastorelli

text: After he acquired a reputation as a skilled character actor in the 1980s and 1990s, Pastorelli's career went into decline after the death of his girlfriend under mysterious circumstances at his home in 1999. He died of a narcotic overdose in 2004. He was best known as Eldin in "Murphy Brown" (1988–1994), Johnny C. in "Eraser" (1996), and Hughey in "Michael" (1996).


title: Robert Pastorelli

text: Pastorelli was born in New Brunswick, New Jersey, the son of Ledo ("Tally") Pastorelli (1918–2008), an insurance salesman and Dorothy ("Dottie"; 1918–2008), an artist. His sister, Gwen Pastorelli, is an opera singer and a real estate agent.


title: Robert Pastorelli

text: He spent his childhood years in Edison, New Jersey, graduating from Edison High School in 1972. He initially intended a career as a professional boxer, but had to abandon the sport due to injuries sustained in a near-fatal high-speed car crash at the age of 19 (he later claimed that he had a "near death" incident at this time, and that he had experienced himself looking down from above upon his body in the hospital bed with his father at the bedside overcome with grief). He acquired a narcotic habit in his early twenties prior to his acting career that he overcame, but he would relapse throughout his later life.


title: Robert Pastorelli

text: He entered the acting profession via New York City theater in the late 1970s after studying at the New York Academy of Theatrical Arts and the Actors Studio, financially maintaining himself by working as a bartender. In 1977 he made his stage debut in a production of "Rebel Without a Cause". He also performed in productions of "The Rainmaker", and "Death of a Salesman". Later in his career he performed at London's South Bank theater in "A Streetcar Named Desire" in 2002.


title: Robert Pastorelli

text: In 1982 Pastorelli headed west to Los Angeles seeking opportunities in Hollywood. Spending the early 1980s employed in television bit-part appearances, he found a niche playing streetwise characters, appearing also in supporting roles in the cinema films "Outrageous Fortune" (1987) and "Beverly Hills Cop II" (1987). His first substantial cinematic role came with "Dances with Wolves" (1990). His big break in television came with the role of the gruff but lovable house painter Eldin Bernecky on the series "Murphy Brown", which was a ratings hit, and he stayed with the show for seven seasons from 1988 to 1994. "Murphy Brown" producer Diane English was sufficiently impressed with his abilities that she worked with him to produce his first starring vehicle, the television sitcom "Double Rush" which lasted one season in 1995. Two years later, he starred in the American adaptation of the British detective series "Cracker" (1997–1999).


title: Robert Pastorelli

text: As his television career gained momentum Pastorelli's opportunities in cinema roles increased: "" (1993); a career defining performance playing a demented serial killer in the 1993 murder mystery thriller "Striking Distance" (although the movie was not a commercial success); "Eraser" (1996), "Michael" (1996), and "Modern Vampires" (1998).


title: Robert Pastorelli

text: On the evening of March 15, 1999, during an incident at his Hollywood home, Pastorelli's 25-year-old girlfriend, Charemon Jonovich, was killed by a gunshot to the head. During the authorities' investigation that followed, Pastorelli testified that in the midst of an argument between the two of them, she suddenly produced a handgun and killed herself. The incident was investigated as an accident or suicide, and the Los Angeles Coroner's Office declared the cause of death undetermined.


title: Robert Pastorelli

text: Pastorelli was exonerated of responsibility for Charemon Jonovich's death and received public expressions of sympathy within Hollywood and from the Los Angeles media, but his career went into noticeable decline afterwards. He appeared in two more cinema productions in small roles in the early 2000s as well as some minor supporting roles in television productions. He developed a friendship with Glenn Close towards the end of his career, and appeared alongside her in the television films "The Ballad of Lucy Whipple", and in "South Pacific" in 2001. In 2002 he again appeared alongside her at London's Royal National Theatre in a performance of Tennessee Williams' "A Streetcar Named Desire". In 2002 he co-founded the Garden State Film Festival. His posthumous final screen appearance was in the movie "Be Cool" (2005).


title: Robert Pastorelli

text: Pastorelli was found dead at the age of 49 at his home in the Hollywood Hills on March 8, 2004, from a narcotics overdose. At the time of his death he had been forewarned that authorities were planning on arresting him for further questioning regarding the shooting of Charemon Jonovich in March 1999. A review of the original evidence had resulted in her death being reclassified as a homicide, with Pastorelli being identified as a suspect for further investigation. The Coroner's Office reported Pastorelli died of a "fatal blood concentration of morphine". Pastorelli's body was interred in the mausoleum at Saint Catharine's Cemetery in Sea Girt, New Jersey.


title: Robert Pastorelli

text: Pastorelli had two daughters, Gianna Li Pastorelli (born February 6, 1998) with Charemon Jonovich, and Giannina Marie Pastorelli (born March 6, 2000) with his then-girlfriend, Jalee Carder.


title: Allure of the Seas

text: Allure of the Seas is an owned and operated by Royal Caribbean International. , the "Oasis" class ships were the largest passenger vessels ever in service, and "Allure" is longer than her sister ship "Oasis of the Seas", though both were built to the same specifications. Designed under the name "Project Genesis", she was ordered from Aker Finnyards in February 2006 and her construction began at the Perno shipyard, Turku, Finland, in February 2008. She was named in May 2008 after a contest was held to name her and her sister. The keel of "Allure of the Seas" was laid on 2 December 2008, shortly after the shipyard had been acquired by STX Europe.


title: Allure of the Seas

text: Upon her launch in November 2009, she became the world's largest passenger ship, taking the place of "Oasis of the Seas". She was eclipsed by her sister ship "Harmony of the Seas" upon its launch in June 2015. "Harmony of the Seas" has an overall length of .


title: Allure of the Seas

text: The keel of "Allure of the Seas" was laid on 2 December 2008 at the STX Europe Turku shipyard, Finland, during a ceremony involving Royal Caribbean and STX representatives. She was launched on 20 November 2009, with further outfitting taking place while afloat in the shipyard. "Allure of the Seas" was declared complete and formally delivered to Royal Caribbean on 28 October 2010. She left the Turku shipyard on 29 October 2010 at 05:45 UTC, heading directly to her home port of Port Everglades, near Fort Lauderdale, Florida, USA. The ship is equipped with telescoping funnels to pass under bridges such as the Storebælt Bridge, which she passed on 30 October 2010. While media has reported that there was only of clearance, the truth is that at the mean water level it was closer to and the much-advertised squat effect, whereby vessels traveling at speed in a shallow channel will be drawn deeper into the water, did not have significant effect on the draft of the vessel.


title: Allure of the Seas

text: On 11 November 2010 at approximately 14:30 UTC, "Allure of the Seas" arrived at her home port of Port Everglades, Florida. She was greeted by thousands of spectators waiting on the shore.


title: Allure of the Seas

text: The ship was formally named by her godmother, the fictional character Princess Fiona, in a ceremony on 28 November 2010.


title: Allure of the Seas

text: In February 2014, "Allure of the Seas" entered dry dock at Grand Bahama island for seven days to replace a damaged gearbox in one of her Azipods. As the dry dock facility was not large enough to fully accommodate an "Oasis"-class ship, a unique solution had to be devised to allow the replacement, known as "Project Atlantis". During her time in dry dock, the crew used the downtime to make numerous repairs and refurbishments to the guest facilities, including the installation of new carpets.


title: Allure of the Seas

text: "Allure of the Seas" sailed year-round in the Caribbean region out of Port Everglades from its homeporting in 2010 through 2014. She changed port to Barcelona and sailed the Mediterranean between May and October 2015, becoming the largest cruise ship and the first "Oasis"-class ship to spend a full season in that region. Afterward, she returned to Port Everglades.


title: Allure of the Seas

text: "Allure of the Seas" changed its home port in November 2018 to the Port of Miami, where Royal Caribbean constructed a new cruise terminal. She was joined by the fourth "Oasis"-class vessel, "Symphony of the Seas", and both sail year-round from the port offering seven-night Western and Eastern Caribbean cruises.


title: Allure of the Seas

text: In March 2019, "Allure of the Seas" was named second for "Best Cruises Overall" in the 2019 Cruise Critic Cruisers' Choice Awards.


title: Allure of the Seas

text: In early May 2019, the itinerary for some of the ship's sailings had to be adjusted due to a technical issue with one of the ship's propulsion pods, causing it to have to sail at a reduced speed.


title: Allure of the Seas

text: "Allure of the Seas" was expected to be refitted in early 2020, which would have included the addition of approximately 50 more passenger cabins. However, due to the COVID-19 pandemic, this was delayed by Royal Caribbean to an unknown date.


title: Allure of the Seas

text: Starting in November 2022, "Allure of the Seas" will be based in Galveston, Texas, at the Port of Galveston's new cruise terminal.


title: Allure of the Seas

text: The classified length of "Allure of the Seas" is the same as that of her sister, , though she is reported to be longer than "Oasis of the Seas". According to the shipyard, this is not intentional and such small differences in length may occur simply due to the temperature of the steel in a ship as big as this. The gross tonnage of "Allure of the Seas" is 225,282 and her displacement is equal to that of "Oasis of the Seas", which is estimated to be around 100,000 metric tons, slightly less than that of an American . Her steel hull alone weighs roughly 54,000 tons.


title: Allure of the Seas

text: The ship features a two-deck dance hall, a theatre with 1,380 seats, an ice skating rink, 7 distinct "neighborhoods", and 25 dining options, including a Starbucks coffee shop at sea. Many of the ship's interiors were extensively decorated by muralist Clarissa Parish.


title: Allure of the Seas

text: Before beginning service from Port Everglades, "Allure of the Seas" was fitted with an 80 kW solar array by BAM Energy Group which powers the shopping district. The system cost and covers an area of . It uses Uni-Solar BIPV laminates designed to withstand foot traffic and marine conditions.


title: Nefertiti Bust

text: The Nefertiti Bust is a painted stucco-coated limestone bust of Nefertiti, the Great Royal Wife of Egyptian pharaoh Akhenaten. The work is believed to have been crafted in by Thutmose because it was found in his workshop in Amarna, Egypt. It is one of the most-copied works of ancient Egypt. Nefertiti has become one of the most famous women of the ancient world and an icon of feminine beauty.


title: Nefertiti Bust

text: A German archaeological team led by Ludwig Borchardt discovered the bust in 1912 in Thutmose's workshop. It has been kept at various locations in Germany since its discovery, including the cellar of a bank, a salt-mine in Merkers-Kieselbach, the Dahlem museum, the Egyptian Museum in Charlottenburg and the Altes Museum. It is currently on display at the Neues Museum in Berlin, where it was originally displayed before World War II.


title: Nefertiti Bust

text: The Nefertiti bust has become a cultural symbol of Berlin as well as ancient Egypt. It has also been the subject of an intense argument between Egypt and Germany over Egyptian demands for its repatriation, which began in 1924, once the bust was first displayed to the public. Egyptian inspectors said their predecessors were misled about the actual bust before they let it out of the country, and the Berlin museum refers to an official protocol, signed by the German excavator and the Egyptian Antiquities Service of the time, about "a painted plaster bust of a princess".


title: Nefertiti Bust

text: Nefertiti (meaning "the beautiful one has come forth") was the 14th-century BCE Great Royal Wife (chief consort) of the Egyptian Pharaoh Akhenaten of the Eighteenth Dynasty of Egypt. Akhenaten initiated a new monotheistic form of worship called Atenism dedicated to the Sun disc Aten. Little is known about Nefertiti. Theories suggest she could have been an Egyptian royal by birth, a foreign princess or the daughter of a high government official named Ay, who became pharaoh after Tutankhamun. She may have been the co-regent of Egypt with Akhenaten, who ruled from 1352 BCE to 1336 BCE. Nefertiti bore six daughters to Akhenaten, one of whom, Ankhesenpaaten (renamed Ankhesenamun after the suppression of the Aten cult), married Tutankhamun, Nefertiti's stepson. While it was once thought that Nefertiti disappeared in the twelfth year of Akhenaten's reign because of her death or because she took a new name, she was still alive in the sixteenth year of her husband's reign according to a limestone quarry inscription found at Dayr Abū Ḥinnis "on the eastern side of the Nile, about ten kilometres [6 miles] north of Amarna." Nefertiti may have become a pharaoh in her own right for a short time after her husband's death.


title: Nefertiti Bust

text: The bust of Nefertiti is believed to have been crafted about 1345 BCE by the sculptor Thutmose. The bust does not have any inscriptions, but can be certainly identified as Nefertiti by the characteristic crown, which she wears in other surviving (and clearly labelled) depictions, for example the "house altar".


title: Nefertiti Bust

text: The bust was found on 6 December 1912 at Amarna by the German Oriental Company ("Deutsche Orient-Gesellschaft" – DOG), led by German archaeologist Ludwig Borchardt. It was found in what had been the workshop of the sculptor Thutmose, along with other unfinished busts of Nefertiti. Borchardt's diary provides the main written account of the find; he remarks, "Suddenly we had in our hands the most alive Egyptian artwork. You cannot describe it with words. You must see it."


title: Nefertiti Bust

text: A 1924 document found in the archives of the German Oriental Company recalls a 20 January 1913 meeting between Borchardt and a senior Egyptian official to discuss the division of the archeological finds of 1912 between Germany and Egypt. According to the secretary of the German Oriental Company (who was the author of the document and who was present at the meeting), Borchardt "wanted to save the bust for us". Borchardt is suspected of having concealed the bust's real value, although he denied doing so.


title: Nefertiti Bust

text: While Philipp Vandenberg describes the coup as "adventurous and beyond comparison", "Time" magazine lists it among the "Top 10 Plundered Artifacts". Borchardt showed the Egyptian official a photograph of the bust "that didn't show Nefertiti in her best light". The bust was wrapped up in a box when Egypt's chief antiques inspector, Gustave Lefebvre, came for inspection. The document reveals that Borchardt claimed the bust was made of gypsum to mislead Lefebvre. The German Oriental Company blames the negligence of Lefebvre and points out that the bust was at the top of the exchange list and says the deal was done fairly.


title: Nefertiti Bust

text: The bust is tall and weighs about . It is made of a limestone core covered with painted stucco layers. The face is completely symmetrical and almost intact, but the left eye lacks the inlay present in the right. The pupil of the right eye is of inserted quartz with black paint and is fixed with beeswax. The background of the eye-socket is unadorned limestone. Nefertiti wears her characteristic blue crown known as the "Nefertiti cap crown" with a golden diadem band looped around like horizontal ribbons and joining at the back, and an Uraeus (cobra), which is now broken, over her brow. She also wears a broad collar with a floral pattern. The ears have suffered some damage. "Gardner's Art Through the Ages" suggests that "With this elegant bust, Thutmose may have been alluding to a heavy flower on its slender sleek stalk by exaggerating the weight of the crowned head and the length of the almost serpentine neck."


title: Nefertiti Bust

text: According to David Silverman, the bust reflects the classical Egyptian art style, deviating from the "eccentricities" of the Amarna art style, which was developed in Akhenaten's reign. The exact function of the bust is unknown, though it is theorized that the bust may be a sculptor's modello to be used as a basis for other official portraits, kept in the artist's workshop.


title: Nefertiti Bust

text: Borchardt commissioned a chemical analysis of the coloured pigments of the head. The result of the examination was published in the book "Portrait of Queen Nofretete" in 1923:


title: Nefertiti Bust

text: When the bust was first discovered, no quartz to represent the iris of the left eyeball was present as in the other eye, and none was found despite an intensive search and a then significant reward of £1000 being put up for information regarding its whereabouts. Borchardt assumed that the quartz iris had fallen out when Thutmose's workshop fell into ruin. The missing eye led to speculation that Nefertiti may have suffered from an ophthalmic infection and lost her left eye, though the presence of an iris in other statues of her contradicted this possibility.


title: Nefertiti Bust

text: Dietrich Wildung proposed that the bust in Berlin was a model for official portraits and was used by the master sculptor for teaching his pupils how to carve the internal structure of the eye, and thus the left iris was not added. "Gardner's Art Through the Ages" and Silverman present a similar view that the bust was deliberately kept unfinished. Zahi Hawass, former Egyptian Minister of State for Antiquities Affairs, suggested that Thutmose created the left eye, but that it was later destroyed.


title: Nefertiti Bust

text: The bust was first CT scanned in 1992, with the scan producing cross sections of the bust every . In 2006, Dietrich Wildung, director of Berlin's Egyptian Museum, while trying a different lighting at the Altes Museum, where the bust was then displayed, observed wrinkles on Nefertiti's neck and bags under her eyes, suggesting the sculptor had tried to depict signs of aging. A CT scan confirmed Wildung's findings; Thutmose had added gypsum under the cheeks and eyes in an attempt to perfect his sculpture.


title: Nefertiti Bust

text: The CT scan in 2006, led by Alexander Huppertz, director of the Imaging Science Institute in Berlin, revealed a wrinkled face of Nefertiti carved in the inner core of the bust. The results were published in the April 2009's "Radiology". The scan revealed that Thutmose placed layers of varying thickness on top of the limestone core. The inner face has creases around her mouth and cheeks and a swelling on the nose. The creases and the bump on the nose are leveled by the outermost stucco layer. According to Huppertz, this may reflect "aesthetic ideals of the era". The 2006 scan provided greater detail than the 1992 one, revealing subtle details just under the stucco.


title: Nefertiti Bust

text: The bust has become "one of the most admired, and most copied, images from ancient Egypt", and the star exhibit used to market Berlin's museums. It is seen as an "icon of international beauty." "Showing a woman with a long neck, elegantly arched brows, high cheekbones, a slender nose and an enigmatic smile played about red lips, the bust has established Nefertiti as one of the most beautiful faces of antiquity." It is described as the most famous bust of ancient art, comparable only to the mask of Tutankhamun.


title: Nefertiti Bust

text: Nefertiti has become an icon of Berlin's culture. Some 500,000 visitors see her every year. The bust is described as "the best-known work of art from ancient Egypt, arguably from all antiquity". Her face is on postcards of Berlin and 1989 German postage stamps.


title: Nefertiti Bust

text: The bust has been in Germany since 1913, when it was shipped to Berlin and presented to James Simon, a wholesale merchant and the sponsor of the Amarna excavation. It was displayed at Simon's residence until 1913, when Simon lent the bust and other artifacts from the Amarna dig to the Berlin Museum. Although the rest of the Amarna collection was displayed in 1913–14, the bust was kept secret at Borchardt's request. In 1918, the museum discussed the public display of the bust, but again kept it secret at the request of Borchardt. It was permanently donated to the museum in 1920. In 1923, the bust was revealed to the public in Borchardt's writings; in 1924, it was displayed to the public as part of the Egyptian Museum of Berlin. The bust created a sensation, swiftly becoming a world-renowned icon of feminine beauty and one of the most universally recognised artifacts to survive from Ancient Egypt. The bust was displayed in Berlin's Neues Museum on Museum Island until the museum was closed in 1939; with the onset of World War II, Berlin museums were emptied and artifacts moved to secure shelters for safekeeping. Initially stored in the cellar of the Prussian Governmental Bank, the bust was moved in the autumn of 1941 to the tower of a flak bunker in Berlin. The Neues Museum suffered bombings in 1943 by the Royal Air Force. On 6 March 1945, the bust was moved to a German salt mine at Merkers-Kieselbach in Thuringia.


title: Nefertiti Bust

text: In March 1945, the bust was found by the American Army and given over to its Monuments, Fine Arts and Archives branch. It was moved to the Reichsbank in Frankfurt and shipped in August to the U.S. Central Collecting Point in Wiesbaden, where it was put on public display beginning in 1946. It remained on display at the Museum Wiesbaden for ten years before being transferred in 1956 to West Berlin, where it was exhibited at the Dahlem Museum. As early as 1946, East Germany (German Democratic Republic) pressed for the return of the bust to Museum Island in East Berlin, where it had been displayed before the war. In 1967, the bust was moved to the Egyptian Museum in the Charlottenburg borough of Berlin and remained there until 2005, when it was moved to the Altes Museum. The bust returned to the Neues Museum as its centerpiece when the museum reopened in October 2009.


title: Nefertiti Bust

text: Since the official unveiling of the bust in Berlin in 1924, Egyptian authorities have demanded its return to Egypt. In 1925, Egypt threatened to ban German excavations in Egypt unless the bust was returned. In 1929, Egypt offered to exchange other artifacts for the bust, but Germany declined.


title: Nefertiti Bust

text: Although Germany had previously strongly opposed repatriation, in 1933 Hermann Göring considered returning the bust to King Farouk Fouad of Egypt as a political gesture. Hitler opposed the idea and told the Egyptian government that he would build a new Egyptian museum for Nefertiti. "In the middle, this wonder, Nefertiti, will be enthroned," Hitler said. "I will never relinquish the head of the Queen." While the bust was under American control, Egypt requested the United States to hand it over; the US refused and advised Egypt to take up the matter with the new German authorities. In the 1950s, Egypt again tried to initiate negotiations, but there was no response from Germany. In 1989, Egyptian President Hosni Mubarak viewed the bust and announced that Nefertiti was "the best ambassador for Egypt" in Berlin.


title: Nefertiti Bust

text: Egyptian archaeologist, Egyptologist, and former Minister of State for Antiquities Affairs, Zahi Hawass believed that the bust belongs to Egypt and that it was taken out of Egypt illegally and should therefore be returned. He maintained the stance that Egyptian authorities were misled over the acquisition of the bust in 1913 and demanded that Germany prove that it was exported legally. According to Kurt G. Siehr, another argument in support of repatriation is that "Archeological finds have their 'home' in the country of origin and should be preserved in that country." The repatriation issue sprang up again in 2003 over the "Body of Nefertiti" sculpture. In 2005, Hawass requested that UNESCO intervene to return the bust.


title: Nefertiti Bust

text: In 2007, Hawass threatened to ban exhibitions of Egyptian artifacts in Germany, if the bust was not lent to Egypt, but to no avail. He also requested a worldwide boycott of loans to German museums to initiate what he called a "scientific war". Hawass wanted Germany to lend the bust to Egypt in 2012 for the opening of the new Grand Egyptian Museum near the Great Pyramids of Giza. Simultaneously, a campaign called "Nefertiti Travels" was launched by cultural association CulturCooperation, based in Hamburg, Germany. They distributed postcards depicting the bust with the words "Return to Sender" and wrote an open letter to German Culture Minister Bernd Neumann supporting the view that Egypt should be given the bust on loan. In 2009, when the bust was moved back to the Neues Museum, the appropriateness of Berlin as its location was questioned.


title: Nefertiti Bust

text: Several German art experts have attempted to refute all the claims made by Hawass, pointing to the 1924 document discussing the pact between Borchardt and Egyptian authorities. German authorities have also argued the bust is too fragile to transport and that legal arguments for repatriation were insubstantial. According to "The Times", Germany may be concerned that lending the bust to Egypt would mean its permanent departure from Germany.


title: Nefertiti Bust

text: In December 2009, Friederike Seyfried, director of Berlin's Egyptian Museum and Papyrus Collection, presented to the Egyptians documents held by the museum regarding the discovery of the bust, which include a protocol signed by the German excavator and the Egyptian Antiquities Service. In the documents, the bust was listed as a painted plaster bust of a princess, but in his diary, Borchardt clearly referred to it as the head of Nefertiti. "This proves that Borchardt wrote this description so that his country can get the statue," Hawass said. "These materials confirm Egypt's contention that (he) did act unethically with intent to deceive." However, Hawass said Egypt didn't consider the bust to be a looted antiquity. "I really want it back," he said. His statement also said that the authority to approve the return of the bust to Egypt lies with the Prussian Cultural Heritage Foundation and the German culture minister.


title: Nefertiti Bust

text: The French language book "Le Buste de Nefertiti – une Imposture de l'Egyptologie?" ("The Bust of Nefertiti – a Fraud in Egyptology?") by Swiss art historian Henri Stierlin and the book "Missing Link in Archaeology" by Berlin author and historian Erdogan Ercivan both claimed that the bust was a modern fake. Stierlin claims that Borchardt may have created the bust to test ancient pigments and that when the bust was admired by Prince Johann Georg of Saxony, Borchardt pretended it was genuine to avoid offending the prince. Stierlin argues that the missing left eye of the bust would have been a sign of disrespect in ancient Egypt, that no scientific records of the bust appear until 11 years after its supposed discovery and, while the paint pigments are ancient, the inner limestone core has never been dated. Ercivan suggests Borchardt's wife was the model for the bust and both authors argue that it was not revealed to the public until 1924 because it was a fake. Another theory suggested that the existing bust was crafted in the 1930s on Hitler's orders and that the original was lost in World War II.


title: Nefertiti Bust

text: Dietrich Wildung dismissed the claims as a publicity stunt since radiological tests, detailed computer tomography and material analysis have proved its authenticity. The pigments used on the bust have been matched to those used by ancient Egyptian artisans. The 2006 CT scan that discovered the "hidden face" of Nefertiti proved, according to "Science News," that the bust was genuine.


title: Nefertiti Bust

text: Egyptian authorities also dismissed Stierlin's theory. Hawass said, "Stierlin is not a historian. He is delirious." Although Stierlin had argued "Egyptians cut shoulders horizontally" and Nefertiti had vertical shoulders, Hawass said that the new style seen in the bust is part of the changes introduced by Akhenaten, the husband of Nefertiti. Hawass also claimed that Thutmose had created the eye, but it was later destroyed.


title: Nefertiti Bust

text: In 2003, the Egyptian Museum in Berlin allowed the Hungarian artist duo Little Warsaw, András Gálik and Bálint Havas, to place the bust atop a nearly nude female bronze for a video installation to be shown at the Venice Biennale modern art festival. The artists said the project, called "Body of Nefertiti," was an attempt to pay homage to the bust. According to Wildung, it showed "the continued relevance of the ancient world to today's art." Egyptian cultural officials proclaimed it to be a disgrace to "one of the great symbols of their country's history" and banned Wildung and his wife from further exploration in Egypt. The Egyptian Minister for Culture, Farouk Hosny, declared that Nefertiti was "not in safe hands" and although Egypt had not renewed their claims for restitution "due to the good relations with Germany," this "recent behaviour" was unacceptable.


title: Nefertiti Bust

text: In 2016 a freedom of information request was made to the Egyptian Museum for access to a full colour scan of the bust that had been made by the museum 10 years prior. The museum declined the request citing impact on gift shop revenue. Eventually the Prussian Cultural Heritage Foundation which oversees the museum released the file, which is now available (not directly from the museum), however controversially attached a copyright to the work, which is in the public domain.


title: Nefertiti Bust

text: In 1930, the German press described the bust as their new monarch, personifying it as a queen. As the "'most precious ... stone in the setting of the diadem' from the art treasures of 'Prussia Germany'", Nefertiti would re-establish the imperial German national identity after 1918. Hitler described the bust as "a unique masterpiece, an ornament, a true treasure", and pledged to build a museum to house it. By the 1970s, the bust had become an issue of national identity to both German states, East Germany and West Germany, created after World War II. In 1999, the bust appeared on an election poster for the green political party Bündnis 90/Die Grünen as a promise for a cosmopolitan and multi-cultural environment with the slogan "Strong Women for Berlin!" According to Claudia Breger, another reason that the bust became associated with German national identity was its place as a rival to Tutankhamun, found by the British who then ruled Egypt.


title: Nefertiti Bust

text: The bust became an influence on popular culture, with Jack Pierce's make-up work on Elsa Lanchester's hairstyle in the film "Bride of Frankenstein" being inspired by it.


title: Tanishaa Mukerji

text: Tanisha Mukerji is an Indian actress known for her works in Hindi, Telugu and Tamil films. Part of the Mukherjee-Samarth family, she is the daughter of filmmaker Shomu Mukherjee and actress Tanuja, and the younger sister of actress Kajol. She made her debut with the Hindi film "Sssshhh..." in 2003. She had her first hit with Ram Gopal Varma's "Sarkar", appearing alongside Amitabh Bachchan and Abhishek Bachchan. She was a contestant on the reality show "Bigg Boss 7", where she became the 1st runner-up.


title: Tanishaa Mukerji

text: Tanishaa Mukerji is the daughter of Shomu Mukherjee and veteran Bollywood actress Tanuja. She's the younger sister of Bollywood actress Kajol and she is Bengali from her father and Marathi from her mother. Tanisha was in relationship with her Big Boss 7 housemate Armaan Kohli for a year before they broke up in October 2014.


title: Tanishaa Mukerji

text: Tanishaa got her first break in Bollywood with her film, "Sssshhh..." opposite Karan Nath. Her Tamil movie "Unnale Unnale", opposite Vinay Rai was successful at the box office and got her a nomination at Vijay Awards for Best Debut Actress. In 2005, she played the female lead character of Nikkita Bakshi aka Nikki, in "Neal N Nikki", opposite Uday Chopra. She was also seen in movies such as "Popcorn Khao! Mast Ho Jao", "Sarkar", "Tango Charlie" and many more.


title: Tanishaa Mukerji

text: She participated in the television reality show "Bigg Boss 7" and became the 1st runner-up. She was later seen as one of the judges in the stand-up comedy show "Gangs of Haseepur". In 2016, Tanishaa participated in "" and became a finalist.


title: Alpha Phi Alpha

text: Alpha Phi Alpha Fraternity, Inc. () is the oldest intercollegiate historically African American fraternity. It was initially a literary and social studies club organized in the 1905–1906 school year at Cornell University but later evolved into a fraternity with a founding date of December 4, 1906. It employs an icon from Ancient Egypt, the Great Sphinx of Giza, as its symbol. Its aims are "Manly Deeds, Scholarship, and Love For All Mankind," and its motto is "First of All, Servants of All, We Shall Transcend All." Its archives are preserved at the Moorland-Spingarn Research Center.


title: Alpha Phi Alpha

text: Chapters were chartered at Howard University and Virginia Union University in 1907. The fraternity has over 290,000 members and has been open to men of all races since 1945. Currently, there are more than 730 active chapters in the Americas, Africa, Europe, the Caribbean, and Asia. It is the largest predominantly African-American intercollegiate fraternity and one of the ten largest intercollegiate fraternities in the nation.


title: Alpha Phi Alpha

text: Alpha Phi Alpha is a social organization with a service organization mission and provided leadership and service during the Great Depression, World Wars, and Civil Rights Movement. The fraternity addresses social issues such as apartheid, AIDS, urban housing, and other economic, cultural, and political issues of interest to people of color. National programs and initiatives of the fraternity include A Voteless People Is a Hopeless People, My Brother's Keeper, Go To High School, Go To College, Project Alpha, and the World Policy Council. It also conducts philanthropic programming initiatives with the March of Dimes, Head Start, the Boy Scouts of America, and Big Brothers Big Sisters of America.


title: Alpha Phi Alpha

text: Members of this fraternity include many historical civil rights leaders such as Martin Luther King Jr., NAACP founder W. E. B. Du Bois, John Mack (civic leader), Rev. Joseph E. Lowery, Rev. C.T. Vivian, and Dick Gregory. Other world renowned-members include political activist Cornel West, musicians Duke Ellington, Donny Hathaway, and Lionel Richie, NBA legend Walt Frazier, NFL Player Charles Haley, Jamaican Prime Minister Norman Manley, Olympic gold medalist Jesse Owens, Justice Thurgood Marshall, Investor and founder of Vista Equity Partners Robert F. Smith, United Nations Ambassador Andrew Young, Academy Award-winning director Barry Jenkins, six time MTV Video Music Awards - winning director/choreographer Frank Gatson Jr., hero of the Nashville Waffle House shooting, James Shaw Jr., and ESPN sportscasters Stuart Scott, Stan Verrett, Jay Harris and Donald Driver.


title: Alpha Phi Alpha

text: Alpha Phi Alpha was directly responsible for the conception, funding, and construction of the Martin Luther King Jr. Memorial next to the National Mall in Washington, D.C.


title: Alpha Phi Alpha

text: At the start of the 20th century, African-American students at American universities were often excluded from fraternal organizations enjoyed by the predominantly white student population at non-black colleges. Charles Cardoza Poindexter organized a group of students for literary discussion and social functions at Cornell University. The group initially consisted of 15 students and included women. The initial study group consisted of 14 students. These students included four from Washington, D.C. – Robert Ogle, Fred Morgan Phillip, Fannie Holland, and Flaxie Holcosbe. There were also four men and a woman from New York State: George Kelley, Henry A. Callis, James Thomas, Gordon Jones, and Paul Ray. From West Virginia came Eugene Kinckle Jones and Mary Vassar. Vertner Tandy came from Kentucky, and C.H. Chapman was from Florida.


title: Alpha Phi Alpha

text: The group met every two weeks at 421 North Albany Street, where Poindexter roomed. Poindexter was stated to have a relationship with the other students of the group that was more faculty to student than peer-to-peer, given that he was the secretary of a professor at Cornell. In December 1905, Poindexter organized a meeting of students which included Murray, Ogle, Phillips, Chapman, Kelley, Callis, Tandy, and George Tompkins.


title: Alpha Phi Alpha

text: Robert Ogle had seen an article in the "Chicago Defender" magazine about a Negro fraternity at Ohio State University called Pi Gamma Omicron, of which the university had no knowledge. Pi Gamma Omicron inspired Ogle to try to transform the literary society into a fraternity. There was disagreement about the group's purpose: some wanted a social and literary club where everyone could participate; others wanted a traditional fraternal organization. Poindexter felt the group should serve the cultural and social needs of the black community and not be an elite secret society. The society decided to work to provide a literary, study, social, and support group for all minority students who encountered social and academic racial prejudice. On October 23, 1906, George Kelley proposed that the organization be officially known by the Greek letters Alpha Phi Alpha, and Robert Ogle proposed the colors black and old gold. Poindexter became the first President of Alpha Phi Alpha; under his leadership, the first banquet, initiation procedures, and policies were introduced.


title: Alpha Phi Alpha

text: The divisive issue of whether the terms "club" or "fraternity" should be used was still debated. A vote again confirmed the name Alpha Phi Alpha with the colors of old gold and black. The initiation of new members Eugene Kinckle Jones, Lemuel Graves and Gordon Jones took place on October 30, 1906, at a Masonic Hall including James Morton was considered and selected, but at the time he was not registered at the university. Two founding members learned about fraternity rituals from other fraternal organizations: Henry A. Callis worked in the Sigma Alpha Epsilon fraternity House, and Kelly worked at Beta Theta Pi fraternity house. Coincidentally, an article about a Negro fraternity Pi Gamma Omicron's ambitions to become a national fraternity was noted by a Beta Theta Pi correspondent at Ohio State University. Callis said that these fraternities, SAE and BTP, were the original source of the fraternity rituals. The other members of the group felt that Poindexter, as a graduate student, dominated the meetings of Alpha Phi Alpha. In his absence in the meeting in November 1906, the fraternity idea was pushed for a vote by Murray and was seconded by Robert H Ogle. In December 1906, Thompson's resignation was accepted. Seven of the original 12 men from the initial meeting in December 1905 would continue on as members of the fraternity.


title: Alpha Phi Alpha

text: By December 4, 1906, the decision on a name was made: "fraternity". The earlier terms "club", "organization", and "society" were permanently removed. Prior to the December 4th, 1906 meeting Poindexter had submitted his letter of resignation from the Alpha Phi Alpha club / society, as he took a new job in Hampton University in Virginia. 11 members were present during the date of the founding of the fraternity on December 4, 1906. Despite Poindexter's role in the formation of Alpha Phi Alpha, it was agreed that his name would not be linked to the early formation of the fraternity by its founders. Murray was emphatic in his belief that Poindexter should not be considered to be a founder despite his role. As Charles Wesley stated in the fraternity's history book, "C.C. Poindexter deserves special mention. Without his serious and eager leadership, it is probable that the fraternal organization would have advanced more slowly. He was the moving spirit in the literary organization which served as the predecessor of the fraternity. He acted as president of the group and continued in office during the formation of the early policies and also through the first initiation in Alpha Phi Alpha society." According to his wife, Poindexter did not oppose the idea of a fraternity.


title: Alpha Phi Alpha

text: The original fraternal founding members are now stated to be Henry Arthur Callis, Charles Henry Chapman, Eugene Kinckle Jones (who replaced James Morton), George Biddle Kelley, Nathaniel Allison Murray, Robert Harold Ogle, and Vertner Woodson Tandy. Eugene Kinkle Jones who joined the group in October 1906 was given the title of a founder in 1952, while James Morton was removed because of his lack of enrollment in the Cornell. The founders are collectively known as the Seven Jewels.


title: Alpha Phi Alpha

text: Mrs. Annie C Singleton played a pivotal part in helping the organization in its early years. She became the Mother of the fraternity as a result.


title: Alpha Phi Alpha

text: The fraternity's constitution was adopted on December 4, 1906, limiting membership to "Negro male" students and providing that the General Convention of the Fraternity would be created following the establishment of the fourth chapter of Alpha Phi Alpha. The preamble states the purpose of Alpha Phi Alpha:


title: Alpha Phi Alpha

text: Chapters of Alpha Phi Alpha are given Greek-letter names in order of installation into the fraternity. No chapter is designated Omega, the last letter of the Greek alphabet and traditionally used for "the end". Deceased brothers are considered by brothers to have joined Omega Chapter.