title: Narmada Bachao Andolan

text: However, the Bank realised the harm that it had done by sanctioning the loan for the project and thus announced that the new projects should "ensure that, after a reasonable transition period, the displaced people regain at least their previous standard of living." Despite this, the relocation process was flawed. Several tribal people have been harmed by the project. The Bank then adopted certain policies to ensure proper relocation of the tribal people and protect them from the forced relocation . The Indian government, however, did not adopt these policies.


title: Narmada Bachao Andolan

text: In 1985, irrespective of the harm done by the Sardar Sarovar project, the World bank sanctioned a loan to the state governments for construction purposes. The Bank did ask for a proper resettlement design but also said, "The argument in favour of the Sardar Sarovar Project is that the benefits are so large that they substantially outweigh the costs of the immediate human and environmental disruption."


title: Narmada Bachao Andolan

text: Medha Patkar and other protesters testified on the Bank's role in Washington D.C in 1989. This led to a build-up of pressure on the Bank to set an independent review to assess the situation at hand. A lot of support was withdrawn from the project after this.


title: Narmada Bachao Andolan

text: The Morse Commission was established to look into the construction of the dam, and the environmental cost and human displacement in 1991. For the first time, a Bank commissioned panel had complete access to the documents to form a report. The 357 pages' report mentioned the lack of any environmental assessment undertaken either by the Indian Government or the World Bank. In an internal referendum held, the Bank very closely voted for the continuation of the Narmada Dam Project.


title: Narmada Bachao Andolan

text: Medha Patkar has been at the forefront of the movement. She has organised several fasts and satyagrahas, and been to jail several times for the cause.


title: Narmada Bachao Andolan

text: Another popular figure was Baba Amte, known for his work against leprosy. He published a booklet called "Cry O Beloved Narmada" in 1989 to protest against the construction of the dam.


title: Narmada Bachao Andolan

text: Amongst the major celebrities who have shown their support for Narmada Bachao Andolan are Booker Prize winner Arundhati Roy and Aamir Khan. It was also supported by music composer and bass guitarist in the band Indian Ocean, Rahul Ram, who was actively involved in the movement from 1990 to 1995.


title: Narmada Bachao Andolan

text: In 1994 was the launch of "", by filmmaker Ali Kazimi. It documents the five-week Sangharsh Yatra of 1991. The film went on to win several awards and is considered by many to be a classic on the issue. In 1996, veteran documentary filmmaker, Anand Patwardhan, made an award-winning documentary: "A Narmada Diary". Alok Agarwal, current member of the Aam Aadmi Party, is an active figure in the movement.


title: Narmada Bachao Andolan

text: Bihar CM Nitish Kumar participated in rally organised by NBA on the bank of Narmada at Rajghat on 16 Sep 2016. Expressing solidarity with the Andolan Mr. Nitish Kumar said "I have come from Patna to extend support to the agitation on the side of river Narmada here".


title: Narmada Bachao Andolan

text: Supporting the NBA's main demand CM Nitish Kumar appealed to PM Mr Modi at Rajghat saying "Pradhan Mantri ji, don't close the gates of Sardar Sarovar Dam. Rehabilitate people not by giving cash, but giving them alternative land/employment. Don't make plans to drown 2.5 lakh people by closing the gates," he said in a statement released in Barwani.


title: Narmada Bachao Andolan

text: The court ruled for Andolan, effecting an immediate stoppage of work at the dam and directing the concerned states to complete the rehabilitation and replacement process.


title: Narmada Bachao Andolan

text: It deliberated on this issue further for several years and finally upheld the Tribunal Award and allowed the construction to proceed, subject to conditions. The court introduced a mechanism to monitor the progress of resettlement pari passu with the raising height of the dam through the Grievance Redressal Authorities (GRA) in each party state. The decision referred in this document, given in 2000 after 7 years of deliberations, has paved the way for completing the project to attain full envisaged benefits. The court's final line of the order states, "Every endeavour shall be made to see that the project is completed as expeditiously as possible".


title: Narmada Bachao Andolan

text: "The Narmada Bachao Andolaan (NBA) has rendered a yeoman's service to the country by creating a high-level of awareness about the environmental and rehabilitation and relief aspects of Sardar Sarovar and other projects on the Narmada. But, after the court verdict it is incumbent on it to adopt a new role. Instead of 'damning the dam' any longer, it could assume the role of vigilant observer to see that the resettlement work is as humane and painless as possible and that the environmental aspects are taken due care of."


title: Narmada Bachao Andolan

text: Medha Patkar continues to fight for proper rehabilitation of the displaced people in Madhya Pradesh as well as the reception of the promised compensation by the Narmada Tribunal. This movement has brought forth the different notions of development. The Indian government has often argued that the cost of displacements are outweighed by the benefit derived from the Narmada Project, and thus, justified its construction. NBA, on the other hand has argued no matter how large the benefits, the cost to the society cannot be fulfilled.


title: Narmada Bachao Andolan

text: Critics argue that dam's benefits include provision of drinking water, power generation and irrigation facilities. However, it is believed that the campaign, led by the NBA activists, has held up the project's completion, and NBA supporters have attacked on local people who accepted compensation for moving. Others have argued that the Narmada Dam protesters are little more than environmental extremists, who use pseudoscientific agitprop to scuttle the development of the region and that the dam will provide agricultural benefits to millions of poor in India. There had also been instances of the NBA activists turning violent and attacking rehabilitation officer from Narmada Valley Development Authority (NVDA), which caused damage to the contractor's machinery.


title: Narmada Bachao Andolan

text: The NBA has been accused of lying under oath in court about land ownership in areas affected by the dam. The Supreme Court has mulled perjury charges against the group.


title: The Madness of King George

text: The Madness of King George is a 1994 British biographical historical comedy-drama film directed by Nicholas Hytner and adapted by Alan Bennett from his own 1991 play "The Madness of George III". It tells the true story of George III of Great Britain's deteriorating mental health, and his equally declining relationship with his eldest son, the Prince of Wales, particularly focusing on the period around the Regency Crisis of 1788–89. Two text panels at the end of the film note that the colour of the King's urine suggests that he was suffering from porphyria, adding that the disease is "periodic, unpredictable and hereditary."


title: The Madness of King George

text: "The Madness of King George" won the BAFTA Awards in 1995 for Outstanding British Film and Best Actor in a Leading Role for Nigel Hawthorne, who was also nominated for the Academy Award for Best Actor. The film won the Oscar for Best Art Direction and was also nominated for Oscars for Best Supporting Actress for Mirren and Best Adapted Screenplay. Helen Mirren also won the Cannes Film Festival Award for Best Actress and Hytner was nominated for the Palme d'Or.


title: The Madness of King George

text: In 1999, the British Film Institute voted "The Madness of King George" the 42nd greatest British film of all time.


title: The Madness of King George

text: King George III's bout of madness in 1788 touched off the Regency Crisis of 1788 and triggered a power struggle between factions of Parliament under the Tory Prime Minister William Pitt the Younger and the reform-minded Leader of the Opposition Charles James Fox.


title: The Madness of King George

text: At first, the King's behaviour appears mildly eccentric. He is deeply concerned with the wellbeing and productivity of Great Britain and exhibits an encyclopedic knowledge of the families of even the most obscure royal appointments. He is devoted to his loving wife and their large brood of 15 children. However, he is growing more unsettled, partly over the loss of America. His memory fails, his behavior becomes erratic and hypersexual, he talks and talks, and his urine turns blue.


title: The Madness of King George

text: George, Prince of Wales, aggravates the situation, knowing that he will be named regent if the King becomes incapacitated. George chafes under his father's relentless criticism, and yearns for greater freedom, particularly when it comes to choosing a wife. He married the woman everyone believes to be his mistress, Mrs. Fitzherbert, in a secret ceremony in 1785. Without his father's consent, the marriage is illegal. Even with consent, it would remove him from the succession, because Fitzherbert is a Catholic. He knows that he has the moral support of Fox, whose agenda includes abolition of the slave trade and friendlier relations with America. Knowing how to exacerbate the King's behaviour, the Prince arranges a concert of music by Handel. The King reacts as expected, interrupting the musicians, speaking lasciviously to Lady Pembroke, and finally assaulting his son.


title: The Madness of King George

text: In a private moment, the King tells Charlotte that he knows something is wrong. They are brutally interrupted when the Prince has them separated, supposedly on the advice of physicians. Led by the Prince of Wales' personal physician, Dr. Warren, the King is treated using the medical practices of the time, which focus on the state of his urine and bowel movements and include painful cupping and purgatives.


title: The Madness of King George

text: Lady Pembroke recommends Dr. Francis Willis, who cured her mother-in-law. Willis uses novel procedures. At his farm in Lincolnshire, patients work to gain “a better opinion of themselves.” He observes to an equerry “To be curbed, thwarted, stood up to, exercises the character.” When the King insults him, foully, he is strapped into a chair and gagged. He will be restrained whenever he “swears and indulges in meaningless discourse” and “does not strive every day and always towards his own recovery”.


title: The Madness of King George

text: When the Prince has the King transferred to Kew, Charlotte watches as her beloved, bearded and wearing a soiled diaper and a straitjacket, struggles against being put in the coach. “Until you can govern yourself, you're not fit to govern others. And until you do so, I shall govern you,” Willis says. At Kew, the King spits soup at Willis, but gains control under the physician's intractable gaze. Later, the King, properly dressed, feeds himself to a round of applause from staff—but the delusions persist.


title: The Madness of King George

text: The Whig opposition confronts Pitt's increasingly unpopular Tory government with a proposal that would give the Prince powers of regency. Baron Thurlow, the Lord Chancellor, obtains and suppresses proof of the marriage. Fox wins, and The Regency Bill is printed. Thurlow comes to see the King and joins in a moving reading of "King Lear". “I have remembered how to seem...” the King muses. “What, what!” an expression he has not used in 6 months. His urine is yellow.


title: The Madness of King George

text: Thurlow and the King arrive at Parliament in time to thwart the bill. The King forces the Prince to admit his marriage and to put away Fitzherbert. With the crisis averted, all those who have witnessed his suffering are summarily dismissed, including Greville. Fitzroy observes: “To be kind does not commend you to kings.”


title: The Madness of King George

text: Cheering crowds welcome the royal family to St. Paul's Cathedral. Willis stands by, but the King dismisses him.


title: The Madness of King George

text: “We must be a model family,” he declares; George wants “something to do.” “Smile at the people, wave at them. Let them see that we're happy. That's why we're here.” Saluting, Willis disappears into the crowd, where Mrs. Fitzherbert also smiles, wistfully.


title: The Madness of King George

text: Alan Bennett insisted that director Nicholas Hytner and actor Nigel Hawthorne should be cast in the film version, after having acted in the play.


title: The Madness of King George

text: In adapting the play to film, the director Nicholas Hytner changed the name from "The Madness of George III" to "The Madness of King George" for American audiences, to clarify George III's royalty. A popular explanation developed that the change was made because there was a worry that American audiences would think it was a sequel and not go to see it, assuming they had missed "I" and "II". An interview revealed: "That's not totally untrue," said Hytner, laughing. "But there was also the factor that it was felt necessary to get the word "King" into the title."


title: The Madness of King George

text: Principal photography took place from 11 July to 9 September 1994. The film was shot at Shepperton Studios and on location at:


title: The Madness of King George

text: "The Madness of King George" was the second highest-grossing British film of the year, behind "Shallow Grave", with a gross of £4.6 million in the UK. It debuted strongly at the US box office and went on to gross $15,238,689 in the United States and Canada and $27.4 million worldwide.


title: The Madness of King George

text: The film received largely positive reviews from critics. On Rotten Tomatoes, the film has a 94% "Certified Fresh" score based on 47 reviews, with an average rating of 7.8/10. The site's consensus states: "Thanks largely to stellar all-around performances from a talented cast, "The Madness of King George" is a funny, entertaining, and immensely likable adaptation of the eponymous stage production."


title: The Madness of King George

text: Reviewing the film for "Variety", Emanuel Levy praised the film highly, writing: "Under Hytner's guidance, the cast, composed of some of the best actors in British cinema, rises to the occasion... Boasting a rich period look, almost every shot is filled with handsome, emotionally charged composition."


title: The Madness of King George

text: John Simon of "The National Review" wrote, ""The Madness of King George III" has survived the transfer from stage to screen, and emerges equally enjoyable on film." Simon praised all the leading actors and most of the supporting cast with the exception of Jim Carter's portrayal of Fox, which he said lacked charisma.


title: The Madness of King George

text: Stanley Kauffmann of "The New Republic" wrote, "For those who, like myself, were disappointed in the play, the film contains pleasant surprises, all of them resulting from differences between the two arts."


title: Reading Rainbow

text: Reading Rainbow is an American educational children's television series that originally aired on PBS and afterwards PBS Kids and PBS Kids Go! from July 11, 1983 to November 10, 2006, with reruns continuing to air until August 28, 2009. 155 30-minute episodes were produced over 21 seasons. Before its official premiere, the show aired for test audiences in the Nebraska and Buffalo, New York markets (their PBS member stations, the Nebraska ETV [now Nebraska Public Media] and WNED-TV, respectively, were co-producers of the show).


title: Reading Rainbow

text: The show was designed to encourage a love of books and reading among children. In 2012, an iPad and Kindle Fire educational interactive book reading and video field trip application was launched bearing the name of the program.


title: Reading Rainbow

text: The public television series garnered over 200 broadcast awards, including a Peabody Award and 26 Emmy Awards, 10 of which were in the "Outstanding Children's Series" category. The concept of a reading series for children originated with Twila Liggett, PhD who in partnership with Cecily Truett Lancit and Larry Lancit, at Lancit Media Productions in New York created the television series. The original team also included Lynne Brenner Ganek, Ellen Schecter, and host LeVar Burton. The show's title was conceived by an unknown intern at WNED.


title: Reading Rainbow

text: Each episode centered on a topic from a featured children's book that was explored through a number of on-location segments or stories. The show also recommended books for children to look for when they went to the library. It is the third-longest running children's series in PBS history, after "Sesame Street" and "Mister Rogers' Neighborhood". It was also one of the first PBS shows to be broadcast in stereo.


title: Reading Rainbow

text: After the show's cancellation on November 10, 2006, reruns aired until August 28, 2009, when it was removed from the schedule. On June 20, 2012, the Reading Rainbow App was released for the iPad and, within 36 hours, became the #1 most-downloaded educational app in the iTunes App Store. Developed by LeVar Burton and his company, RRKIDZ, the app allows children to read unlimited books, explore video field trips starring Burton, and earn rewards for reading. On the week of July 11, 2013, "Reading Rainbow" celebrated its 30th anniversary.


title: Reading Rainbow

text: In May 2014, a Kickstarter campaign was launched to raise funds to make the app available online and for Android, game consoles, smartphones, and other streaming devices along with creating a classroom version with the subscription fee waived for up to 13,000 disadvantaged classrooms. The effort met its initial fundraising goal of $1,000,000 in 11 hours, and ended a few days later at $5,408,916 from 105,857 backers. This campaign led to the launch of "Skybrary by Reading Rainbow", a web-based expansion of the Reading Rainbow app experience.


title: Reading Rainbow

text: Due to a legal dispute, licensing of the "Reading Rainbow" brand was revoked from RRKidz in October 2017, and all its platforms (including Skybrary) were rebranded to "LeVar Burton Kids".


title: Reading Rainbow

text: "Reading Rainbow" was hosted by actor and executive producer LeVar Burton, who was then known for his role in "Roots". The show was produced first by Lancit Media Entertainment (1983-2001), and then, by On-Screen Entertainment (2002-2006). Every episode featured a different children's picture book, often narrated by a celebrity. The featured story's illustrations were scanned by the camera in a technique known as "iconographic animation" of each page shown in succession, although on certain occasions the shots would be animated.


title: Reading Rainbow

text: After the featured story, Burton visited many places relating to the episode's theme, often featuring interviews with guests. The first episode of Season 6, which featured the book "The Bionic Bunny Show" by Marc Brown and his wife Laurene, included a behind-the-scenes look at the TV series "", in which Burton was a main cast member.


title: Reading Rainbow

text: The last segment of each show, called Book Reviews, began with Burton's introductory catchphrase, "But you don't have to take my word for it," and featured children giving capsule reviews of books they liked. At the end of almost every episode, Burton signs-off with "I'll see you next time", with a review of the books featured in that episode.


title: Reading Rainbow

text: The series' pilot, which was created and produced in 1981 and aired as the show's 8th episode in 1983, featured the book "Gila Monsters Meet You at the Airport" by Marjorie Weinman Sharmat and was narrated by Doug Parvin. Producer Larry Lancit's daughters, Shaune and Caitlin, were often featured in the series, notably as the children thanking the sponsors at the beginning and end of the show.


title: Reading Rainbow

text: The show's theme song was written by Steve Horelick, Dennis Neil Kleinman, and Janet Weir; the former also served as the series' music director and composer for all 155 episodes and received an Emmy nomination in 2007 for his work on the series. Over the show's 23-year run, it went through three different versions of the theme song. The original theme (used from 1983 to 1998) was performed by Tina Fabrique and featured one of the first uses of the Buchla synthesizer in a TV theme song. The original opening sequence, which consisted of an animated butterfly transforming the surroundings of young children reading books into animated fantasy lands, was used until November 13, 1998. The introductory animation was produced by Ovation Films, Inc. and designed and animated by Bill Davis.


title: Reading Rainbow

text: On November 16, 1998, episodes began using a new live-action opening sequence and featured CGI in a space-themed world, with a new arrangement of the original song by Steve Horelick and performed by Johnny Kemp. A third intro was used starting on January 3, 2000, with a rerecorded version with the original lyrics performed by R&B artist Chaka Khan. This opening sequence is mostly the same as the second one, but features footage of Burton in place of some of the animated elements.


title: Reading Rainbow

text: Original production of the series was to have ended after April 4, 2005, with the show continuing to air in reruns, but host LeVar Burton said on February 7, 2006, that five new episodes of the show would be shot in 2006 despite the continuing financial issues of PBS. The show aired its final original episode on November 10, 2006 and continued to air reruns until August 28, 2009.


title: Reading Rainbow

text: Former executive producer LeVar Burton announced on his Twitter feed on March 19, 2010, that "Reading Rainbow 2.0 is in the works." In 2011, WNED, the PBS affiliate in Buffalo, New York that owns the Reading Rainbow brand, licensed rights to the brand to Burton and his company, RRKidz. On March 4, 2012, he announced that it was the "last day of shooting before launch!"


title: Reading Rainbow

text: On June 13, 2012, in a special presentation at Apple Inc's annual World Wide Developers Conference, Burton and his business partner, Mark Wolfe, introduced the new "Reading Rainbow" iPad App. It became available in Apple's iTunes Store on June 20, 2012, and within 36 hours was the #1 educational app. In January 2014, the Reading Rainbow App surpassed 10M books read and video field trips watched by children in 18 months.


title: Reading Rainbow

text: On May 28, 2014, LeVar Burton started a Kickstarter fund to revive the show and materials. In under 12 hours the show had reached its $1 million goal. The new goal is to create an educational version for schools to use, free of cost to those schools in need, and help America get back to high literacy rates. They are also going to create a website for students to use to assist them with learning how to read. The following day, May 29, 2014, they reached $2million (double their goal) at 1:15 pm. PST. The campaign raised $5,408,916 on Kickstarter with another $1million from "Family Guy" creator/animator Seth MacFarlane and $70,000 raised via direct contributions. The grand total was $6,478,916.


title: Reading Rainbow

text: With 105,857 backers, the campaign holds Kickstarter's record for most backers and is the 8th highest amount raised on Kickstarter (as of June 1, 2015).


title: Reading Rainbow

text: The first product of the Kickstarter campaign was "Skybrary by Reading Rainbow". Launched in May 2015, it was a web based subscription service that duplicated the Reading Rainbow app experience. In addition to narrating many of the books, Burton hosted video fieldtrips which connected kids to real world experiences at places like NASA HQ and Niagara Falls.


title: Reading Rainbow

text: In March 2016, RRKidz launched a new online educational service called "Reading Rainbow Skybrary for Schools", which followed the same mission of the television series, while expanding to integrate into classroom curriculums.


title: Reading Rainbow

text: In August 2017, WNED filed a wide-ranging lawsuit against Burton and RRKidz that demanded Burton's company hand over administrative access to other websites and social media accounts. The lawsuit also sought to enjoin Burton from using the "Reading Rainbow" catchphrase, "But you don't have to take my word for it," on his podcast.


title: Reading Rainbow

text: In October 2017, WNED and RRKidz settled out of court. While the exact terms were confidential, the end result was that RRKidz was no longer a licensee of the "Reading Rainbow" brand. RRKidz was rebranded "LeVar Burton Kids" and its services (including Skybrary) removed references to Reading Rainbow. In addition, Burton was allowed to continue using the "Reading Rainbow" catchphrase. Visiting the official "Reading Rainbow" website provided a page that stated "Recent legal disputes between WNED and LeVar Burton/RRKIDZ have been resolved and RRKIDZ no longer licenses the "Reading Rainbow" brand from WNED. WNED is currently working on the next chapter of "Reading Rainbow" and will continue its mission of fostering education for a new generation."


title: Reading Rainbow

text: WNED announced in November 2018 that research and development had begun on a new "Reading Rainbow" program thanks to a $200,000 grant from The John R. Oishei Foundation.


title: Reading Rainbow

text: In December 2021, it was announced that the show would be revived as "Reading Rainbow Live", an interactive version featuring multiple hosts, dubbed "The Rainbows". The series debuted on Looped on March 6, 2022.


title: Reading Rainbow

text: In 1995, the creators launched the first contest called ""Reading Rainbow" Young Writers and Illustrators Contest". The annual writing and illustrating competition for children grades K through 3 continued until 2009 when it was relaunched as "PBS Kids Go! Writers Contest". It was renamed to the "PBS Kids Writers Contest" in 2014.


title: Occultism in Nazism

text: The association of Nazism with occultism occurs in a wide range of theories, speculation, and research into the origins of Nazism and into Nazism's possible relationship with various occult traditions. Such ideas have flourished as a part of popular culture since at least the early 1940s (during World War II), and gained renewed popularity starting in the 1960s. Historian Nicholas Goodrick-Clarke analyzed the topic in his 1985 book "The Occult Roots of Nazism", in which he argued there were in fact links between some ideals of Ariosophy and Nazi ideology. He also analyzed the problems of the numerous popular occult historiography books written on the topic. Goodrick-Clarke sought to separate empiricism and sociology from the modern mythology of Nazi occultism that exists in many books which "have represented the Nazi phenomenon as the product of arcane and demonic influence".


title: Occultism in Nazism

text: Historian Nicholas Goodrick-Clarke's 1985 book, "The Occult Roots of Nazism", discusses the possibility of links between the ideas of the occult and those of Nazism. The book's main subject is the racist-occult movement of Ariosophy, a major strand of nationalist esotericism in Germany and Austria during the 1800s and early 1900s. He introduces his work as "an underground history, concerned with the myths, symbols, and fantasies that bear on the development of reactionary, authoritarian, and Nazi styles of thinking," arguing that "fantasies can achieve a causal status once they have been institutionalized in beliefs, values, and social groups."


title: Occultism in Nazism

text: In Goodrick-Clarke's view, the Ariosophist movement built on the earlier ideas of the Völkisch movement, a traditionalist, pan-German response to industrialization and urbanization, but it associated the problems of modernism specifically with the supposed misdeeds of Freemasonry, Kabbalism, and Rosicrucianism in order to "prove the modern world was based on false and evil principles". The Ariosophist "ideas and symbols filtered through to several anti-semitic and Nationalist groups in late Wilhelmian Germany, from which the early Nazi Party emerged in Munich after the First World War." He demonstrated links between two Ariosophists and Heinrich Himmler.


title: Occultism in Nazism

text: There is a persistent idea, widely canvassed in a sensational genre of literature, that the Nazis were principally inspired and directed by occult agencies from 1920 to 1945.


title: Occultism in Nazism

text: Appendix E of Goodrick-Clarke's book is entitled "The Modern Mythology of Nazi Occultism". In it, he gives a highly critical view of much of the popular literature on the topic. In his words, these books describe Hitler and the Nazis as being controlled by a "hidden power ... characterized either as a discarnate entity (e.g., 'black forces', 'invisible hierarchies', 'unknown superiors') or as a magical elite in a remote age or distant location". He referred to the writers of this genre as "crypto-historians". The works of the genre, he wrote,


title: Occultism in Nazism

text: In a new preface for the 2004 edition of "The Occult Roots of Nazism", Goodrick-Clarke comments that in 1985, when his book first appeared, "Nazi black magic" was regarded as a topic for sensational authors in pursuit of strong sales."


title: Occultism in Nazism

text: In his 2002 work "Black Sun", which was originally intended to trace the survival of occult Nazi themes in the postwar period, Goodrick-Clarke considered it necessary to readdress the topic. He devotes one chapter of the book to "the Nazi mysteries", as he terms the field of Nazi occultism there. Other reliable summaries of the development of the genre have been written by German historians. The German edition of "The Occult Roots of Nazism" includes an essay, "Nationalsozialismus und Okkultismus" ("National Socialism and Occultism"), which traces the origins of the speculation about Nazi occultism back to publications from the late 1930s, and which was subsequently translated by Goodrick-Clarke into English. The German historian Michael Rißmann has also included a longer "excursus" about "Nationalsozialismus und Okkultismus" in his acclaimed book on Adolf Hitler's religious beliefs.


title: Occultism in Nazism

text: According to Goodricke-Clarke, the speculation of Nazi occultism originated from "post-war fascination with Nazism". The "horrid fascination" of Nazism upon the Western mind emerges from the "uncanny interlude in modern history" that it presents to an observer a few decades later. The idolization of Hitler in Nazi Germany, its short-lived dominion on the European continent and Nazism's extreme antisemitism set it apart from other periods of modern history. "Outside a purely secular frame of reference, Nazism was felt to be the embodiment of evil in a modern twentieth-century regime, a monstrous pagan relapse in the Christian community of Europe."


title: Occultism in Nazism

text: By the early 1960s, "one could now clearly detect a mystique of Nazism." A sensationalistic and fanciful presentation of its figures and symbols, "shorn of all political and historical context", gained ground with thrillers, non-fiction books, and films and permeated "the milieu of popular culture."


title: Occultism in Nazism

text: "The Occult Roots of Nazism" is commended for specifically addressing the fanciful modern depictions of Nazi occultism, as well as carefully reflecting critical scholarly work that finds associations between Ariosophy and Nazi agency. As scholar Anna Bramwell writes, "One should not be deceived by the title into thinking that it belongs to the 'modern mythology of Nazi occultism', a world of salacious fantasy convincingly dismembered by the author in an Appendix," referring to the various written, depicted, and produced material that delves into Nazi occultism without providing any reliable or relevant evidence. Instead, it is through Goodrick-Clarke's work that several scholarly criticisms addressing occult relevance in conjunction with Ariosophist practices arise.


title: Occultism in Nazism

text: Historians like Martyn Housden and Jeremy Noakes commend Goodrick-Clarke for addressing the relationship between Ariosophic ideologies rooted in certain Germanic cultures and the actual agency of Nazi hierarchy; the problem, as Housden remarks, lies in the efficacy of these Ariosophic practices. As he remarks, "The true value of this study, therefore, lies in its painstaking elucidation of an intrinsically fascinating subculture which helped colour rather than cause aspects of Nazism. In this context, it also leaves us pondering a central issue: why on earth were Austrian and German occultists, just like the Nazi leadership, quite so susceptible to, indeed obsessed by, specifically aggressive racist beliefs anyway?" Noakes continues this general thought by concluding, "[Goodrick-Clarke] provides not only a definitive account of the influence of Ariosophy on Nazism, a subject which is prone to sensationalism, but also fascinating insights into the intellectual climate of the late nineteenth and early twentieth century." These reviews reflect the greatest dilemmas in Nazi occultist scholarship; the discernment between actual efficacy of possible occult practices by Nazi leaders, purpose of these practices, and modern notions and applications of occultism today largely impact the appropriate scholarship in general in making connections between plausible Nazi Ariosophic practices and blatant popular myth.


title: Occultism in Nazism

text: The linkages Goodrick-Clarke makes concerning Ariosophy and German society are further detailed in Peter Merkl's "Political Violence under the Swastika", in which "pre-1933 Nazis", various NSDAP members, volunteered to write their memoirs and recollections about the rise of the Nazi Party in order to provide a coherent, statistical analysis of the motivations and ideals these early members hoped to pursue in German politics. From the findings, Merkl has found, through statistical evidence, that there were aspects of ideology within German society that favored intense German nationalism, ranging from what was considered to be a "German Romantic", one who was "beholden to the cultural and historical traditions of old Germany..." to someone classified as a part of an alleged "Nordic/Hitler Cult", one who followed Voelkisch (traditional, antisemitic) beliefs. To further prove the point, Merkl discovered that of those willing to submit their testimonies, "Protestants tended to be German Romantics, Catholics to be anti-Semites, superpatriots, and solidarists. Areas of religious homogeneity were particularly high in anti-Semitism or in the Nordic-German cult," of which members of both religious groups were prone to "Judenkoller", an alleged sudden and violent sickness that would manifest either in blatant hatred or hysteria at being within proximity of Jews. Coincidentally, Merkl mentions a relationship to this Nordic/German-agrarian cult in relation to the 19th century to a "crypto-Nazi tradition", despite being written ten years prior to "The Occult Roots of Nazism".


title: Occultism in Nazism

text: Some of this modern mythology even touches Goodrick-Clarke's topic directly. The rumor that Adolf Hitler had encountered the Austrian monk and antisemitic publicist Lanz von Liebenfels, already at the age of 8, at Heilgenkreuz abbey, goes back to "Les mystiques du soleil" (1971) by Michel-Jean Angbert. "This episode is wholly imaginary."


title: Occultism in Nazism

text: Nevertheless, Michel-Jean Angbert and the other authors discussed by Goodrick-Clarke present their accounts as real, so that this modern mythology has led to several legends that resemble conspiracy theories, concerning, for example, the Vril Society or rumours about Karl Haushofer's connection to the occult. The most influential books were Trevor Ravenscroft's "The Spear of Destiny" and "The Morning of the Magicians" by Pauwels and Bergier.


title: Occultism in Nazism

text: One of the earliest claims of Nazi occultism can be found in Lewis Spence's book "Occult Causes of the Present War" (1940). According to Spence, Alfred Rosenberg and his book "The Myth of the Twentieth Century" were responsible for promoting pagan, occult and anti-Christian ideas that motivated the Nazi party.


title: Occultism in Nazism

text: For a demonic influence on Hitler, Hermann Rauschning's "Hitler Speaks" is brought forward as a source. However, most modern scholars do not consider Rauschning reliable. (As Nicholas Goodrick-Clarke summarises, "recent scholarship has almost certainly proved that Rauschning's conversations were mostly invented".)


title: Occultism in Nazism

text: Similarly to Rauschning, August Kubizek, one of Hitler's closest friends since childhood, claims that Hitler—17 years old at the time—once spoke to him of "returning Germany to its former glory"; of this comment August said, "It was as if another being spoke out of his body, and moved him as much as it did me."


title: Occultism in Nazism

text: An article "Hitler's Forgotten Library" by Timothy Ryback, published in "The Atlantic" (May 2003), mentions a book from Hitler's private library authored by Ernst Schertel. Schertel, whose interests were flagellation, dance, occultism, nudism and BDSM, had also been active as an activist for sexual liberation before 1933. He had been imprisoned in Nazi Germany for seven months and his doctoral degree was revoked. He is supposed to have sent a dedicated copy of his 1923 book "" to Hitler some time in the mid-1920s. Hitler is said to have marked extensive passages, including one which reads "He who does not have the demonic seed within himself will never give birth to a magical world".


title: Occultism in Nazism

text: Theosophist Alice A. Bailey stated during World War II that Adolf Hitler was possessed by what she called the "Dark Forces". Her follower Benjamin Creme has stated that through Hitler (and a group of equally evil men around him in Nazi Germany, together with a group of militarists in Japan and a further group around Mussolini in Italy) was released the energies of the Antichrist, which, according to theosophical teachings is not an individual person but forces of destruction.


title: Occultism in Nazism

text: According to James Herbert Brennan in his book "Occult Reich", Hitler's mentor, Dietrich Eckhart (to whom Hitler dedicates "Mein Kampf"), wrote to a friend of his in 1923: "Follow Hitler! He will dance, but it is I who have called the tune. We have given him the 'means of communication' with Them. Do not mourn for me; I shall have influenced history more than any other German."


title: Occultism in Nazism

text: Conspiracy theorists "frequently identify German National Socialism among other things as a precursor of the New World Order". With regard to Hitler's later ambition of imposing the Nazi regime throughout Europe, Nazi propaganda used the term "Neuordnung" (often poorly translated as "the New Order", while actually referring to the "re-structurization" of state borders on the European map and the resulting post-war economic hegemony of Greater Germany), so one could probably say that the Nazis pursued a new world order in terms of politics. But the claim that Hitler and the Thule Society conspired to create a New World Order (a conspiracy theory, put forward on some webpages) is completely unfounded.


title: Occultism in Nazism

text: There are also unverifiable rumours that the occultist Aleister Crowley sought to contact Hitler during World War II. Despite several allegations and speculations to the contrary, there is no evidence of such an encounter. In 1991, John Symonds, one of Crowley's literary executors, published a book: "The Medusa's Head or Conversations Between Aleister Crowley and Adolf Hitler", which has definitively been shown to be literary fiction. That the edition of this book was limited to 350 also contributed to the mystery surrounding the topic. Mention of a contact between Crowley and Hitler—without any sources or evidence—is also made in a letter from René Guénon to Julius Evola dated October 29, 1949, which later reached a broader audience.


title: Occultism in Nazism

text: The documentary "Hitler and the Occult" describes how Hitler "seemed endowed with even greater authority and charisma" after he had resumed public speaking in March 1927. The narrator states that "this may have been due to the influence" of the clairvoyant performer and publicist Erik Jan Hanussen. "Hanussen helped Hitler perfect a series of exaggerated poses," useful for speaking before a huge audience. The documentary then interviews Dusty Sklar about the contact between Hitler and Hanussen, and the narrator makes the statement about "occult techniques of mind control and crowd domination."


title: Occultism in Nazism

text: Whether Hitler had met Hanussen at all is not certain. That he even encountered him before March 1927 is not confirmed by other sources about Hanussen. In the late 1920s to early 1930s Hanussen made political predictions in his own newspaper, "Hanussens Bunte Wochenschau", that gradually started to favour Hitler, but until late 1932 these predictions varied. In 1929, Hanussen predicted, for example, that Wilhelm II would return to Germany in 1930 and that the problem of unemployment would be solved in 1931.


title: Occultism in Nazism

text: Nazi mysticism in German culture is further expanded upon within Manfred Nagl's article "SF (Science Fiction), Occult Sciences, and Nazi Myths", published in the journal "Science Fiction Studies". In it, Nagl writes that the racial narratives described in contemporary German Science Fiction stories, like The Last Queen of Atlantis, by Edmund Kiss, provide further notions of racial superiority under the auspices of Ariosophy, Aryanism, and alleged historic racial Mysticism, suggesting that writings associated with possible Occultism, Ariosophy, or Aryanism were products intended to influence and justify in a socio-political manner, rather than simply establish cultural heritage. The stories themselves dealt with "...heroes, charismatic leader types, (who) have been chosen by fate—with the resources of a sophisticated and extremely powerful technology". Nagl considers science fiction pieces like Atlantis further fueled the violent persuasiveness of Nazi leaders, such as Adolf Hitler and Heinrich Himmler, as further justification for a "Nazi elite (envisioning) for itself in occupied East European territories". This, in turn, allegedly propagated public support of Nazi ideology, summated by Nagl as "a tremendous turning back of culture, away from the age of reason and consciousness, toward the age of a 'sleepwalking certainty', the age of supra-rational magic".


title: Occultism in Nazism

text: In the essay that is included in the German edition of "The Occult Roots...", H. T. Hakl, an Austrian publisher of esoteric works, traces the origins of the speculation about Nazism and Occultism back to several works from the early 1940s. His research was also published in a short book, "Unknown sources: National Socialism and the Occult", translated by Goodrick-Clarke. Already in 1933 a pseudonymous "Kurt van Emsen" described Hitler as a "demonic personality", but his work was soon forgotten. The first allusions that Hitler was directed by occult forces which were taken up by the later authors came from French Christian esotericist René Kopp. In two articles published in the monthly esoteric journal "Le Chariot" from June 1934 and April 1939, he seeks to trace the source of Hitler's power to supernatural forces. The second article was titled: ""L'Enigme du Hitler"". In other French esoteric journals of the 1930s, Hakl could not find similar hints. In 1939 another French author, Edouard Saby, published a book: "Hitler et les Forces Occultes". Saby already mentions Hanussen and Ignaz Trebitsch-Lincoln. Hakl even hints that Edouard Saby would have the copyright on the myth of Nazi occultism. However, another significant book from 1939 is better known: Hermann Rauschning's "Hitler Speaks". There it is said (in the chapter "Black and White Magic"), that "Hitler surrendered himself to forces that carried him away. ... He turned himself over to a spell, which can, with good reason and not simply in a figurative analogy, be described as demonic magic." The chapter "Hitler in private" is even more dramatic, and was left out in the German edition from 1940.


title: Occultism in Nazism

text: Goodrick-Clarke examines several pseudo-historic "books written about Nazi occultism between 1960 and 1975", that "were typically sensational and under-researched". He terms this genre "crypto-history", as its defining element and "final point of explanatory reference is an agent which has remained concealed to previous historians of National Socialism". Characteristic tendencies of this literature include: (1) "a complete ignorance of primary sources" and (2) the repetition of "inaccuracies and wild claims", without the attempt being made to confirm even "wholly spurious 'facts'". Books debunked in Appendix E of "The Occult Roots of Nazism" are:


title: Occultism in Nazism

text: These books are only mentioned in the Appendix. Otherwise the whole book by Goodrick-Clarke does without any reference to this kind of literature; it uses other sources. This literature is not reliable; however, books published after the emergence of "The Occult Roots of Nazism" continue to repeat claims that have been proven false:


title: Occultism in Nazism

text: More than 60 years after the end of the Third Reich, Nazism and Adolf Hitler have become a recurring subject in history documentaries. Among these documentaries, there are several that focus especially on the potential relations between Nazism and occultism, such as the History Channel's documentary "Hitler and the Occult". As evidence of Hitler's "occult power" this documentary offers, for example, the infamous statement by Joachim von Ribbentrop of his continued subservience to Hitler at the Nuremberg Trials. After the author Dusty Sklar has pointed out that Hitler's suicide happened at the night of April 30/May 1, which is Walpurgis Night, the narrator continues: "With Hitler gone, it was as if a spell had been broken". A much more plausible reason for Hitler's suicide (that does not involve the paranormal) is that the Russians had already closed to within several hundred meters of Hitler's bunker and he did not want to be captured alive.


title: Occultism in Nazism

text: From the perspective of academic history, these documentaries on Nazism, if ever commented, are seen as problematic because they do not contribute to an actual understanding of the problems that arise in the study of Nazism and Neo-Nazism. Without referring to a specific documentary Mattias Gardell, a historian who studies contemporary separatist groups, writes:


title: Occultism in Nazism

text: "Hitler and the Occult" includes a scene in which Hitler is seen as speaking at a huge mass meeting. While Hitler's speech is not translated, the narrator talks about the German occultist and stage mentalist Erik Jan Hanussen: "Occultists believe, Hanussen may also have imparted occult techniques of mind control and crowd domination on Hitler" (see below). Historians have dismissed myths such as those about Erik Jan Hanussen.


title: Occultism in Nazism

text: At least one documentary, "Hitler's Search for the Holy Grail," includes footage from the 1939 German expedition to Tibet. The documentary describes it as "the most ambitious expedition" of the SS. This original video material was made accessible again by Marco Dolcetta in his series "Il Nazismo Esoterico" in 1994. An interview that Dolcetta conducted with Schäfer does not support the theories of Nazi occultism, neither does Reinhard Greve's 1995 article "Tibetforschung im SS Ahnenerbe" ("Tibet Research Within the SS Ahnenerbe"), although the latter does mention the occult thesis. Hakl comments that Greve should have emphasized more strongly the unreliability of authors like Bergier and Pauwels or Angbert. Ernst Schäfer's expedition report explicitly remarks on the "worthless goings-on" by "a whole army of quacksalvers" concerning Asia and especially Tibet.


title: Notes on a Scandal (film)

text: Notes on a Scandal is a 2006 British psychological thriller-drama film directed by Richard Eyre and produced by Robert Fox and Scott Rudin. Adapted from the 2003 novel of the same name by Zoë Heller, the screenplay was written by Patrick Marber. The film stars Judi Dench and Cate Blanchett and centres on a lonely veteran teacher who uncovers a fellow teacher's illicit affair with an underage student.


title: Notes on a Scandal (film)

text: It was nominated for four Academy Awards – Best Actress, Best Supporting Actress, Best Adapted Screenplay, and Best Original Score.


title: Notes on a Scandal (film)

text: Barbara Covett is a history teacher at a comprehensive school in London. Having never married and nearing retirement, she has contempt for her students and fellow teachers. Her only comfort is her diary. When a new art teacher, Sheba Hart, joins the staff, Barbara is immediately attracted to her and they strike up a friendship. In Barbara, this friendship quickly turns into infatuation and obsession. Sheba is married to the much older Richard, and is just re-entering the work force after devoting herself to her special needs son.


title: Notes on a Scandal (film)

text: Barbara later witnesses Sheba in a sexual encounter with a 15-year-old student named Steven Connolly at the school. When Barbara confronts her, she recounts all the details of her involvement with the boy, but Sheba asks her not to tell the school administration until after Christmas, as she wants to be with her family. Barbara claims she has no intention of reporting her, providing Sheba ends the illicit relationship immediately, but Barbara secretly plans to use the affair as a means of manipulating Sheba. Over the Christmas break, Barbara visits her sister, who asks her about another young teacher Barbara befriended. Barbara stiffly says that the young teacher moved away. Barbara's sister asks if she has any other female "friends", strongly implying Barbara is a lesbian; Barbara insists she has no idea what her sister is talking about.


title: Notes on a Scandal (film)

text: Sheba tells Steven that the affair is over yet finds herself unable to stop seeing him. However, when she refuses to give in to Barbara's increasing demands on her time and attention, Barbara reveals the secret to a male teacher who has told her that he is attracted to Sheba. The teacher informs the student's parents and the school. After the affair becomes public, the headteacher accuses Barbara of knowing about the affair and not notifying the authorities. He also learns that a former teacher at the school, the young lady Barbara mentioned at Christmas, had taken out a restraining order against Barbara for stalking her and her fiancé. Both Sheba and Barbara are fired.


title: Notes on a Scandal (film)

text: Sheba's husband asks her to move out of their home, so she moves into Barbara's house, unaware that Barbara is the reason she was found out and believing the affair became known because Steven confessed it to his mother. When Sheba discovers Barbara's diary and learns it was Barbara who leaked the story of the affair, she confronts Barbara and strikes her in anger. A row ensues, and Sheba runs outside to a crowd of reporters and photographers. When she becomes hemmed in by them, Barbara rescues her.


title: Notes on a Scandal (film)

text: Sheba's emotions spent, she quietly tells Barbara that she had initiated the friendship with her because she liked her and that they could have been friends. Barbara says, "I need more than a friend". Sheba leaves Barbara, placing the journal on the table as a mute reminder that she had kept its contents secret, and returns to her husband. Sheba is subsequently sentenced to 10 months in prison, however, it is strongly implied she reconciled with her family.


title: Notes on a Scandal (film)

text: Later, Barbara meets another younger woman who is reading a newspaper about the Sheba Hart affair. Barbara says she was acquainted with Sheba but says they hardly knew each other. Barbara introduces herself, invites the other woman to a concert, and the pair continue to talk.


title: Notes on a Scandal (film)

text: Filming took place in August and September 2005. The film was mainly shot on location in the Parliament Hill, Gospel Oak and Camden Town areas of northwest London. The Arts and Media School, Islington was used a film location for many of the school scenes.


title: Notes on a Scandal (film)

text: The film opened to generally positive reviews, with Blanchett and Dench receiving critical acclaim for their performances. On review aggregator Rotten Tomatoes, it holds an approval rating of based on reviews, and an average rating of . The website's critical consensus states, "In this sharp psychological thriller, Judi Dench and Cate Blanchett give fierce, memorable performances as two schoolteachers locked in a battle of wits." Metacritic assigned the film a weighted average score of 73 out of 100, based on 35 critics, indicating "generally favorable reviews".


title: Notes on a Scandal (film)

text: "The Guardian" called the film a "delectable adaptation" with "tremendous acting from Judi Dench and Cate Blanchett, with many blue-chip supporting contributions and a "screenwriting masterclass from Patrick Marber". "The Times" praised the film, saying: ""Notes on a Scandal", is screenwriting at its vicious best... Richard Eyre directs the film like a chamber play. He leans on Philip Glass's ever-present and insistent music like a crutch. But his natural gift for framing scenes is terrifically assured. A potent and evil pleasure."


title: Notes on a Scandal (film)

text: American publications also gave the film acclaim, with the "Los Angeles Times" describing the film as "Sexy, aspirational and post-politically correct, "Notes on a Scandal" could turn out to be the "Fatal Attraction" of the noughties." "The Washington Post" noted the "dark brilliance" and that it "offers what is possibly the only intelligent account of such a disaster ever constructed, with a point of view that is somewhat gimlet-eyed and offered with absolutely no sentimentality whatsoever." The reviewer also identified the film as a "study in the anthropology of British liberal-left middle-class life." "Chicago Sun-Times" film critic Richard Roeper heaped praise on the film: "Perhaps the most impressive acting duo in any film of 2006. Dench and Blanchett are magnificent. "Notes on a Scandal" is whip-smart, sharp and grown up."


title: Notes on a Scandal (film)

text: However, the "Houston Chronicle" criticized the film as a melodrama, saying, "[d]ramatic overstatement saturates just about every piece of this production".


title: Notes on a Scandal (film)

text: The original score for the movie was composed by Philip Glass. The film also features music by Toots and the Maytals and Siouxsie and the Banshees; the songs were "Funky Kingston" by Toots and the Maytals and "Dizzy" by Siouxsie and the Banshees.


title: Steppenwolf (DC Extended Universe)

text: Steppenwolf is a fictional character in the DC Extended Universe film series, based on the supervillain of the same name from DC Comics and portrayed by actor Ciarán Hinds. First appearing in the Ultimate edition of "" as a hologram, the character makes his first live-action appearance in the theatrical release of the film "Justice League". Steppenwolf is a demonic warlord from the planet Apokolips aiming to conquer Earth and its inhabitants. During the film's troubled production, the character was heavily redesigned by Joss Whedon, who had taken over directorial duties for Zack Snyder. This iteration of the character received negative reviews and was criticized as underwhelming and generic. Snyder's director's cut of the film depicts Steppenwolf as originally envisioned, with this portrayal of the character receiving greater praise.


title: Steppenwolf (DC Extended Universe)

text: The character of Steppenwolf originally appeared in 1972 as a New God associated with Darkseid and Apokolips in "New Gods" #7, and is traditionally a recurring villain against Superman and the Justice League. Prior to his inclusion in the DC Extended Universe, Steppenwolf briefly appeared in several works in the DC Animated Universe such as "" and the "Justice League" animated series, and later in other cartoons such as "" and "Justice League Action".


title: Steppenwolf (DC Extended Universe)

text: "Suicide Squad" director David Ayer revealed that Enchantress was originally the supporting villain in the film and was under the control of Steppenwolf via a Mother Box, but that this plot element was removed during pre-production, due to rewrites of "Justice League", which originally had Darkseid as the main villain. Steppenwolf was then moved over to "Justice League" and replaced by Enchantress's brother Incubus in "Suicide Squad", with Enchantress being made the primary antagonist.


title: Steppenwolf (DC Extended Universe)

text: Irish actor Ciarán Hinds was cast to portray Steppenwolf in "Justice League" through voice and motion capture. Hinds received advice from Liam Neeson (who had done similar motion capture work in "A Monster Calls") for his performance.


title: Steppenwolf (DC Extended Universe)

text: During post-production of "Zack Snyder's Justice League", which happened during the COVID-19 pandemic, several special effects studios were shut down or inaccessible, resulting in some unused visuals intended for the 2017 cut being unavailable and needing to be re-rendered. This included the rendering of Steppenwolf, who was "built from scratch" for the director's cut, also because the character had reverted to Zack Snyder's original design.


title: Steppenwolf (DC Extended Universe)

text: Originally conceived as a monstrous, horned being with seven fingers on each hand and hooved feet, Steppenwolf was "toned down" during the troubled production of the film, as Warner Bros. deemed Zack Snyder's design as too intimidating. Joss Whedon's "sanitized" rendering of the character made him more humanoid and "self aware". He refers to the Mother Boxes as "Mother" and makes several "cheesy" quips in the film, and as described by Mark Birrell of "Screen Rant", resembles a "Saturday-morning cartoon villain" who enjoys "being a bad guy" with Darkseid's role in the film being almost entirely scrapped.


title: Steppenwolf (DC Extended Universe)

text: Once the director's cut was greenlit, Steppenwolf was reverted back to his original, alien design, and was given new armor and gadgets. In addition, the character's relationships with Darkseid and DeSaad are explored, and his fight scenes are much more violent and emotional. Hinds described Steppenwolf as characterized in this version of the film as "old, tired" and trying to find a way to escape his role of servitude under Darkseid. He also speaks more "poetically" but overall less frequently, letting his violent actions speak for themselves. Snyder also adds that the character was designed with a "fallen angel" archetype, trying to regain his commander's good graces. His armor, in particular, was rendered by Weta Digital as a bevy of spikes that appear to move with the character's emotions and also follows his design as a "space knight". Anders Langlands, one of the supervisors at Weta, comments that "Zack had the idea that his armor would react to his mood and be part of his performance, as if it was some kind of alien technology that’s symbiotic with him."


title: Steppenwolf (DC Extended Universe)

text: Steppenwolf first appears in the Ultimate Edition of the film as a hologram, appearing as he does in "Zack Snyder's Justice League", as Lex Luthor is communicating with him at the Kryptonian scout ship prior to being arrested following Superman's death at the hands of Doomsday.


title: Steppenwolf (DC Extended Universe)

text: As portrayed in the theatrical cut, Steppenwolf leads the first invasion of Earth thousands of years ago, but his forces are defeated by a united front of humans, Amazons, Atlanteans, Olympian Gods, and Green Lanterns. He is driven mad by his defeat and banished from Apokolips due to this failure. When the three Mother Boxes that he had used in his initial invasion attempt are reawakened in the present day following Superman's death, Steppenwolf returns to Earth in hopes of conquering it to regain Darkseid's favor, setting up his base in an abandoned city in Russia similar to Chernobyl. He effortlessly takes the boxes from the Amazons, Atlanteans, and later humans when the Justice League uses the final box to revive Superman and allow Steppenwolf to take it while distracted. In the final battle against the League, he handily fends off the League when they attempt to stop the Unity of the Mother Boxes, but is defeated by Superman which instills him with a new sense of fear, causing his army of Parademons to attack him and drag him through the boom tube back to Apokolips.


title: Steppenwolf (DC Extended Universe)

text: In the director's cut, Steppenwolf's nephew Darkseid leads the invasion of Earth instead. Steppenwolf was banished from Apokolips for attempting to betray Darkseid and seize his throne, and despite his change of heart, owes the latter a debt of one hundred and fifty-thousand worlds conquered before he can return to his home planet. After successfully claiming 100,000, he is called to Earth when the Mother Boxes, left behind by Darkseid following his failed invasion attempt aeons ago, are reactivated in the wake of Superman's death. Steppenwolf and his parademons first invade Themyscira and, after a bloody battle with the Amazons, defeats them and takes the Mother Box guarded by them. He uses the Box to gather radioactive material from the abandoned nuclear facility in Russia and create a barrier around his base, then starts torturing Atlantean guards and humans for information on the other two boxes. After obtaining the second box from Atlantis, he finds the fabled Anti-Life Equation that Darkseid seeks and reports his discovery to DeSaad. Darkseid gives Steppenwolf a chance at redemption by uniting the Mother Boxes to prepare for his arrival. The Justice League, led by Batman, initially prevents him from retrieving the final Mother Box. They use the box to revive Superman, knowing that Steppenwolf will inevitably sense and retrieve it once they do so, but S.T.A.R. Labs scientist Silas Stone superheats the box at the cost of his own life before Steppenwolf takes it, allowing Stone's son, Victor Stone / Cyborg, to track it to Russia.


title: Steppenwolf (DC Extended Universe)

text: Though the League breaks into the barrier and eliminates many of the parademons, Steppenwolf holds the League off when they try to prevent the Unity until Superman arrives and subdues him, burning off his right horn and damaging his armor. The Mother Boxes are nonetheless synchronized and Steppenwolf manages to terraform Earth for Darkseid, but The Flash taps into the Speed Force and reverses time to undo this. After Cyborg and Superman separate and disable the boxes the second time around, Aquaman impales the distracted and now-vulnerable Steppenwolf and Superman punches him towards the Boom Tube before Wonder Woman decapitates him, sending his corpse hurtling back to Apokolips. Darkseid crushes Steppenwolf's severed head in anger, pledging to return to Earth through the "old ways" for the Anti-Life Equation.


title: Steppenwolf (DC Extended Universe)

text: Steppenwolf's portrayal in the theatrical release of "Justice League" was ridiculed by critics and fans alike, with "Screen Rant" describing this rendition as "generic", "forgettable", and too "family friendly", stating that he bore too much resemblance to Thanos in the Marvel Cinematic Universe. His CGI design was also poorly received, which was partially attributed to the redesign of the character being pushed through late in production. Hinds also reportedly expressed frustration with the theatrical cut, which trimmed down much of his character's development and personality. However, Steppenwolf's depiction in the director's cut was much more warmly received by fans and critics, with praise directed at his monstrous and alien design, his more menacing and sinister presence, and his greater level of character depth and development in contrast to his theatrical counterpart. Specifically, "Comic Book Resources" commented that this latter version of the character was more believable as a credible threat to the protagonists.


title: Steppenwolf (DC Extended Universe)

text: Sam Adams of "Slate.com" compared both versions of the character in an analysis of "Zack Snyder's Justice League", noting the different portrayals of Steppenwolf as one of the key differences between the theatrical and director's cuts. Adams called Whedon's version "quippier and creepier", likening the character to "cosplaying Mike Pence" and criticizing his armor, which he likened to a generic medieval garb. He praised Snyder's version for a "truly stellar" armor and more fearsome demeanor, but also called him more "pathetic" due to his desperation to regain Darkseid's favor.


title: Steppenwolf (DC Extended Universe)

text: The plot description and characterization were adapted from Steppenwolf, Justice League (film), and Zack Snyder's Justice League (film) at DC Extended Universe Wiki, which are available under a Creative Commons Attribution-Share Alike 3.0 license.


title: Margo Dydek

text: Małgorzata Dydek (known as Margo Dydek in the United States, 28 April 1974 – 27 May 2011) was a Polish professional basketball player. Standing tall, she was famous for being the tallest professional female basketball player in the world. She played center position for multiple teams in the WNBA and was a coach for the Northside Wizards in the Queensland Basketball League. She was awarded the Polish Gold Cross of Merit (1999).


title: Margo Dydek

text: Margo Dydek was born 28 April 1974 in Warsaw, Poland, to a father and a mother. She had two sisters, her elder sister, Katarzyna() used to play for the Colorado Xplosion of the now defunct ABL. Her younger sister (12 years younger), Marta (), graduated from the University of Texas–El Paso where she played basketball, and played in Spain professionally in the 2000s.


title: Margo Dydek

text: Dydek made her first trip to the United States in May 1998 for WNBA pre-draft camp. Dydek was drafted 1st overall in the 1998 WNBA draft by the Utah Starzz (the franchise was subsequently transferred to San Antonio).


title: Margo Dydek

text: On 16 April 2005, during the 2005 WNBA draft, the San Antonio Silver Stars traded Dydek to the Connecticut Sun in exchange for the Sun's first-round draft pick, Katie Feenstra from Liberty University.


title: Margo Dydek

text: On 3 June 2008, Dydek signed with the Los Angeles Sparks, following time away from basketball due to her pregnancy. She gave birth to her son, David, in April that year.


title: Margo Dydek

text: Dydek played for Olimpia Poznań from 1992 to 1994, before playing for Valenciennes Orchies in France from 1994 to 1996, where she met her future husband, David. She then moved to Spain and played for Pool Getafe from 1996 to 1998, and moved back to Poland to play for Fota Porta Gdynia starting with the 1998–99 season. She continued to play with the club through several sponsorship changes; since then, the club has taken the names Polpharma and Lotos.


title: Margo Dydek

text: In 1999–2000 she averaged 18.5 points and 10.7 rebounds for Gdynia in FIBA EuroLeague play. She was named Most Valuable Player of the Polish League Finals of the 1999–2000 season. In 1999, she was also named the best female basketball player in Europe by the Italian sports magazine "La Gazzetta dello Sport". Dydek was chosen as Poland's Sports Woman of the Year and was a member of the Poland women's national basketball team until 2007, winning the EuroBasket Women 1999. She helped lead Gdynia to runner-up finishes in the FIBA EuroLeague in 2002 and 2004.


title: Margo Dydek

text: On 19 May 2011, Dydek, at the time pregnant with her third child, collapsed at her home in Brisbane due to cardiac arrest. She was taken by ambulance to a hospital and placed in a medically induced coma. She had been working as a coach for the Northside Wizards in the Queensland Basketball League. She never regained consciousness and died eight days later on 27 May 2011.


title: Distinguished Service Order

text: The Distinguished Service Order (DSO) is a military decoration of the United Kingdom, as well as formerly of other parts of the Commonwealth, awarded for meritorious or distinguished service by officers of the armed forces during wartime, typically in actual combat. Since 1993 it has been awarded specifically for 'highly successful command and leadership during active operations', with all ranks being eligible.


title: Distinguished Service Order

text: Instituted on 6 September 1886 by Queen Victoria in a royal warrant published in "The London Gazette" on 9 November, the first DSOs awarded were dated 25 November 1886.


title: Distinguished Service Order

text: The order was established to reward individual instances of meritorious or distinguished service in war. It was a military order, until recently for officers only and typically awarded to officers ranked major (or equivalent) or higher, with awards to ranks below this usually for a high degree of gallantry, just short of deserving the Victoria Cross.


title: Distinguished Service Order

text: Whilst normally given for service under fire or under conditions equivalent to service in actual combat with the enemy, a number of awards made between 1914 and 1916 were under circumstances not under fire, often to staff officers, causing resentment among front-line officers. After 1 January 1917, commanders in the field were instructed to recommend this award only for those serving under fire.


title: Distinguished Service Order

text: From 1916, ribbon bars could be authorised for subsequent awards of the DSO, worn on the ribbon of the original award.


title: Distinguished Service Order

text: In 1942, the award was extended to officers of the Merchant Navy who had performed acts of gallantry whilst under enemy attack. A requirement that the order could be given only to someone mentioned in despatches was removed in 1943.


title: Distinguished Service Order

text: Since 1993, reflecting the review of the British honours system which recommended removing distinctions of rank in respect of operational awards, the DSO has been open to all ranks, with the award criteria redefined as 'highly successful command and leadership during active operations'. At the same time, the Conspicuous Gallantry Cross was introduced as the second-highest award for gallantry. Despite some very fierce campaigns in Iraq and Afghanistan, the DSO has yet to be awarded to a non-commissioned rank.


title: Distinguished Service Order

text: The DSO had also been awarded by Commonwealth countries but by the 1990s most, including Canada, Australia and New Zealand, were establishing their own honours systems and no longer recommended British honours.


title: Distinguished Service Order

text: Recipients of the order are officially known as Companions of the Distinguished Service Order, and are entitled to use the post-nominal letters "DSO". All awards are announced in "The London Gazette".


title: Distinguished Service Order

text: From 1918 to 2017 the insignia of the Distinguished Service Order has been awarded approximately 16,935 times, in addition to 1,910 bars. The figures to 1979 are laid out in the table below, the dates reflecting the relevant entries in the "London Gazette":


title: Distinguished Service Order

text: In addition, between 1980 and 2017 approximately 90 DSOs have been earned, including awards for the Falklands and the wars in the Gulf, Iraq and Afghanistan, in addition to three second-award bars.


title: Distinguished Service Order

text: The above figures include awards to the Commonwealth. In all, 1,220 DSOs have gone to Canadians, plus 119 first bars and 20 second bars. From 1901 to 1972, when the last Australian to receive the DSO was announced, 1,018 awards were made to Australians, plus 70 first bars and one second bar. The DSO was awarded to over 300 New Zealanders during the two World Wars.


title: Distinguished Service Order

text: Honorary awards to members of allied foreign forces include at least 1,329 for World War I, with further awards for World War II.


title: Air Force Specialty Code

text: The Air Force Specialty Code (AFSC) is an alphanumeric code used by the United States Air Force to identify a specific job. Officer AFSCs consist of four characters and enlisted AFSCs consist of five characters. A letter prefix or suffix may be used with an AFSC when more specific identification of position requirements and individual qualifications is necessary. The AFSC is similar to the Military Occupational Specialty Codes (MOS Codes) used by the United States Army and the United States Marine Corps or enlisted ratings and USN officer designators and Naval Officer Billet Classifications (NOBCs) used by the United States Navy and enlisted ratings and USCG officer specialties used by the United States Coast Guard. The United States Space Force equivalent is known as the Space Force Specialty Code (SFSC).


title: Air Force Specialty Code

text: After the Air Force separated from the Army in 1947, it retained the Army's system of MOS occupation codes, modifying them in 1954. These were 5-digit codes; for example a maintenance data systems specialist was 39150 and a weather technician was 25170. In October 1993, the Air Force implemented a new system of AFSCs, aligning occupations with the force wide restructuring that was implemented under Merrill McPeak. These reduced officer AFSCs from 216 to 123 and enlisted AFSCs from 203 to 176.


title: Air Force Specialty Code

text: For some specialties, an alpha prefix is used to denote a special ability, skill, qualification or system designator not restricted to a single AFSC (such as "X" for an aircrew position). Additionally, an alpha suffix (a "shredout") denotes positions associated with particular equipment or functions within a single specialty (an Afrikaans specialist in the Germanic linguist field would have an "E" shredout). Using the above example, the AFSC X1N371E would refer to a Germanic Cryptologic Linguist who is aircrew qualified and specializes in Afrikaans.


title: Air Force Specialty Code

text: During the course of their Air Force careers, Airmen sometimes switch jobs and receive multiple AFSCs to denote training in multiple specialties. A Primary AFSC (PAFSC) is the designation for the specialty in which the individual possesses the highest skill level and is, therefore, the AFSC that he or she is best qualified to perform. The Duty AFSC (DAFSC) reflects the actual manpower position the Airman is assigned to. The Control AFSC (CAFSC) is a management tool to make assignments, assist in determining training requirements, and consider individuals for promotion. Often an enlisted Airman's PAFSC will reflect a higher skill level than his or her CAFSC since the CAFSC skill level is tied to rank while the PAFSC skill level is tied to performance and education.


title: Air Force Specialty Code

text: Usually, the PAFSC, DAFSC, and CAFSC will be the same. However, situations such as retraining, special duties, or Air Force-level changes necessitate these distinctions. Additionally, Airmen that have retrained into multiple specialties will have several Secondary AFSCs (2AFSC, 3AFSC, etc.). Air Force officers are limited to 3 AFSCs in MilPDS while Enlisted may have 4 AFSCs on record.


title: Air Force Specialty Code

text: Special Experience Identifiers (SEIs) are established to identify special experience and training. The Air Force Enlisted Classification Directory (AFECD) and Air Force Officer Classification Directory (AFOCD) Section III contains the complete list of authorized SEIs and includes designation criteria and authorized AFSC combinations. (AFMAN 36-2100)


title: Steve Gadd

text: Stephen Kendall Gadd (born April 9, 1945) is an American drummer, percussionist, and session musician. Gadd is one of the best-known and highly regarded session and studio drummers in the industry, recognized by his induction into the "Modern Drummer" Hall of Fame in 1984. Gadd's performances on Paul Simon's "50 Ways to Leave Your Lover" and "Late in the Evening" and Steely Dan's "Aja" are examples of his style. He has worked with other popular musicians from many genres including Simon & Garfunkel, Paul McCartney, James Taylor, Harry Chapin, Joe Cocker, Bonnie Raitt, Grover Washington Jr., Michael Brecker, Chick Corea, Lee Ritenour, Paul Desmond, Kate Bush, Chet Baker, Al Di Meola, Chuck Mangione, Kenny Loggins, Eric Clapton, Pino Daniele, Michel Petrucciani, and Toshiki Kadomatsu.


title: Steve Gadd

text: Gadd grew up in Irondequoit, New York. He started playing the drums at a very early age. At age 11, he entered the Mickey Mouse National Talent Round Up contest and was one of the winners; he won a trip to California, where he met Walt Disney and appeared on "The Mickey Mouse Club", where he played the drums and did a tap dancing routine. Gadd graduated from Eastridge High School, then attended the Eastman School of Music, graduating in 1968. He was then drafted into the United States Army, where he served the next three years playing drums in the United States Army Field Band stationed at Ft. Meade, MD.


title: Steve Gadd

text: In 1973, Gadd formed the short-lived jazz fusion band L'Image with Mike Mainieri, Warren Bernhardt, David Spinozza and Tony Levin. Also in 1973, he started playing on numerous albums for the jazz label CTI Records, backing artists like Milt Jackson, Chet Baker, Art Farmer, Jim Hall, and Hubert Laws. Gadd played drums on the title track of Steely Dan's 1977 jazz-rock album "Aja"; the drum solo he played at the end of the song has become "the stuff of legend", according to a 2019 "Jazziz" article, with its "explosive tom-tom runs and crisp cymbal grooves". Other notable recordings from the 1970s are Van McCoy's hit "The Hustle" (1975), Paul Simon's "50 Ways To Leave Your Lover" (1975), Rickie Lee Jones' "Chuck E.'s in Love" (1979) and the Chick Corea albums "The Leprechaun" (1976), "My Spanish Heart" (1976), "The Mad Hatter" (1978), and "Friends" (1978).


title: Steve Gadd

text: Gadd was a member of the Manhattan Jazz Quintet from its founding in 1983 until he left in 1987, replaced by Dave Weckl, although he has reunited with the group several times since then. The group has only officially released its albums in Japan, and is best known there.


title: Steve Gadd

text: Gadd toured the entire year of 1991 with Paul Simon. He recorded and toured with Eric Clapton in 1994/1996 and again from 1997 to 2004. 1997 also saw him on a world tour in a trio with the French jazz great Michel Petrucciani and his long-time band colleague, bassist Anthony Jackson (captured on the "Trio in Tokyo" live album). Gadd played on the blues album "Riding with the King" along with B. B. King, Eric Clapton, Jimmie Vaughan and a few others. In 2009, Gadd returned to Clapton's band to play 11 nights at the Royal Albert Hall and was part of Clapton's touring band throughout May 2009. Also in 2009, Gadd reunited with L'Image, and the group performed at the Iridium Jazz Club in New York City, toured Japan and Europe, and released the album "L'Image 2.0".


title: Steve Gadd

text: Gadd toured in 2014 with James Taylor. Since 2014, Gadd has played in a soul-jazz trio with Danish musicians Michael Blicher and Dan Hemmer.


title: Steve Gadd

text: Gadd has also worked with Chet Baker, Tony Banks, Jon Bon Jovi, Bee Gees, George Benson, Edie Brickell, Kate Bush, Stanley Clarke, Eric Clapton, Joe Cocker, Chick Corea, Jim Croce, Christopher Cross, Pino Daniele, Paul Desmond, Al Di Meola, Art Farmer, Roberta Flack, Aretha Franklin, Eddie Gómez, Dave Grusin, Bob James, Al Jarreau, Quincy Jones, Rickie Lee Jones, The Manhattan Transfer, Paul McCartney, Ringo Starr, Michael McDonald, Michel Petrucciani, Bonnie Raitt, Return to Forever, Diana Ross, David Sanborn, Carly Simon, Chuck Mangione, Paul Simon, Frank Sinatra, Phoebe Snow, Steps Ahead, Barbra Streisand, Stuff, Richard Tee, Michal Urbaniak, and Dionne Warwick.


title: Steve Gadd

text: Gadd has written a book about the rudiments of drumming entitled "Gaddiments", which was released on Hudson Music in 2021.


title: Steve Gadd

text: Gadd's influences included Buddy Rich, Elvin Jones, Tony Williams, and the "less is more" style of Rick Marotta.


title: Steve Gadd

text: Gadd endorses and uses Yamaha drums, pedals and hardware, Zildjian cymbals, Remo drumheads, Latin Percussion, Earthworks microphones, Vic Firth sticks and brushes and Beato bags.


title: Steve Gadd

text: Gadd uses the Steve Gadd Commemorative kit, which Yamaha made for the 30th anniversary of his collaboration with the company. The kit consists of a 22"×14" maple bass drum and 12"x8", 13"x9", 14"x12" and 16"x14" birch tom toms. He uses his 14"x5.5" Yamaha Steve Gadd signature steel snare drum with wood hoops, which also comes in birch and maple versions, and he has started to endorse the newer Yamaha Recording Custom series.


title: Steve Gadd

text: Gadd also has Vic Firth sticks with his signature on them. The drumsticks are very light and thin, black in color, and have normal "wood color" on the tips. There is also an identical model with nylon tips. The stick is slightly shorter than the American Classic 5A, and features a barrel tip for improved recording sound. It is long and the diameter is . In addition to having his own signature stick, he has his own signature brushes. These brushes are intended to solve the problem of wire brushes snagging on new coated drumheads by slightly angling the wires in the top 3/4 inches (1.9 cm) of the playing end. The wires glide across the head, allowing a smoother sweep and a velvet swish sound.


title: Steve Gadd

text: Gadd uses a variety of Remo heads: a Coated Powerstroke 3 on the batter side of the snare with a Hazy Diplomat on the resonant side of the snare, Clear Pinstripes or Coated Ambassadors on the batter sides of toms, and Clear Ambassadors for the resonant sides. He is using a Coated Powerstroke 3 both on his snare and kick drum.


title: Steve Gadd

text: He also has an LP Steve Gadd signature cowbell, modelled on the LP Mambo cowbell that he has used since the 1970s.


title: Steve Gadd

text: According to Allmusic, Gadd has been credited with playing surdo, kalimba, timpani, tambourine, congas, Grand Cassa, bongos, timbales, snare drum, cymbals and palmas in addition to a drum kit.


title: The Hollow Men

text: "The Hollow Men" (1925) is a poem by the modernist writer T. S. Eliot. Like much of his work, its themes are overlapping and fragmentary, concerned with post–World War I Europe under the Treaty of Versailles (which Eliot despised: compare "Gerontion"), hopelessness, religious conversion, redemption and, some critics argue, his failing marriage with Vivienne Haigh-Wood Eliot. It was published two years before Eliot converted to Anglicanism.


title: The Hollow Men

text: Divided into five parts, the poem is 98 lines long. Eliot's "New York Times" obituary in 1965 identified the final four as "probably the most quoted lines of any 20th-century poet writing in English".


title: The Hollow Men

text: Eliot wrote that he produced the title "The Hollow Men" by combining the titles of the romance "The Hollow Land" by William Morris with the poem "The Broken Men" by Rudyard Kipling; but it is possible that this is one of Eliot's many constructed allusions. The title could also be theorized to originate more transparently from Shakespeare's "Julius Caesar" or from the character Kurtz in Joseph Conrad's "Heart of Darkness", who is referred to as a "hollow sham" and "hollow at the core". The latter is more likely since Kurtz is mentioned specifically in one of the two epigraphs.


title: The Hollow Men

text: The two epigraphs to the poem, ""Mistah Kurtz – he dead"" and ""A penny for the Old Guy"", are allusions to Conrad's character and to Guy Fawkes. Fawkes attempted arson of the English Houses of Parliament in 1605 and his straw-man effigy is burned each year in the United Kingdom on Guy Fawkes Night, the 5th of November. Certain quotes from the poem such as "[...] headpiece filled with straw [...]" and "[...] in our dry cellar [...]" seem to be direct references to the Gun Powder Plot.


title: The Hollow Men

text: "The Hollow Men" follows the otherworldly journey of the spiritually dead. These "hollow men" have the realization, humility, and acknowledgement of their guilt and their status as broken, lost souls. Their shame is seen in lines like "[...] eyes I dare not meet in dreams [...]" calling themselves "[...] sightless [...]" and that that "[...] [death is] the only hope of empty men [...]". The "hollow men" fail to transform their motions into actions, conception to creation, desire to fulfillment. This awareness of the split between thought and action coupled with their awareness of "death's various kingdoms" and acute diagnosis of their hollowness, makes it hard for them to go forward and break through their spiritual sterility. Eliot invokes imagery from the "Inferno", specifically the third and fourth cantos of the "Inferno" which describes Limbo, the first circle of Hell – showing man in his inability to cross into Hell itself or to even beg redemption, unable to speak with God. He states that the hollow men "[...] grope together and avoid speech, gathered on this beach of the tumid river [...]", and Dante states that at the Gates of Hell, people who did neither good nor evil in their lives have to gather quietly by a river where Charon cannot ferry them across. This is the punishment for those in Limbo according to Dante, people who "[...] lived without infamy or praise [...]" They did not put any good or evil into the world, making them out to be 'hollow' people who can only watch others move on into the afterlife. Eliot reprises this moment in his poem as the hollow men watch "[...] those who have crossed with direct eyes, to death's other kingdom [...]".Eliot describes how they wish to be seen "[...] not as lost/Violent souls, but only/As the hollow men/The stuffed men [...]".


title: The Hollow Men

text: As the poem enters section five, there is a complete breakdown of language. The Lord's Prayer and what appears to be a lyric change of "Here We Go Round the Mulberry Bush" are written while this devolution of style ends with the final stanza, maybe the most quoted of Eliot's poetry:


title: The Hollow Men

text: When asked in 1958 if he would write these lines again, Eliot said he would not. According to Henry Hewes: "One reason is that while the association of the H-bomb is irrelevant to it, it would today come to everyone's mind. Another is that he is not sure the world will end with either. People whose houses were bombed have told him they don't remember hearing anything."


title: The Hollow Men

text: The poem was first published as now known on 23 November 1925, in Eliot's "Poems: 1909–1925". Eliot was known to collect poems and fragments of poems to produce new works. This is clear to see in his poems "The Hollow Men" and "Ash-Wednesday" where he incorporated previously published poems to become sections of a larger work. In the case of "The Hollow Men" four of the five sections of the poem were previously published:


title: The Hollow Men

text: "The Hollow Men" has had a profound effect on the Anglo-American cultural lexicon—and by a relatively recent extension, world culture—since it was published in 1925. One source states that the last four lines of the poem are "probably the most quoted lines of any 20th-century poet writing in English." The sheer variety of references moves some of the questions concerning the poem's significance outside the traditional domain of literary criticism and into the much broader category of cultural studies. Examples of such influences include:


title: 2003–04 NBA season

text: The 2003–04 NBA season was the 58th season of the National Basketball Association. The season ended with the Detroit Pistons defeating the Los Angeles Lakers 4–1 in the 2004 NBA Finals.


title: 2003–04 NBA season

text: This was the last season for the original two-division format in both the Eastern and Western Conferences, before each of the conferences added a third division the following season. As a result, this would also be the final season for the NBA Midwest Division, as the Minnesota Timberwolves were that division's last champion, the only division title the franchise has won in their twenty-nine seasons in the NBA.


title: 2003–04 NBA season

text: The All-Star Game was held at the Staples Center in Los Angeles. The West won 136–132; Lakers center Shaquille O'Neal was named Most Valuable Player.


title: 2003–04 NBA season

text: For the first time in 21 years the Portland Trail Blazers did not make the playoffs, ending the second longest streak in NBA history. For the first time in 20 years the Utah Jazz did not make the playoffs, ending the third longest streak in NBA history.


title: 2003–04 NBA season

text: The Houston Rockets played their first game at the Toyota Center. They reached the playoffs for the first time since 1999 and lost to the eventual Conference champion Lakers in five games. This marked the only playoff appearance of Steve Francis NBA career.


title: 2003–04 NBA season

text: Prior to the start of the season, Karl Malone and Gary Payton took major paycuts to leave their teams and join Kobe Bryant and Shaquille O'Neal on the Lakers for a chance at a possible NBA title. However, that title chase came to an end in the NBA Finals, as the Detroit Pistons won 4–1. The Minnesota Timberwolves, behind their "Big Three" of Kevin Garnett, Latrell Sprewell, and Sam Cassell, amassed the best record in the Western Conference, and were expected to finally win a first round playoff series. They won two and advanced to the Western Conference Finals, which they lost to the Lakers. It would be their last playoff appearance until the 2017–18 season.


title: 2003–04 NBA season

text: LeBron James (1st overall to Cleveland), Carmelo Anthony (3rd overall to Denver), Chris Bosh (4th overall to Toronto), and Dwyane Wade (5th overall to Miami), among others, formed one of the strongest drafts in NBA history. Among the highly touted rookies, Anthony and Wade led their teams to the playoffs, and Wade's play pushed the Heat into the second round. James went on to win NBA Rookie of the Year. Anthony became the first NBA rookie to lead a playoff team in scoring since David Robinson of the San Antonio Spurs during the 1989–90 season.


title: 2003–04 NBA season

text: The Memphis Grizzlies qualified for the postseason for the first time in the franchise's then 9 year history, dating back to their days in Vancouver. With a record of 50–32, it was also the first time they posted a winning season. It was also their last season played at Pyramid Arena.


title: 2003–04 NBA season

text: Tracy McGrady was the first scoring leader since Bernard King in 1984–85 whose team did not make the playoffs.


title: 2003–04 NBA season

text: General Motors ended its sponsorship deal with the NBA after this season (having rotated among all eight of its U.S. divisions, including Saturn and Hummer), after which Toyota would become the new official partner.


title: 2003–04 NBA season

text: Teams in bold advanced to the next round. The numbers to the left of each team indicate the team's seeding in its conference, and the numbers to the right indicate the number of games the team won in that round. The division champions are marked by an asterisk. Home court advantage does not necessarily belong to the higher-seeded team, but instead the team with the better regular season record; teams enjoying the home advantage are shown in italics.


title: Lyle Alzado

text: Lyle Martin Alzado (April 3, 1949 – May 14, 1992) was an American professional All Pro football defensive end of the National Football League (NFL), famous for his intense and intimidating style of play.


title: Lyle Alzado

text: Alzado played 15 seasons, splitting his time among the Denver Broncos, the Cleveland Browns, and finally the Los Angeles Raiders with whom he won a championship in Super Bowl XVIII.


title: Lyle Alzado

text: Alzado was born in Brownsville, Brooklyn, New York, to an Italian-Spanish father, Maurice, and a Jewish mother with a Russian family background, Martha Sokolow Alzado, and was himself Jewish. When he was 10, the family moved to Cedarhurst, Long Island. His father, whom Alzado later described as "a drinker and street fighter," left the family during Alzado's sophomore year at Lawrence High School. He played high school football and was a Vardon Trophy Candidate (defense) in high school for three years.


title: Lyle Alzado

text: Following his failure to receive a college scholarship offer, Alzado played for Kilgore College, a community college in Kilgore, Texas. After two years, he was asked to leave the team, he later contended, for befriending a black teammate. From Texas, Alzado moved on to Yankton College in South Dakota. Though playing in relative obscurity in the NAIA, Alzado nonetheless gained notice by the NFL when Denver Broncos' coach and scout Stan Jones having been taken off the road by automobile trouble, decided to pass the time at nearby Montana Tech, one of Yankton's opponents. Montana Tech's coaches were showing him films of their star running back Don Heater, but Jones was impressed with the unknown defensive lineman Alzado squaring off against Montana Tech's offense and passed back a favorable report to his team. The Broncos ultimately drafted Alzado in the fourth round of the 1971 draft. Alzado went back to Yankton after his rookie season to get his college degree. He received a B.A. in physical education with an emphasis in secondary education. During his college years, Alzado participated in amateur boxing, and made it to the semi-finals of the 1969 Midwest Golden Gloves Boxing Tournament, held in Omaha.


title: Lyle Alzado

text: When the Broncos' starting right defensive end Rich "Tombstone" Jackson was injured in 1971, Alzado took over the job and went on to make various All-rookie teams for his contributions of 60 tackles and 8 sacks. The following year, Alzado began to get national attention as he racked up 10½ sacks to go with his 91 tackles. In 1973, Alzado posted excellent numbers as the Broncos had a winning record for the first time in team history with a 7–5–2 mark.


title: Lyle Alzado

text: In 1974, Alzado gained more notice as one publication named him All-AFC, with his 13 sacks and 80 tackles (eight for a loss) he was recognized as one of the NFL's top defensive ends, along with Elvin Bethea, Jack Youngblood, L. C. Greenwood, Claude Humphrey, and Carl Eller; Bethea, Youngblood, Humphrey and Eller are enshrined in the Pro Football Hall of Fame. The Denver Broncos posted their second consecutive winning season, going 7–6–1.


title: Lyle Alzado

text: The 1975 season brought change, as Alzado moved to defensive tackle. He responded with 91 tackles and 7 sacks. Alzado took a step backward as did the Broncos with a 6–8 record. On the first play of the 1976 season, Alzado blew out a knee and missed that campaign. The Broncos were 9–5 but SPORT magazine reported that 12 players, including Alzado, did not think the team could reach the playoffs with coach John Ralston. Ralston was replaced as coach by Red Miller for the 1977 season.


title: Lyle Alzado

text: The 1977 season was the most successful in franchise history to that point; the Broncos had one of the NFL's best defenses, went 12–2 and then beat Pittsburgh Steelers and Oakland Raiders, the team for which he later starred, in the playoffs to reach Super Bowl XII. In that game, played in New Orleans, they were beaten soundly 27–10 by the Dallas Cowboys. Still, the year was a big success for Alzado, who was voted consensus All-Pro and consensus All-AFC as well as winning the UPI AFC Defensive Player of the Year. He also led the Broncos in sacks with 8, while making 80 tackles.


title: Lyle Alzado

text: In 1978, the Broncos again went to the AFC playoffs, but lost the rematch in the first round to the eventual champion Pittsburgh Steelers. Alzado had 77 tackles and 9 sacks and recorded his first NFL safety. (Alzado recorded two more in his career, which ties him for second place all-time). He was 2nd team All-Pro and a consensus All-AFC pick. In 1979, he had a contract dispute, and the Broncos traded him to the Cleveland Browns.


title: Lyle Alzado

text: Alzado played well with the Browns, making second-team All-AFC in 1979 while playing defensive end. He had 80 tackles that year to go with his seven sacks. The following year, the Browns won the AFC Central division, losing to the Raiders in the Divisional round. Alzado led the Browns in sacks with nine, and was All-Pro and All-AFC. In 1981 he recorded 83 tackles and led the Browns in sacks with 8½. However, the Browns, who fell from 11–5 in 1980 to 5–11 in 1981, traded him to the Oakland Raiders in 1982.


title: Lyle Alzado

text: Being discarded by the Browns rekindled a fire in Alzado, and he worked out with a vengeance. By the time Alzado joined the Raiders, the team had relocated to Los Angeles. In 1982, he was voted the NFL Comeback Player of the Year. Although he played a full season in the strike-shortened 1982 season of 9 games, his play was seemingly so superior in 1982 that he garnered the award. Alzado recorded 7 sacks and 30 tackles while being voted All-AFC. This was the sixth season out of his first 12 campaigns that he received some sort of post-season honor.


title: Lyle Alzado

text: He continued to perform well for the Raiders in the 1983 season, helping lead them to a Super Bowl victory while recording 50 tackles and 7½ sacks. Alzado started at right end opposite future Hall of Fame inductee Howie Long.


title: Lyle Alzado

text: He also had an outstanding 1984 season with 63 tackles and 6 sacks, but the next year his tackle and sack totals dipped to 31 and 3 following a mid-season injury.