title: Hadza people

text: A 2001 anthropological study on modern foragers found the Hadza to have an average life expectancy of 33 at birth for both men and women. Life expectancy at age 20 was 39 and the infant mortality rate was 21%. More recently, Hadza adult have frequently lived into their sixties, and some have even reached their seventies or eighties. However, it's important to note that Hadza do not keep track of time and age exactly as the Western world does, and therefore these life expectancies are approximate and highly variable.


title: Hadza people

text: Hadza men usually forage individually, and during the course of the day usually feed themselves while foraging, and also bring home some honey, fruit, or wild game when available. Women forage in larger parties, and usually bring home berries, baobab fruit, and tubers, depending on availability. Men and women also forage cooperatively for honey and fruit, and at least one adult male will usually accompany a group of foraging women. During the wet season, the diet is composed mostly of honey, some fruit, tubers, and occasional meat. The contribution of meat to the diet increases in the dry season, when game become concentrated around sources of water. During this time, men often hunt in pairs, and spend entire nights lying in wait by waterholes, hoping to shoot animals that approach for a night-time drink, with bows and arrows treated with poison. The poison is made of the branches of the shrub "Adenium coetaneum". The Hadza are highly skilled, selective, and opportunistic foragers, and adjust their diet according to season and circumstance. Depending on local availability, some groups might rely more heavily on tubers, others on berries, others on meat. This variability is the result of their opportunism and adjustment to prevailing conditions.


title: Hadza people

text: Traditionally, the Hadza do not make use of hunting dogs, although this custom has been recently borrowed from neighboring tribes to some degree. Most men (80%+) do not use dogs when foraging.


title: Hadza people

text: Women's foraging technology includes the digging stick, grass baskets for carrying berries, large fabric or skin pouches for carrying items, knives, shoes, other clothing, and various small items held in a pouch around the neck. Men carry axes, bows, poisoned and non-poisoned arrows, knives, small honey pots, fire drills, shoes and apparel, and various small items.


title: Hadza people

text: While men specialize in procuring meat, honey, and baobab fruit, women specialize in tubers, berries, and greens. This division of labor is rather apparent, but women will occasionally gather a small animal or egg, or gather honey, and men will occasionally bring a tuber or some berries back to camp.


title: Hadza people

text: A myth depicts a woman harvesting the honey of wild bees, and at the same time, it declares that the job of honey harvesting belongs to the men. For harvesting honey or fruit from large trees such as the baobab, the Hadza beat pointed sticks into the trunk of the tree as ladders. This technique is depicted in a tale, and it is also documented in film.


title: Hadza people

text: There exists a dynamic relationship of mutualism and manipulation between a wild bird, the Greater honeyguide ("Indicator indicator") and the Hadza. In order to obtain wax, the bird guides people to the nests of wild bees (i.e. "Apis mellifera"). Hadza men whistle, strike trees, and sometimes shout to attract and keep the attention of the honeyguide. The bird also calls to attract the honey-hunter, using a distinctive chatter. Once the honey-hunter has located the bee nest, he uses smoke to subdue the bees, and his axe to chop into the tree and open the bee nest. The honey hunter eats or carries away most of the liquid honey, and the honeyguide consumes beeswax that may be left adhering to the tree, or which has been spit out or otherwise discarded at the site of acquisition. In many cases, instead of actively feeding the honeyguide, Hadza men burn, bury, or hide the wax that remains at the harvest site, in order to keep the honeyguide hungry, and more likely to guide again. The honeyguide also appears in Hadza mythology, both in naturalistic and personified forms. Honey represents a substantial portion of the Hadza diet (~10-20% of calories) and is an important food for many hunter-gatherer societies living in the tropics. The increased consumption of bee products contributed to an improvement in the energy density of the human diet during evolution.


title: Hadza people

text: The Hadza do not follow a formal religion, they offer prayers to "Ishoko" (the Sun) or to "Haine" (the husband of Ishoko) during a hunt and believe they go to Ishoko when they die, they also hold rituals such as the monthly dance for men at the new moon and the less frequent circumcision and coming-of-age ceremony for women.


title: Hadza people

text: can be understood as the Hadza's concept of manhood, hunting, and the relationships between sexes. "True" adult men are called men, which they become by killing large game, usually in their early 20s. Being an comes with an advantage - only men are allowed to eat certain parts of large game animals, such as warthog, giraffe, buffalo, wildebeest, and lion. The parts of these animals that are typically considered are the kidney, lung, heart, neck, tongue, and genitals. Also, no one besides other men are allowed to be present for the meat-eating. If a man still has not killed a large game animal by his thirties, he will automatically be considered and will be allowed to eat the meat.


title: Hadza people

text: In addition to eating meat, the men participate in an dance. This dance occurs every night when the moon isn't visible, and must occur in complete darkness. One man dances at a time, wearing a black cape, ostrich-feather headdress, and bells around his ankles, as the women watch. The man will stamp his foot to provide a beat, shake a gourd maraca, and sing. After a few rounds of this performance, the women will get up and sing and dance around the man. After one man goes, he gives the dressings to another man and the dance repeats.


title: Hadza people

text: There are some mythological figures who are believed to take part in arranging the world, for example rolling the sky and the earth like two sheets of leather and swapping their order to achieve the recent situation – in the past the sky used to be located under the earth. These figures also have made crucial decisions about the animals and humans (designating their food, environment), giving people the fire and the capability of sitting. These figures have celestial connotations: Ishoko is a solar figure, Haine is a lunar figure.


title: Hadza people

text: The character "Ishoye" seems to be Ishoko. She is depicted in some tales as someone who created animals, even people. Her creatures included also some people who later turned out to be a disaster for their fellow people (the man-eating giant and his wife): as Ishoko saw this, she killed the man-eaters: "you are not people any longer".


title: Hadza people

text: Indaya, the man who went to the Isanzu territory after his death and returned, plays the role of a culture hero: he introduces customs and goods to the Hadza.


title: Hadza people

text: The Isanzu people neighbor the Hadza. Unlike the Iraqw and the cattle-raiding Maasai (who used to lead raids towards Isanzu and Iramba through Hadza territory), the hoe-farming Isanzu are regarded as a peaceful people by Hadza. Moreover, many goods and customs comes from them, and the Hadza myths mention and depict this benevolent influence of the Isanzu. This advantageous view about Isanzu makes the role of this people comparable to that of a culture hero in Hadza folklore.


title: Hadza people

text: Also in some of the mythical stories about giants (see below), it is an Isanzu man who liberates the Hadza from the malevolent giant.


title: Hadza people

text: The stories about giants describe people with superhuman strength and size, but otherwise with human weaknesses (they have human needs, eat and drink, they can be poisoned or cheated).


title: Hadza people

text: One of the giants, Sengani (or Sengane), was Haine's helper, and Haine gave him power to rule over people. In Haine's absence, the giant endangered people with his decisions. The people had to resist him, thus the giant ordered the lions to attack people, which surprised people, because formerly lions were regarded as harmless beings. The people killed the giant in revenge.


title: Hadza people

text: This giant had brothers, rendered "Ssaabo" and "Waonelakhi" in Kohl-Larsen. Several tales describe the disaster these giants caused to Hadza by constantly killing, beating them. The Hadza had to ask for help from neighboring groups, finally, the giants were tricked and poisoned, or shot to death by arrows treated with poison.


title: Hadza people

text: A man-eating giant, rendered "!esengego" by Kohl-Larsen, and his family were killed by a benevolent snake. The snake turned out to be the remedy applied by Ishoko to liberate people. Ishoko changed the corpses of the giant family into leopards. He prohibited them to attack people, except for the case they would be provoked or wounded by an arrow.


title: Hadza people

text: Another giant, rendered "!Hongongoschá" in Kohl-Larsen, played the role of a mythological figure. He did not bother the Hadza (except for some smaller thefts done secretly at night). His nourishment was flowers of trees (and stolen vegetables). People greeted him with great respect, and the giant wished them good hunting luck. The giant provided further his good will to people even after he was hurt deliberately by a boy, but he took a fatal revenge on the boy. Finally, the god Haine decided about the fate of this giant and the people: he warned people, revealed the malevolent deed of the boy, and changed the giant into a big white clam.


title: Marcus Aemilius Lepidus (triumvir)

text: Marcus Aemilius Lepidus (; c. 89 BC – late 13 or early 12 BC) was a Roman general and statesman who formed the Second Triumvirate alongside Octavian and Mark Antony during the final years of the Roman Republic. Lepidus had previously been a close ally of Julius Caesar. He was also the last "pontifex maximus" before the Roman Empire, and (presumably) the last "interrex" and "magister equitum" to hold military command.


title: Marcus Aemilius Lepidus (triumvir)

text: Though he was an able military commander and proved a useful partisan of Caesar, Lepidus has always been portrayed as the least influential member of the Triumvirate. He typically appears as a marginalised figure in depictions of the events of the era, most notably in Shakespeare's plays. While some scholars have endorsed this view, others argue that the evidence is insufficient to discount the distorting effects of propaganda by his opponents, principally Cicero and, later, Augustus.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus was the son of Marcus Aemilius Lepidus (consul in 78 BC); his mother may have been a daughter of Lucius Appuleius Saturninus. His brother was Lucius Aemilius Lepidus Paullus (consul in 50). His father was the first leader of the revived populares faction after the death of Sulla, and led an unsuccessful rebellion against the optimates in 78–77 (he was defeated just outside of Rome and fled to Sardinia where he died in 77).


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus married Junia Secunda, half-sister of Marcus Junius Brutus and sister of Marcus Junius Silanus, Junia Prima and Junia Tertia, Cassius Longinus's wife. Lepidus and Junia Secunda had at least one child, Marcus Aemilius Lepidus the Younger.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus joined the College of Pontiffs as a child. He started his "cursus honorum" as "triumvir monetalis", overseeing the minting of coins, from c. 62 to 58 BC. Lepidus soon became one of Julius Caesar's greatest supporters. He was appointed as a praetor in 49 BC, being placed in charge of Rome while Caesar defeated Pompey in Greece. He secured Caesar's appointment as dictator, a position that Caesar used to get himself elected as consul, resigning the dictatorship after eleven days. Lepidus was rewarded with the position of propraetor in the Spanish province of Hispania Citerior. Lepidus was also nominated "interrex" by the Senate in 52, being the last known Roman to hold this office.


title: Marcus Aemilius Lepidus (triumvir)

text: In Spain, Lepidus was called upon to quell a rebellion against Quintus Cassius Longinus, governor of neighbouring Hispania Ulterior. Lepidus refused to support Cassius, who had created opposition to Caesar's regime by his corruption and avarice. He negotiated a deal with the rebel leader, the quaestor Marcellus, and helped to defeat an attack by the Mauretanian king Bogud. Cassius and his supporters were allowed to leave and order was restored. Caesar and the Senate were sufficiently impressed by Lepidus's judicious mixture of negotiation and surgical military action that they granted him a triumph.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus was rewarded with the consulship in 46 after the defeat of the Pompeians in the East. Caesar also made Lepidus "magister equitum" ("Master of the Horse"), effectively his deputy. Caesar appears to have had greater confidence in Lepidus than in Mark Antony to keep order in Rome, after Antony's inflammatory actions led to disturbances in 47. Lepidus appears to have been genuinely shocked when Antony provocatively offered Caesar a crown at the Lupercalia festival, an act that helped to precipitate the conspiracy to kill Caesar.


title: Marcus Aemilius Lepidus (triumvir)

text: When in February 44 Caesar was elected dictator for life by the Senate, he made Lepidus "magister equitum" for the second time. The brief alliance in power of Caesar and Lepidus came to a sudden end when Caesar was assassinated on March 15, 44 (the Ides of March). Caesar had dined at Lepidus's house the night before his murder. One of the ringleaders of the conspiracy, Gaius Cassius Longinus, had argued for the killing of Lepidus and Mark Antony as well, but Marcus Junius Brutus had overruled him, saying the action was an execution and not a political coup.


title: Marcus Aemilius Lepidus (triumvir)

text: As soon as Lepidus learned of Caesar's murder, he acted decisively to maintain order by moving troops to the Campus Martius. He proposed using his army to punish Caesar's killers, but was dissuaded by Antony and Aulus Hirtius. Lepidus and Antony both spoke in the Senate the following day, accepting an amnesty for the assassins in return for preservation of their offices and Caesar's reforms. Lepidus also obtained the post of "pontifex maximus", succeeding Caesar.


title: Marcus Aemilius Lepidus (triumvir)

text: At this point, Pompey's surviving son Sextus Pompey tried to take advantage of the turmoil to threaten Spain. Lepidus was sent to negotiate with him. Lepidus successfully negotiated an agreement with Sextus that maintained the peace. The Senate voted him a public thanksgiving festival. Lepidus thereafter administered both Hispania and Narbonese Gaul as proconsul.


title: Marcus Aemilius Lepidus (triumvir)

text: When Antony attempted to take control of Cisalpine Gaul (northern Italy) by force and displace Decimus Brutus, the Senate, led by Cicero, called on Lepidus to support Brutus – one of Caesar's killers. Lepidus prevaricated, recommending negotiation with Antony. After Antony's defeat at the Battle of Mutina, the Senate sent word that Lepidus' troops were no longer needed. Antony, however, marched towards Lepidus's province with his remaining forces. Lepidus continued to assure the Senate of his loyalty, but engaged in negotiations with Antony. When the two armies met, large portions of Lepidus's forces joined up with Antony. Lepidus negotiated an agreement with him, while claiming to the Senate that he had no choice. It is unclear whether Lepidus' troops forced him to join with Antony, whether that was always Lepidus's plan, or whether he arranged matters to gauge the situation and make the best deal.


title: Marcus Aemilius Lepidus (triumvir)

text: Antony and Lepidus now had to deal with Octavian Caesar, Caesar's great-nephew, who had been adopted by Caesar in Caesar's will. Octavian was the only surviving commander of the forces that had defeated Antony at Mutina (modern Modena). The Senate instructed Octavian to hand over control of the troops to Decimus Brutus, but he refused. Antony and Lepidus met with Octavian on an island in a river, possibly near Mutina but more likely near Bologna, their armies lined along opposite banks. They formed the Second Triumvirate, legalized with the name of "Triumvirs for Confirming the Republic with Consular Power" (Triumviri Rei Publicae Constituendae Consulari Potestate) by the "Lex Titia" of 43. With the triumvirs in possession of overwhelming numerical superiority, Decimus Brutus' remaining forces melted away, leaving the triumvirs in complete control of the western provinces.


title: Marcus Aemilius Lepidus (triumvir)

text: Unlike the First Triumvirate of Caesar, Pompey, and Crassus, this one was formally constituted. In effect, it sidelined the consuls and the Senate and signalled the death of the Republic. The triumvirate's legal lifespan was for five years. At the beginning Lepidus was confirmed in possession of both the provinces of Hispania, along with Narbonese Gaul, but also agreed to hand over seven of his legions to Octavian and Antony to continue the struggle against Brutus and Cassius, who controlled the eastern part of Roman territory. In the event of a defeat, Lepidus' territories would provide a fall-back position. Lepidus was to become consul and was confirmed as Pontifex Maximus. He would assume control of Rome while they were away.


title: Marcus Aemilius Lepidus (triumvir)

text: According to Lepidus's biographer Richard D. Weigel, Lepidus' willingness to give up his legions inevitably consigned him to a subsidiary role in the triumvirate.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus also agreed to the proscriptions that led to the death of Cicero and other die-hard opponents of Caesar's faction. Later historians were particularly critical of him for agreeing to the death of his brother Lucius Paullus, a supporter of Cicero. However, Cassius Dio hints that Lepidus helped Paullus to escape.


title: Marcus Aemilius Lepidus (triumvir)

text: After the pacification of the east and the defeat of the assassins' faction in the Battle of Philippi, during which he remained in Rome, Antony and Octavian took over most of Lepidus' territories, but granted him rights in the provinces of Numidia and Africa as proconsul. For a while he managed to distance himself from the frequent quarrels between his colleagues Antony and Octavian. When the Perusine War broke out in 41, Octavian tasked Lepidus with the defence of Rome against Lucius Antonius, Mark Antony's brother. Lucius, with superior forces, easily took the city. Lepidus was forced to flee to Octavian's camp. Lucius soon withdrew from Rome and Octavian retook the city. After this Lepidus was given six of Antony's legions to govern Africa. In 37 BC the treaty of Tarentum formally renewed the Triumvirate for another five years.


title: Marcus Aemilius Lepidus (triumvir)

text: During Lepidus' proconusulship of Africa he promoted the distribution of land to veterans, possibly in order to build up a network of clients. He appears to have encouraged the Romanisation of Thibilis in Numidia and to have demolished illicit extensions to Carthage so that the formally cursed area of the old city, destroyed after the Third Punic War, was not built upon.


title: Marcus Aemilius Lepidus (triumvir)

text: In 36, during the Sicilian revolt, Lepidus raised a large army of 14 legions to help subdue Sextus Pompey. However, this was to lead to an ill-judged political move that gave Octavian the excuse he needed to remove Lepidus from power. After the defeat of Sextus Pompey, Lepidus had stationed his legions in Sicily and a dispute arose over whether he or Octavian had authority on the island. Lepidus had been the first to land troops in Sicily and had captured several of the main towns. However, he felt that Octavian was treating him as a subordinate rather than an equal. He asserted that Sicily should be absorbed into his sphere of influence. After negotiation, he suggested an alternative: Octavian could have Sicily and Africa, if he agreed to give Lepidus back his old territories in Spain and Gaul, which should legally have been his according to the Lex Titia. Octavian accused Lepidus of attempting to usurp power and fomenting rebellion. Humiliatingly, Lepidus' legions in Sicily defected to Octavian and Lepidus himself was forced to submit to him.


title: Marcus Aemilius Lepidus (triumvir)

text: On 22 September 36, Lepidus was stripped of all his offices except that of Pontifex Maximus; Octavian then sent him into exile in Circeii. After the defeat of Antony in 31 BC, Lepidus' son Marcus Aemilius Lepidus Minor became involved in a conspiracy to assassinate Octavian, but the plot was discovered by Gaius Maecenas. The younger Lepidus was executed, but the former triumvir himself was left unmolested. His wife Junia was, however, implicated. Lepidus had to plead with his former enemy Lucius Saenius Balbinus to grant her bail.


title: Marcus Aemilius Lepidus (triumvir)

text: Spending the rest of his life in relative obscurity, Lepidus was apparently allowed to return to Rome periodically to participate in Senate business. Octavian, now known as "Augustus", is said to have belittled him by always asking for his vote last. Lepidus died peacefully in late 13 or early 12, upon which Augustus assumed the position of Pontifex Maximus for himself; afterwards, the chief priest's office was moved from the Regia to Augustus' palace, located on the Palatine Hill in Rome.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus's biographer Richard D. Weigel says that he has been typically caricatured by both ancient and modern historians as "weak, indecisive, fickle, disloyal and incompetent". Cicero condemned Lepidus for "wickedness and sheer folly" after Lepidus allowed his forces to join with Mark Antony's after Antony's initial defeat at the Battle of Mutina. Cicero also privately suggested that Lepidus' wife, Junia, had been unfaithful to him. Decimus Brutus called him a "weathercock", and Velleius Paterculus called him "the most fickle of mankind" and incapable of command. According to Cassius Dio, while Mark Antony and Octavian were away from Rome fighting Brutus and Cassius, Lepidus was nominally in control of the city, but Mark Antony's wife, Fulvia, was the real power. Dio wrote, "She, the mother-in‑law of Octavian and wife of Antony, had no respect for Lepidus because of his slothfulness, and managed affairs herself, so that neither the senate nor the people transacted any business contrary to her pleasure".


title: Marcus Aemilius Lepidus (triumvir)

text: Such views are reflected in Shakespeare's portrayal of Lepidus in "Julius Caesar" in which Antony describes him as "a slight, unmeritable man, meant to be sent on errands", comparable to a donkey required to bear burdens. In "Antony and Cleopatra" he is portrayed as extremely gullible, asking Antony silly questions about Egypt while very drunk. Antony taunts him with an elaborately nonsensical description of a Nile crocodile. After Lepidus's fall from power, he is referred to as the "poor third" and "fool Lepidius".


title: Marcus Aemilius Lepidus (triumvir)

text: Modern writers have often been equally dismissive. Ronald Syme called him "a flimsy character...perfidious and despised". Weigel argues that these views are coloured by evidence that was in large part politically motivated, and that Lepidus's career was no more perfidious or inconsistent than that of the other major players in the power struggles at the time. Léonie Hayne says that he acted "skillfully and consistently in support of Antony and (indirectly) of the Caesarian faction". She also argues that his power bid over Sicily was logical and justifiable. Alain Gowing has also argued that his actions in Sicily, though "futile", were no more than an "attempt to regain a position from which he had been unfairly thrust".


title: Marcus Aemilius Lepidus (triumvir)

text: Despite his role as "a slight, unmeritable man" in Shakespeare's "Julius Caesar" and as a rambling drunk in "Antony and Cleopatra", other Renaissance-era writers portrayed Lepidus in a more positive way. Caspar Brülow's Latin play "Caius Julius Caesar" depicts Lepidus as Caesar's loyal ally, warning him against conspiracies and later planning revenge on his killers. Georges de Scudéry's "La Mort de César" portrays him in a similar light, warning Caesar, and later working closely with Antony, who refers to him as "sage et prudent Lépide". In Pierre Corneille's "Mort de Pompée" his is a non-speaking role, simply presented as one of Caesar's entourage of officers.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus appears in several 18th century French plays, such as Prosper Jolyot de Crébillon's "Le Triumvirat, ou la mort de Cicéron", in which he attempts to save Cicero's life, and is portrayed as a conflicted figure, who respects traditional Roman values, but is unable to resist the will of his colleagues. Cicero rejects compromise, but Lepidus is too weak to do so. Voltaire's "Le Triumvirat" refers to Lepidus as a pawn, merely used by Antony and Octavian.


title: Marcus Aemilius Lepidus (triumvir)

text: Lepidus appears in a number of novels. He is the principal character of Alfred Duggan's 1958 historical novel "Three's Company". As the novel's title implies, it is centered on the second triumvirate, but relates the period through the lens of Lepidus' life and experiences. According to Weigel, he becomes a kind of "a Don Quixote in a toga". The novel follows the standard portrayal of him as "cowardly, stupid, shying away from combat, dominated by women, and longing for someone to give him orders". A reviewer at the time of publication referred to Duggan's Lepidus as "the eternal conservative stuffed shirt without the moral strength to live by the traditional virtues he admires and pretends to possess." He is portrayed as a more competent figure in W. G. Hardy's "The Scarlet Mantle" and "The Bloodied Toga". In Allan Massie's "Let the Emperor Speak", he is a weasely politician. He is also mentioned in Robert Harris' "Dictator", told from the perspective of Cicero's secretary Tiro.


title: Marcus Aemilius Lepidus (triumvir)

text: In the BBC/HBO TV series "Rome", Lepidus (Ronan Vibert) is portrayed in the familiar way, as an inadequate rival for the powerhouses of Octavian and Antony. Much of his involvement in the second Triumvirate is barely mentioned in the series. No mention is made of his alliance with Antony and Caesar before the assassination. He is depicted as a general sent to defeat the weakened Antony after Mutina. His whole army immediately defects to his enemy. He appears sporadically as a barely-noticed participant in later discussions about future plans.


title: The Siege of Jadotville (film)

text: The Siege of Jadotville is a 2016 action-war film directed by Richie Smyth and written by Kevin Brodbin. An Irish-South African production, the film is based on Declan Power's book, "The Siege at Jadotville: The Irish Army's Forgotten Battle" (2005), about an Irish Army unit's role in the titular Siege of Jadotville during the United Nations Operation in the Congo in September 1961.


title: The Siege of Jadotville (film)

text: First screened at the 2016 Galway Film Festival, the film received a limited cinema distribution in Ireland in September 2016. It had simultaneous worldwide distribution on Netflix and in a number of US iPic Theaters during October 2016. It won three Irish Film & Television Awards, including Best Director.


title: The Siege of Jadotville (film)

text: The film opens with the execution of Congolese Prime Minister Patrice Lumumba and the outbreak of civil war. As the mineral rich State of Katanga secedes under the leadership of Moise Tshombe, United Nations Secretary General Dag Hammarskjöld assigns Conor Cruise O'Brien to head up a UN peacekeeping mission. Privately, Hammarskjöld tells O'Brien that the Katanga crisis could potentially trigger World War III and orders the Irish diplomat to take offensive action.


title: The Siege of Jadotville (film)

text: Meanwhile, Irish Army Commandant Pat Quinlan commands an infantry company of Irish peacekeepers who arrive at the UN compound near Jadotville. After examining the compound, Quinlan decides that it is wide open to attack and orders his men to dig trenches and defensive fighting positions.


title: The Siege of Jadotville (film)

text: While buying food in the nearest town, Quinlan meets French mercenary Rene Faulques, who has been hired by the mining companies allied to Tshombe's government. Afterwards, he visits the estate of a Belgian colonist, Madam LaFongagne, who tells him that Jadotville contains the world's richest uranium deposits.


title: The Siege of Jadotville (film)

text: Meanwhile, O'Brien orders UN forces to launch an attack against Government buildings held by the Katangese in Elizabethville. While Indian peacekeepers are attempting to seize the city's radio station, 30 unarmed Katangese radio operators and employees are killed by gunfire and grenades. O'Brien orders the incident to be swept under the rug.


title: The Siege of Jadotville (film)

text: In retaliation, Faulques receives orders to attack Jadotville. Katangese forces and mercenaries under Faulques' command attack and besiege the Irish. During a brief ceasefire, Faulques vainly demands Quinlan's surrender.


title: The Siege of Jadotville (film)

text: Quinlan refuses, and his company is attacked repeatedly in separate waves by the Katangese and mercenary forces. They kill a total of 300 enemy soldiers, and wound 1,000 enemy soldiers, with zero deaths and only 16 wounded for the Irish. Irish, Swedish and Indian UN peacekeepers attempt to reinforce "A" Company but are repelled by separatists. An effort to supply water and evacuate the wounded troops by helicopter fails as separatists shoot down the helicopter.


title: The Siege of Jadotville (film)

text: After numerous extended attack waves, the Irish company is forced to surrender to Faulques's troops after running out of ammunition, food, and drinking water. They are held in a Katangese prison for about a month, then are freed in a prisoner exchange deal and allowed to go home. After arriving home, Quinlan is informed by General McEntee that "A" Company's surrender causes shame to the UN and the higher ups want to bury the truth of the siege for political reasons. Only in 2005 did a full review of the siege clear the soldiers' reputations.


title: The Siege of Jadotville (film)

text: In addition, Guillaume Canet portrays Rene Faulques, commander of the Katangese attacking force at Jadotville.


title: The Siege of Jadotville (film)

text: The film is based on Declan Power's non-fiction book, "The Siege at Jadotville: The Irish Army's Forgotten Battle" (2005). It covers the Siege of Jadotville, a conflict involving Irish Army UN Peacekeepers and Katangese forces during the Congo Crisis in September 1961.


title: The Siege of Jadotville (film)

text: The film was produced by an Irish production company, Parallel Films, for Netflix. Described as an "Irish/South African co-production", some of the cast were put through a training camp in South Africa before filming. "There's nothing worse than watching actors acting like they're in an action movie, pretending to run upstairs with guns and look serious," said director Ritchie Smythe. "The best way to get them to do that realistically is just to train them to be soldiers, so I did." Filming occurred at locations in South Africa and in Ireland during 2015.


title: The Siege of Jadotville (film)

text: Actor Jamie Dornan said the real veterans "didn't get the recognition they deserved. In fact the opposite. They got that term Jadotville Jacks. They have had to live with that and they appreciate any light that can be shone on their heroics."


title: The Siege of Jadotville (film)

text: Neil Genzlinger of "The New York Times" called it "a gripping drama". Keith Uhlich of "The Hollywood Reporter" described the battlefield scenes as an "impressive spectacle", but said that the non-battle scenes were less so, and the conclusions "too rushed". Robert Yaniz Jr. of "We Got This Covered" rated the film 70%, observing: "Though it doesn't break any new ground, The Siege of Jadotville is a well-crafted piece of filmmaking that investigates the often-contentious relationship between politics and war". Robert Abele of the "Los Angeles Times" rated the film 50%, describing it as: "A scrappy war flick with a fair amount of combat suspense but a whole lot of clichéd dialogue".


title: The Siege of Jadotville (film)

text: In an opinion piece published on livemint.com in April 2021, Swapna Kona Nayudu noted issues with how the role of Indian forces was represented in the movie, stating that while "Indians and the Congolese are shown supporting Irish and French forces [..] the truth was the other way around".


title: Gothic metal

text: Gothic metal (or goth metal) is a fusion genre combining the aggression of heavy metal with the dark atmospheres of gothic rock. The music of gothic metal is diverse with bands known to adopt the gothic approach to different styles of heavy metal music. The genre originated during the early 1990s in the United Kingdom originally as an outgrowth of death-doom, a fusion of death metal and doom metal. Lyrics are generally dark and introspective with inspiration from gothic fiction as well as personal experiences.


title: Gothic metal

text: Pioneers of gothic metal include Paradise Lost, My Dying Bride and Anathema, all from the north of England. Other pioneers from the first half of the 1990s include Type O Negative from the United States, Lake of Tears, Tiamat and Katatonia from Sweden, and the Gathering from the Netherlands. Norwegian band Theatre of Tragedy developed the "beauty and the beast" aesthetic of combining aggressive male vocals with clean female vocals, a contrast that had been adopted by groups before them, but not as a regular trademark; several bands have employed the technique since. During the mid-1990s, Moonspell, Theatres des Vampires, Rotting Christ and Cradle of Filth brought the gothic approach to black metal. By the end of the decade, a symphonic metal variant of gothic metal had been developed by Tristania and Within Temptation. Nightwish also integrated elements of gothic metal into their well-known mix of symphonic metal and power metal.


title: Gothic metal

text: In the 2000s, gothic metal has moved towards the mainstream in Europe, particularly in Finland where groups such as Entwine, HIM, Lullacry and Poisonblack have released hit singles or chart-topping albums. In the US, however, only a few bands such as Type O Negative and Evanescence have found some degree of commercial success.


title: Gothic metal

text: The term gothic entered heavy metal music with the release of Paradise Lost's "Gothic" album in 1991. Since then, fans have often been at odds with one another as to "which bands are, or most definitely are "not", authentically Goth". Some musicians have disputed the gothic label associated with their bands, including Rozz Williams of Christian Death and Andrew Eldritch of the Sisters of Mercy. In the gothic metal subgenre, members from such groups as After Forever, HIM and Nightwish have similarly downplayed or dismissed the gothic label from their music.


title: Gothic metal

text: The music of gothic metal is generally characterised by its dark atmospheres. The adjective "dark" is commonly used to describe gothic music in general while other terms that are less frequently used include deep, romantic, passionate and intense. Gothic metal has also sometimes been viewed as "a combination of the darkness and melancholy of goth rock with heavy metal". Allmusic defines the genre as a fusion of "the bleak, icy atmospherics of goth rock with the loud guitars and aggression of heavy metal" and further notes that "true goth metal is always directly influenced by goth rock — ethereal synths and spooky textures are just as important as guitar riffs, if not more so".


title: Gothic metal

text: Gothic metal is a varied genre with bands pursuing many different directions, from "slow and crushing variations" to "orchestral and bombastic". The doom metal background of early pioneers like Anathema, Paradise Lost and My Dying Bride has been taken up by groups like Artrosis, Ava Inferi and Draconian. The black metal approach of Cradle of Filth, Theatres des Vampires and early Moonspell can be found in such subsequent bands as Graveworm, Drastique and Samsas Traum while the symphonic metal approach of Tristania and Within Temptation can be found in other groups like Epica, Sirenia and After Forever. Other variations include the symphonic black metal of Trail of Tears, the folk metal of Midnattsol, the industrial metal of Deathstars, Gothminister and Neon Synthesis, the alternative metal of Katatonia, Evanescence, Lacuna Coil and Mushroomhead, the doom metal of Type O Negative, the nu metal of Coal Chamber, and the metalcore of Motionless in White.


title: Gothic metal

text: There is also a diverse range of vocal styles in gothic metal. Male singers in the genre range from the guttural growls and black metal shrieks of Dani Filth and Morten Veland to the clean baritone vocals of Østen Bergøy and the bass range of Peter Steele. For the female singers, the different vocal styles includes the screams and growls of Cadaveria, the "poppy" vocals of Tanja Lainio from Lullacry and the operatic soprano style of Vibeke Stene from Tristania. There are more female singers in gothic metal than there are in any other heavy metal subgenre, but female vocals are neither necessary nor synonymous with the genre. Liv Kristine of Theatre of Tragedy and Leaves' Eyes notes that the gothic tag is often misinterpreted and points out that "not every band with female vocals is a gothic band". The genre is also known to attract more female fans relative to other subgenres of heavy metal music.


title: Gothic metal

text: The lyrics of gothic metal are known to be melodramatic, fantasized, romantic, dark or sometimes gloomy. For the three English bands that helped to pioneer the genre, their gloomy lyrics reflect their background in doom metal while their darker or melodramatic lyrics draw influence from gothic rock. The music of My Dying Bride has been noted as "dripping with treachery and pain" from a "lyrical fascination with deceit and transgressions of every variety". Lyrics that focus on suicide and the meaninglessness of life can be found in Anathema while Paradise Lost too has "never lost their depressive edge".


title: Gothic metal

text: Gothic fiction, a literary genre that blends horror and romance, has been a source of inspiration for the lyrics of many gothic metal bands like Cadaveria, Cradle of Filth, Moonspell, Theatres des Vampires and Xandria. Critic Eduardo Rivadavia of Allmusic identifies drama and mournful beauty as requisite elements of the genre. For My Dying Bride, the subjects of "death and misery and lost love and romance" have been approached repeatedly from different angles. The common gothic theme of lost love is a subject that has been tackled by such gothic metal bands as Theatre of Tragedy and Leaves' Eyes.


title: Gothic metal

text: Lyrics based on personal experiences are another common feature of many gothic metal bands such as Anathema, Elis, Evanescence, Tiamat, Midnattsol and the Old Dead Tree. Graveworm moved away from fantasy stories in favor of personal lyrics after finding them more suitable for their style of music. The lyrics of fellow Italians Lacuna Coil also do not feature any "fantasy stuff or something that you cannot find in reality" as their co-vocalist Cristina Scabbia finds it desirable that people can relate themselves to her band's lyrics. Similarly, the band Lullacry features lyrics on the subjects of "love, hate, passion and pain" because a person "can easily connect to a song" with lyrics "about human relationships".


title: Gothic metal

text: Heavy metal music is perceived by many members of the goth subculture as the "crass, crude macho antithesis of everything that their music represents". In contrast to the "softer" and "more feminine" character of gothic music, the heavy metal genre is typically associated with aggression and masculinity. Despite this difference, "a few bold souls have identified Black Sabbath's eponymous 1970 debut album as the first ever 'Goth-rock' record". The author Gavin Baddeley notes that the title track of the album "describes a satanic rite, complete with driving-rain and tolling bell sound effects, while the cover focuses on a black-cloaked, spectral-looking girl in a graveyard, shot through a sickly pale ochre filter". Other commentators have described Black Sabbath as the "absolute prototype gothic heavies" and observed that by separating the band's music "from their heavy metallic connotations", one "could cull a killer Goth album from their first five LP's, with every future reference point and requirement intact".


title: Gothic metal

text: The "vaguely medieval, minor-key sounds" of Rainbow, Dio and Judas Priest has also been described as "gothic" prior to "the emergence of goth rock as a post-punk genre". The bands Blue Öyster Cult and Iron Maiden have featured some gothic lyrics in their music on songs such as "(Don't Fear) The Reaper" and "Phantom of the Opera". Deep Purple's song "Stormbringer" has been called a "goth metal treasure". The Danish metal band Mercyful Fate had also demonstrated "a Gothic obsession with evil and the occult". Frontman King Diamond continued exploring his interest in gothic storytelling after establishing a solo career under his own moniker, issuing "a series of concept albums which told Gothic horror tales with sound effects and song". During the 1980s, the former Misfits frontman Glenn Danzig also "occupied the no man's land between Goth and heavy metal". With the dissolution of his second band Samhain in 1988 and the creation of his own eponymous act, Danzig went on to combine heavy metal riffs with "a heavily romanticized, brooding, gothic sensibility".


title: Gothic metal

text: The Swiss group Celtic Frost was another precursor to gothic metal, translating the influence they drew from gothic rock acts Bauhaus and Siouxsie and the Banshees into their own albums. The band's "radical fusion of violent black metal and elements of classical music" was dubbed "avant-garde" and had a huge impact "on the evolution of European heavy metal". Christofer Johnsson of Therion cites Celtic Frost's 1987 album "Into the Pandemonium" in particular for playing a key role in the development of the "gothic and symphonic wave of bands" in the 1990s, noting further that neither his group Therion nor Paradise Lost "would have sounded the way we did without Celtic Frost".


title: Gothic metal

text: Gothic rock had emerged as an offshoot of post-punk in the 1980s but by the end of that decade, the genre had splintered into different directions with bands such as the Cure, Siouxsie and the Banshees and the Mission incorporating "more pop and alternative elements" while the Sisters of Mercy, Fields of the Nephilim and Christian Death took on a "heavier, sometimes metal-influenced approach". The Sisters of Mercy was one of the leading goth bands of the 1980s, playing "a slow, gloomy, ponderous hybrid of metal and psychedelia, often incorporating dance beats". The band only released three full-length albums with the debut "First and Last and Always" released in 1985. Their last album "Vision Thing" arrived in 1990 as one of the earliest attempts to mix gothic music with heavy metal. Fields of the Nephilim had also released only three studio albums before their initial dissolution in 1991. They have since reformed, released more albums and been recognized for their influence on the "glut of metal bands" in the early 21st century "that incorporated obvious elements of goth into their sound — especially detected in their appreciation of symphonic and keyboard sounds (as well as their fashion sense)".


title: Gothic metal

text: According to AllMusic, "goth metal first emerged during the early to mid-'80s, centered around Los Angeles' so-called 'death-rock' scene headed by Christian Death". Acclaimed as the "founding fathers of American goth rock", Christian Death went through a major personnel change in 1985 with the departure of the band's leader and founder Rozz Williams. Guitarist Valor Kand took over the reins and, under his leadership, Christian Death subsequently pursued a more metal-oriented direction. In particular, their 1988 album "Sex and Drugs and Jesus Christ" has been described by critic Steve Huey as "heavy goth-rock bordering on metal".


title: Gothic metal

text: As a musical style, gothic metal "truly began in the early 1990s in the north of England" with the three bands Paradise Lost, My Dying Bride and Anathema representing "the core of the movement". They are also recognized as three of the major bands that pioneered the death/doom subgenre, showing why gothic metal originated from death/doom. All three bands were signed to Peaceville Records during the early 1990s and have since been known as the "Peaceville Three". They had roots in "frenetically abrasive death metal, but they were also influenced by what Paradise Lost vocalist, Nick Holmes, described as the 'really bleak, dark sound' of Dead Can Dance".


title: Gothic metal

text: Paradise Lost was the first to form in 1988 in Halifax, England. Their debut album "Lost Paradise" was released in 1990 and "helped define the rules of doom/death metal: grinding, de-tuned anthems of woe topped with death metal-style guttural vocals" while demonstrating that the band was "already reaching for realms unknown to their then-amateurish abilities and latent promise". The band was "evolving at a fast clip" and in the following year, their second "aptly titled album" "Gothic" came as "something of a departure for the band's earliest fans". With a "less deliberate, more energetic arrangements", the album featured a "slightly cleaner approach to guitar crunch" and "cautious use of keyboards and even female vocals, which together added atmospheric nuances to the group's ultra-depressive power chords". "Gothic" was a chart success across Europe, particularly in Germany, and has since been acclaimed as "one of the most influential albums" in heavy metal music for creating the gothic metal genre. Their 1992 album "Shades of God" continued the transition while the follow-up 1993 album "Icon" represented "a turning point" for the band with the experimental use of synthesized strings, timpani, piano and angelic female vocals. By the time of 1995's "Draconian Times" album, Paradise Lost's music firmly stood "between stark, oppressive goth rock and crunching heavy metal". With these five albums, the band had created "a bold collection of songs that sounded like "Black"-era Metallica played by a group who loved the Sisters of Mercy". They have since been recognized as the band that "originally laid the gothic seed that other bands have been nicking and reaping in recent years".


title: Gothic metal

text: From Bradford, My Dying Bride was formed in 1990. An EP, "Symphonaire Infernus et Spera Empyrium", "sparked a lot of interest" upon its release in 1991. Their first full-length release, "As the Flower Withers", followed shortly after in the same year. The album was critically acclaimed by the press and "turned the Doom genre on its head". They added a violinist to their line-up for their 1993 sophomore effort "Turn Loose the Swans". On this "groundbreaking" album, the group introduced a "much greater element of dark romanticism to their doomy music". Vocalist Aaron Stainthorpe explains the band's pursuit of this direction:


title: Gothic metal

text: Their 1995 album "The Angel and the Dark River" "marked a shift in the band's strategy, for the first time dropping the death growl of Stainthorpe in favour of a 'clean' vocal delivery". The rest of the group "followed suit, setting aside any death metal influences, carefully using violins and keyboards to enhance the group's brooding excursions" into "fauna-wilting gothic doom metal". While the album was more experimental, the music was still dark and atmospheric.


title: Gothic metal

text: Also forming in 1990, the Liverpool-based band Anathema released a "highly acclaimed" EP, "The Crestfallen", in 1992. The "crushing emotional doom/death" of this EP remained on their 1993 debut full-length "Serenades", "the most traditional doom-styled album in their catalog". Their juxtaposition of the fragile and ferocious "fostered a keen fan base". "Pentecost III" was recorded in 1994 as another EP "that nonetheless ended up long enough to have qualified as a full-length". The year 1995 saw the release of this EP as well as the departure of Darren White. Guitarist Vincent Cavanagh took over vocal duties for their subsequent album "The Silent Enigma" released later in the same year. The album "marked an important turning point in the band's sound" with critics drawing upon comparisons to Pink Floyd, "bringing new appreciation from a more mainstream band of listeners but also causing a withdrawal of support from hardened Doom fanatics". Like My Dying Bride, this transition involved leaving behind their traditional death metal sound. They continued experimenting with their 1996 album "Eternity", "stretching its songs into sorrowful, orchestrated epics" that "quickly proved to be their most original work to date". While Anathema's music has "changed a lot", their "main features remained a heart-rending melancholy and intensity".


title: Gothic metal

text: In North America, Peter Steele had formed Type O Negative in 1990 out of the remnants of his former thrash metal band Carnivore. With their debut album "Slow, Deep and Hard" in 1991, the New York based outfit pursued a "melodramatic goth rock style" that "encompasses long songs built on simple riffs, theatrical shouting vocals, churchy-sounding organ and vocal-harmony passages, and the odd mechanical noise". "The Origin of the Feces" followed in 1992, but it was their third album "Bloody Kisses" in 1993 that became their breakthrough album. AllMusic reviewer Steve Huey noted that the album had a "twistedly affectionate send-up of goth rock conventions" and lyrics that "gleefully wallow in goth clichés — sex, death, Christianity, vampires, more sex, and death". The album has since sold nearly a million copies in the United States, a surprise success that "obliged Goths to take notice" of the group. The trademarks of Type O Negative's music include the use of "downtuned, fuzzy guitars" and a "deep baritone croon" from Peter Steele, an "intimidatingly large, sarcastically self-deprecating original, whose dry, dirty one-liners and morbid machismo challenge those who insist the archetypal Goth is a po-faced androgyne". Type O Negative has since been recognized as a pioneer of the genre. In a review of their 2007 album "Dead Again", critic Greg Prato of Allmusic declared that "before Type O Negative, there was really no such thing as goth metal".


title: Gothic metal

text: The year 1988 saw not only the formation of Paradise Lost but another early gothic metal pioneer, the Swedish band Tiamat. Their debut album "Sumerian Cry" arrived in 1990 and featured "slightly above average death metal". Their third album "Clouds" was released in 1993 as the band's first turning-point, "starkly reducing speed and heaviness for melody and atmosphere". The album made an impact on the European metal community for its atmospheric doom metal approach "enhanced with keyboards which are never out of place or over-used". The next album "Wildhoney" was unveiled in 1994 as an "artistic and commercial breakthrough, fully realizing the sound hinted at on previous releases and eliciting effusive praise in metal circles for its brooding, Gothic atmospherics". The album featured an interplay of contrasts between delicate acoustic guitar, gentle whispering vocals and angelic choruses on the one hand and massive riffs, industrial grind and death metal grunting on the other. On subsequent releases, Tiamat moved further into gothic territory with Johan Edlund "dropping the metal growling in favor of an unearthly croon". The result has seen critics comparing Edlund's vocals to the Sisters of Mercy's Andrew Eldritch, "alongside musical comparisons to Nick Cave and the Bad Seeds". The band has been recognized for producing some of the most "overtly Gothic material" from Scandinavia.


title: Gothic metal

text: As far back as 1985, Celtic Frost had used female vocals for some songs on their "To Mega Therion" album. Paradise Lost began making similar use of female vocals from their very first album "Lost Paradise" in 1990. Inspired by the use of female vocals on Paradise Lost's second album "Gothic", the Gathering released their debut album "Always..." in 1992 with growling vocalist Bart Smits supported by female singer Marike Groot. The music on the album was "firmly rooted in the dark, midtempo style of gothic and doom metal". Their second album "Almost a Dance" arrived in the following year with new vocalist Niels Duffhues, "a strange choice for the band". Duffhues' "punk-ish" and "alt-rock" style of singing was widely seen as out of place with the music, a perception that was shared by the band themselves, and the album was "largely written off as a result." The Gathering decided to drop the use of male vocals altogether and instead brought in a lead female vocalist Anneke van Giersbergen for their third full length "Mandylion", an album that "saw the band adventurously breaking away from the Gothic Doom fare of previous works". The result was considered a "groundbreaking achievement" upon its release in 1995 with critics lavishly describing it as "the perfect pinnacle of gothic metal". The Gathering's "introspective atmosphere owed a creative debt to Dead Can Dance, and established them as a leading band in their native Holland [sic]".


title: Gothic metal

text: The term "beauty and the beast" refers to an aesthetic contrasting "angelic" female vocals with male growls or aggressive singing. Paradise Lost and the Gathering had already made use of this technique on some songs from their earlier albums, but it was the Norwegian Theatre of Tragedy that first released an entire album devoted to this approach with their self-titled debut in 1995. A second album, "Velvet Darkness They Fear", arrived in the following year. Theatre of Tragedy's third album "Aégis" in 1998 saw the band "venturing into fresh musical territory". The piano was replaced by electronic keyboards while Raymond Rohonyi opted to discard his death growls in favor of a "soft, spoken, sometimes whispering voice". The music was more clean and soft, "stripped of guitar harshness" but with a "near flawless execution" that "prompted many European critics to award "Aégis" perfect review scores".


title: Gothic metal

text: Other bands that contrast aggressive male vocals and clean female vocals continued to emerge in the late 1990s. Trail of Tears had formed in 1994 while Tristania formed in 1995 and the Sins of Thy Beloved were formed in 1996. All three Norwegian groups released their debut albums in 1998. Tristania stood apart from the others with their use of three distinct vocal styles in the "operatic soprano Vibeke Stene, clean-singing counter-tenor Østen Bergøy, and harsh, black metal-style shrieker Morten Veland". Their second album "Beyond the Veil" in 1999 made use of a ten members choir and featured violin passages from Pete Johansen of the Sins of Thy Beloved, earning "rave reviews" across Europe. By then, the band had risen to "the top of the goth metal heap" with their "lush, symphonically enhanced" approach. They were "dealt a potentially crippling blow" when singer, guitarist and principal composer Veland left the group to form Sirenia. Tristania has continued to prosper with subsequent releases and has since been "regarded as one of the world's premiere goth metal bands".


title: Gothic metal

text: For over a decade, this beauty and the beast aesthetic has flourished with many representatives across the European continent. Cradle of Filth has also been known to make use of this approach through guest female vocalists such as Liv Kristine and Sarah Jezebel Deva. A few critics have since lamented that the approach has been "done to death by countless bands".


title: Gothic metal

text: Tristania was not the only gothic metal band that brought a symphonic edge to their music. Influenced by the Peaceville trio of Paradise Lost, Anathema and My Dying Bride, the Dutch band Within Temptation was founded in 1996. A debut album "Enter" was unveiled in the following year, followed shortly by an EP "The Dance". Both releases made use of the beauty and beast approach delivered by vocalists Sharon den Adel and Robert Westerholt. Their second full length "Mother Earth" was released in 2000 and dispensed entirely with the death metal vocals, instead "relying solely on den Adel's majestic vocal ability". The album was a commercial success with their lead single "Ice Queen" topping the charts in Belgium and their native Netherlands. Their third album "The Silent Force" arrived in 2004 as an "ambitious project featuring a full orchestra and 80-voice choir accompanying the band". The result was another commercial success across Europe and introduced "the world of heavy guitars and female vocals" to "a mainstream audience".


title: Gothic metal

text: Within Temptation's brand of gothic metal combines "the guitar-driven force of hard rock with the sweep and grandeur of symphonic music". The critic Chad Bowar of About.com describes their style as "the optimum balance" between "the melody and hooks of mainstream rock, the depth and complexity of classical music and the dark edge of gothic metal". The commercial success of Within Temptation has since resulted in the emergence of a large number of other female-fronted gothic metal bands, particularly in the Netherlands.


title: Gothic metal

text: Another Dutch band in the symphonic gothic metal strain is After Forever. Their debut album "Prison of Desire" in 2000 was "a courageous, albeit flawed first study into an admittedly daunting undertaking: to wed heavy metal with progressive rock arrangements and classical music orchestration — then top it all off with equal parts gruesome cookie-monster vocals and a fully qualified opera singer". A second album "Decipher" followed in 2001 with music that was described by guitarist Sander Gommans as being in the style of Within Temptation. Founding member, guitarist and vocalist Mark Jansen departed After Forever only a few months after the release of this album. Jansen would go on to form Epica, another band that performs a blend of gothic and symphonic metal. A debut album "The Phantom Agony" emerged in 2003 with music that combines Jansen's death grunts with the "angelic tones of a classically trained mezzo-soprano named Simone Simons, over a lush foundation of symphonic power metal". The music of Epica has been described as combination of "a dark, haunting gothic atmosphere with bombastic and symphonic music". Like Within Temptation and After Forever, Epica has been known to make use of an orchestra. Their 2007 album "The Divine Conspiracy" was a chart success in their home country.


title: Gothic metal

text: This blend of symphonic and gothic metal has also been arrived at from the opposite direction. The band Nightwish from Finland began as a symphonic power metal act before introducing gothic elements on their 2004 album "Once", particularly on the single "Wish I Had an Angel". They continued to mix their style of "bombastic, symphonic and cinematic" metal with a gothic atmosphere on their next albums "Dark Passion Play" in 2007 and "Imaginaerum" in 2011. In the book Rough Guide to Heavy Metal, Essi Berelian describes Nightwish as "gothic film score metal". The Swedish group Therion also introduced gothic elements to their brand of symphonic metal on their 2007 album "Gothic Kabbalah".


title: Gothic metal

text: With the release of their sixth album "One Second" in 1997, Paradise Lost brought a more commercial and pop-oriented direction to the genre they had helped created but the success of "Draconian Times" has not been overcome. Praised by Eduardo Rivadavia of Allmusic as a "radical but impressive departure", the album drew comparisons to Depeche Mode with nothing remaining "of their early death/doom metal origins". Subsequent albums "progressively experimented with electronics and pop elements, with the guitars gradually getting pushed further into the background". The result was "an accessible sound and a strong emphasis on catchy choruses". Despite attaining "a huge reputation in Europe, where all of their albums have sold strongly", the group's status as "the progenitors of gothic metal" has been "constantly overlooked, both in their homeland and the US, possibly because of their determination to never make the same record twice".


title: Gothic metal

text: In contrast, Cradle of Filth has become "one of the very biggest names" in their black metal genre with impressive albums sales and mainstream appearances on MTV, a level of success that has attracted accusations of "selling out" by the "black metal faithful".


title: Gothic metal

text: Moonspell too has "lost a lot of fans who couldn't keep up with the changes" to their music. In the opinion of vocalist Fernando Ribeiro, fans of the early 1990s were "less cynical and more open-minded in their hearts and minds" than they are in 2007. Nonetheless, the band has continued to experience success with their 2006 album "Memorial" debuting at number 1 on their native Portuguese charts. They were rewarded with the "Best Portuguese Act" award at the 2006 MTV European Music Awards, a feat matched by Within Temptation in the following year with the "Best Dutch & Belgian Act" award. Within Temptation further received recognition as their country's best selling artist at the 2007 World Music Awards.


title: Gothic metal

text: The Italian band Lacuna Coil has also become a "premiere act" of the gothic metal genre. The group employs both a female vocalist Cristina Scabbia and a male vocalist Andrea Ferro, although the group uses less of a 'beauty and the beast' style, with Ferro primarily using clean vocals. Formed in Milan in 1994, they released a demo tape in 1996 strongly influenced by Paradise Lost and Type O Negative. The band "turned a lot of heads in Italy's ambient/goth scene" with their self-titled EP in 1998. Their debut album "In a Reverie" was released in 1999 with a style that bore "some similarities to contemporaries like the Gathering and Moonspell". Lacuna Coil's music was also "more accessible than many of their peers". A second album, "Unleashed Memories", arrived in 2001, but it was their third full-length, "Comalies", that became their breakthrough album, "highly praised by the metal world after its release in October 2002". On the strength of "Comalies", Lacuna Coil became the most successful artist in the history of their label Century Media Records as well as the highest selling rock act in their home country Italy. The band has also achieved the distinction of being the first and, as of late 2007, the only European gothic metal band to successfully break into the United States market with radio airplay and impressive album sales. Their highly anticipated fourth album "Karmacode" was even more successful, debuting at number 28 on the Billboard charts, and also debuting on many European music charts. The "Comalies" and "Karmacode" albums "reportedly sold nearly 1 million units combined worldwide, a good chunk of that in the States". The band has also performed on the main stage of the American heavy metal festival Ozzfest. Their next two albums, "Shallow Life" and "Dark Adrenaline", debuted at number 16 and number 15, respectively, on the Billboard charts.


title: Gothic metal

text: In 2003, the rock group Evanescence from Arkansas, United States also found commercial success with the release of their debut album "Fallen", which has been described as a blend of gothic and alternative metal and drawing comparisons to other alternative metal acts like P.O.D. and Linkin Park. In October 2011, Evanescence's self-titled album was released and represented a mix of gothic nu metal and hard rock. Further comparisons have since been drawn between Evanescence and gothic metal groups like Within Temptation and Lacuna Coil. Critic Adrien Begrand of PopMatters wryly notes that while Lacuna Coil "had been tirelessly building a fanbase in Europe since the late 1990s with their listener-friendly brand of goth metal", they had been overshadowed by "a bunch of corn-fed kids from Arkansas with a big publicity machine behind them [taking] the very sound the Italian sextet had helped pioneer, and present it to the American suburban goth kids in a much more pop-oriented, dumbed down variation". Cammila Albertson of Allmusic similarly locates Evanescence as one step further from gothic metal, offering the description of the band as "a pop version of an already diluted brand of metal". While Fernando Ribeiro of Moonspell contends that Evanescence is not a metal band, publications such as the "New York Times", "Rough Guides", "Rolling Stone" and "Blender" have nonetheless identified Evanescence as a gothic metal act. Adrian Jackson, former bassist My Dying Bride feels the American group is doing something similar to My Dying Bride music, only in a more commercial direction. Gregor Mackintosh of Paradise Lost notes a generation gap between his group and Evanescence, suggesting that Paradise Lost has only influenced Evanescence indirectly through other acts like Lacuna Coil. The success of Evanescence has been recognized for opening "new grounds" for gothic metal bands to "explore and conquer".


title: Gothic metal

text: Another act that has attracted both commercial success and controversy is the band HIM. The group has "not only dominated the charts in their native Finland but also across Europe and in particular Germany". Their debut album arrived in 1997 as "Greatest Lovesongs Vol. 666" with music that "combines metal with '80s rock and some goth influences". HIM began moving towards a more "polished pop" direction on their next album "Razorblade Romance" in 2000. The band describes their "Sabbath-meets-Depeche Mode sound" as love metal, the title of their fourth album in 2003. Their subsequent release two years later "Dark Light" was their breakthrough album in the United States with a debut at number 18 on the Billboard charts, a feat exceeded when their next album "Venus Doom" in 2007 made a debut at number 12. Critic Lance Teegarden of PopMatters notes that HIM is "not the sort of act that conjures up a lukewarm response [as] people either like them or discredit them outright".


title: Gothic metal

text: In the 21st century, gothic metal has enjoyed a strong mainstream presence in Finland with many representatives enjoying commercial success. In addition to the aforementioned HIM, the bands Charon, Entwine, For My Pain..., Lullacry, Poisonblack, Sentenced, and To/Die/For have all found their singles or albums hitting the top ten of the Finnish charts. Of these bands, Sentenced notably formed as far back as 1989 with their early albums in the melodic and blackened death metal vein. For My Pain... was formed as a supergroup with members from other prominent bands in Finland including Nightwish, Embraze, Eternal Tears of Sorrow and Reflexion.


title: Musical composition

text: Musical composition can refer to an original piece or work of music, either vocal or instrumental, the structure of a musical piece or to the process of creating or writing a new piece of music. People who create new compositions are called composers. Composers of primarily songs are usually called songwriters; with songs, the person who writes lyrics for a song is the lyricist. In many cultures, including Western classical music, the act of composing typically includes the creation of music notation, such as a sheet music "score," which is then performed by the composer or by other musicians. In popular music and traditional music, songwriting may involve the creation of a basic outline of the song, called the lead sheet, which sets out the melody, lyrics and chord progression. In classical music, orchestration (choosing the instruments of a large music ensemble such as an orchestra which will play the different parts of music, such as the melody, accompaniment, countermelody, bassline and so on) is typically done by the composer, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In some cases, a pop or traditional songwriter may not use written notation at all and instead compose the song in their mind and then play, sing or record it from memory. In jazz and popular music, notable sound recordings by influential performers are given the weight that written or printed scores play in classical music.


title: Musical composition

text: Although a musical composition often uses musical notation and has a single author, this is not always the case. A work of music can have multiple composers, which often occurs in popular music when all members of a band collaborate to write a song or in musical theatre, when one person writes the melodies, a second person writes the lyrics and a third person orchestrates the songs.


title: Musical composition

text: A piece of music can also be composed with words, images or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. Examples range from 20th century avant-garde music that uses graphic notation, to text compositions such as Karlheinz Stockhausen's "Aus den sieben Tagen", to computer programs that select sounds for musical pieces. Music that makes heavy use of randomness and chance is called aleatoric music and is associated with contemporary composers active in the 20th century, such as John Cage, Morton Feldman and Witold Lutosławski. A more commonly known example of chance-based, or indeterminate, music is the sound of wind chimes jingling in a breeze. The study of composition has traditionally been dominated by examination of methods and practice of Western classical music, but the definition of composition is broad enough to include the creation of popular music and traditional music songs and instrumental pieces, and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers.


title: Musical composition

text: In the 2000s, composition is considered to consist of the manipulation of each aspect of music (harmony, melody, form, rhythm and timbre), according to Jean-Benjamin de :


title: Musical composition

text: Since the invention of sound recording, a classical piece or popular song may exist as a recording. If music is composed before being performed, music can be performed from memory (the norm for instrumental soloists in concerto performances and singers in opera shows and art song recitals), by reading written musical notation (the norm in large ensembles, such as orchestras, concert bands and choirs), or through a combination of both methods. For example, the principal cello player in an orchestra may read most of the accompaniment parts in a symphony, where she is playing tutti parts, but then memorize an exposed solo, in order to be able to watch the conductor. Compositions comprise a huge variety of musical elements, which vary widely from between genres and cultures. Popular music genres after about 1960 make extensive use of electric and electronic instruments, such as electric guitar and electric bass. Electric and electronic instruments are used in contemporary classical music compositions and concerts, albeit to a lesser degree than in popular music. Music from the Baroque music era (1600–1750), for example, used only acoustic and mechanical instruments such as strings, brass, woodwinds, timpani and keyboard instruments such as harpsichord and pipe organ. A 2000s-era pop band may use electric guitar played with electronic effects through a guitar amplifier, a digital synthesizer keyboard and electronic drums.


title: Musical composition

text: "Piece" is a "general, non-technical term [that began to be] applied mainly to instrumental compositions from the 17th century onwards...other than when they are taken individually 'piece' and its equivalents are rarely used of movements in sonatas or symphonies...composers have used all these terms [in their different languages] frequently in compound forms [e.g. Klavierstück]...In vocal music...the term is most frequently used for operatic ensembles..."


title: Musical composition

text: Composition techniques draw parallels from visual art's formal elements. Sometimes, the entire form of a piece is through-composed, meaning that each part is different, with no repetition of sections; other forms include strophic, rondo, verse-chorus, and others. Some pieces are composed around a set scale, where the compositional technique might be considered the usage of a particular scale. Others are composed during performance (see improvisation), where a variety of techniques are also sometimes used. Some are used from particular songs which are familiar.


title: Musical composition

text: The scale for the notes used, including the mode and tonic note, is important in tonal musical composition. Similarly, music of the Middle East employs compositions that are rigidly based on a specific mode (maqam) often within improvisational contexts, as does Indian classical music in both the Hindustani and the Carnatic system.


title: Musical composition

text: In the music tradition of India there are many forms of musical composition. To some degree this is on account of there being many musical styles prevalent in different regions of the country, such as Hindustani music, Carnatic music, Bengali music, and so forth. Another important influence in composition is its link with folk music, both indigenous and also from musical culture of Arabia, Persia, and Bengal.


title: Musical composition

text: In the Hindustani musical tradition, Drupad (originally in Sanskrit and later adaptations in Hindi and Braj Bhasha) is one of the ancient compositions and had formed the base for other forms in this music tradition such as khyal, thumri and raga. In the Carnatic music tradition the compositions are in the form of kriti, varanam and padam.


title: Musical composition

text: As technology has developed in the 20th and 21st century, new methods of music composition have come about. EEG headsets have also been used to create music by interpreting the brainwaves of musicians. This method has been used for Project Mindtunes, which involved collaborating disabled musicians with DJ Fresh, and also by artists Lisa Park and Masaki Batoh.


title: Musical composition

text: The task of adapting a composition for different musical ensembles is called arranging or orchestration, may be undertaken by the composer or separately by an arranger based on the composer's core composition. Based on such factors, composers, orchestrators, and arrangers must decide upon the instrumentation of the original work. In the 2010s, the contemporary composer can virtually write for almost any combination of instruments, ranging from a string section, wind and brass sections used in a standard orchestras to electronic instruments such as synthesizers. Some common group settings include music for full orchestra (consisting of strings, woodwinds, brass, and percussion), concert band (which consists of larger sections and greater diversity of woodwind, brass, and percussion instruments than are usually found in the orchestra), or a chamber group (a small number of instruments, but at least two). The composer may also choose to write for only one instrument, in which case this is called a solo. Solos may be unaccompanied, as with works for solo piano or solo cello, or solos may be accompanied by another instrument or by an ensemble.


title: Musical composition

text: Composers are not limited to writing only for instruments, they may also decide to write for voice (including choral works, some symphonies, operas, and musicals). Composers can also write for percussion instruments or electronic instruments. Alternatively, as is the case with musique concrète, the composer can work with many sounds often not associated with the creation of music, such as typewriters, sirens, and so forth. In Elizabeth Swados' "Listening Out Loud", she explains how a composer must know the full capabilities of each instrument and how they must complement each other, not compete. She gives an example of how in an earlier composition of hers, she had the tuba playing with the piccolo. This would clearly drown the piccolo out. Each instrument chosen to be in a piece must have a reason for being there that adds to what the composer is trying to convey within the work.


title: Musical composition

text: Arranging is composition which employs prior material so as to comment upon it such as in mash-ups and various contemporary classical works.


title: Musical composition

text: Even when music is notated relatively precisely, as in Western classical music from the 1750s onwards, there are many decisions that a performer or conductor has to make, because notation does not specify all of the elements of musical performance. The process of deciding how to perform music that has been previously composed and notated is termed "interpretation." Different performers' or conductor's interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their own music in a concert are interpreting their songs, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean the individual choices of a performer.


title: Musical composition

text: Copyright is a government-granted monopoly which, for a limited time, gives a composition's owner—such as a composer or a composer's employer, in the case of work for hire—a set of exclusive rights to the composition, such as the exclusive right to publish sheet music describing the composition and how it should be performed. Copyright requires anyone else wanting to use the composition in the same ways to obtain a license (permission) from the owner. In some jurisdictions, the composer can assign copyright, in part, to another party. Often, composers who aren't doing business as publishing companies themselves will temporarily assign their copyright interests to formal publishing companies, granting those companies a license to control both the publication and the further licensing of the composer's work. Contract law, not copyright law, governs these composer–publisher contracts, which ordinarily involve an agreement on how profits from the publisher's activities related to the work will be shared with the composer in the form of royalties.


title: Musical composition

text: The scope of copyright in general is defined by various international treaties and their implementations, which take the form of national statutes, and in common law jurisdictions, case law. These agreements and corresponding body of law distinguish between the rights applicable to sound recordings and the rights applicable to compositions. For example, Beethoven's 9th Symphony is in the public domain, but in most of the world, recordings of particular performances of that composition usually are not. For copyright purposes, song lyrics and other performed words are considered part of the composition, even though they may have different authors and copyright owners than the non-lyrical elements. Many jurisdictions allow for compulsory licensing of certain uses of compositions. For example, copyright law may allow a record company to pay a modest fee to a copyright collective to which the composer or publisher belongs, in exchange for the right to make and distribute CDs containing a cover band's performance of the composer or publisher's compositions. The license is "compulsory" because the copyright owner cannot refuse or set terms for the license. Copyright collectives also typically manage the licensing of public performances of compositions, whether by live musicians or by transmitting sound recordings over radio or the Internet.


title: Musical composition

text: Even though the first US copyright laws did not include musical compositions, they were added as part of the Copyright Act of 1831. According to a circular issued by the United States Copyright Office on Copyright Registration of Musical Compositions and Sound Recordings, a musical composition is defined as "A musical composition consists of music, including any accompanying words, and is normally registered as a work of the performing arts. The author of a musical composition is generally the composer, and the lyricists if any. A musical composition may be in the form of a notated copy (for example sheet music) or in the form of a phonorecord (for example cassette tape, LP, or CD). Sending a musical composition in the form of a phonorecord does not necessarily mean that there is a claim to copyright in the sound recording."


title: Musical composition

text: "Copyright, Designs and Patents Act 1988" defines a musical work to mean "a work consisting of music, exclusive of any words or action intended to be sung, spoken or performed with the music."


title: Musical composition

text: In India The Copy Right Act, 1957 prevailed for original literary, dramatic, musical and artistic work until the Copyright (Amendment) Act, 1984 was introduced. Under the amended act, a new definition has been provided for musical work which states "musical works means a work consisting of music and included any graphical notation of such work but does not included any words or any action intended to be sung, spoken or performed with the music."


title: Skrewdriver

text: Skrewdriver were an English punk rock band formed by Ian Stuart Donaldson in Poulton-le-Fylde, Lancashire, in 1976. Originally a punk band, Skrewdriver changed into a white supremacist rock band after reuniting in the 1980s. Their original line-up split in January 1979 and Donaldson reformed the band with different musicians in 1982.


title: Skrewdriver

text: Ian Stuart Donaldson, formerly of the cover band Tumbling Dice, formed Skrewdriver as a punk rock band in Poulton-le-Fylde in 1976. At first, Skrewdriver sported a punk appearance, but they later changed their image to a skinhead look. In 1978, Donaldson moved to Manchester, where he recruited guitarist Glenn Jones and drummer Martin Smith. With Kevin MacKay on bass, this lineup toured extensively and built a strong following, but certain venues were reluctant to book the band because of their reputation as a violent skinhead band. Performing largely for a skinhead audience, the first versions of the band released one album and two singles on Chiswick Records. Skrewdriver briefly adopted a rocker/biker-influenced look around the time they released the EP "Built Up Knocked Down" (1979).


title: Skrewdriver

text: Donaldson resurrected the band name Skrewdriver in 1982 with a new band line-up. Although the original band had a minor reputation for attracting violence at their concerts—Boomtown Rats frontman Bob Geldof was reportedly knocked unconscious by a friend of Donaldson who believed that Skrewdriver's sound had been sabotaged—they did not openly support any political ideology or organisation.


title: Skrewdriver

text: The re-formed Skrewdriver eventually became openly supportive of white nationalist groups, after a lengthy period of publicly denying such support. The band released the single "White Power" in 1983 and their second album, "Hail the New Dawn", in 1984. Although both Skrewdriver and the band Sham 69 had skinhead followings and racist fans early in their careers, Sham 69 denounced racism and performed at Rock Against Racism concerts. Donaldson eventually aligned himself with neo-Nazism, saying: "I would describe myself as a British National Socialist, not a German one, and so don't think I'm at odds with British patriots." The band became associated with the National Front and British National Party, raising funds for them (and affiliated organisations) through the White Noise record label. They released records on Rock-O-Rama, a label that became known for National Socialist sympathies. Skrewdriver was instrumental in setting up Blood & Honour, a neo-Nazi music promotion network.


title: Skrewdriver

text: Their song "Smash the IRA" became popular amongst Loyalists in Northern Ireland. It was one of a number of Skrewdriver songs covered by a Belfast band called Offensive Weapon, who also covered songs by Black artists such as Chuck Berry.


title: Skrewdriver

text: Some members of the original Skrewdriver line-up objected strongly to the new direction in which Donaldson took the band. Roger Armstrong of Chiswick Records said:


title: Skrewdriver

text: "It is a shame that the name was dragged through the gutter like that. The other three guys in the band were really pissed off too. Grinny the drummer came from solid northern socialist stock... When they made records for us Ian Stuart showed no signs of fascism. The skinhead image was a — maybe in hindsight misconceived — fashion thing. It was cooked up by a bunch of us, including the band's then-management and the photographer Peter Kodik."


title: Skrewdriver

text: However, John "Grinny" Grinton later stated in an interview that he had no problem with the new Skrewdriver, and that he became a member of the National Front along with Donaldson.


title: Skrewdriver

text: Donaldson died on 24 September 1993 following a car crash. His death catalyzed the demise of Skrewdriver, and had a strong impact in the white power rock scene. John "Grinny" Grinton died from cancer in June 2005.


title: Citizenship in a Republic

text: Citizenship in a Republic is the title of a speech given by Theodore Roosevelt, former President of the United States, at the Sorbonne in Paris, France, on April 23, 1910.


title: Citizenship in a Republic

text: It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.


title: Citizenship in a Republic

text: Someone who is heavily involved in a situation that requires courage, skill, or tenacity, as opposed to someone sitting on the sidelines and watching, is often referred to as "the man in the arena".


title: Citizenship in a Republic

text: The "Man in the Arena" passage was quoted by another US president, Richard Nixon, both in his victory speech on November 6, 1968, and in his resignation address to the nation on August 8, 1974:


title: Citizenship in a Republic

text: Sometimes I have succeeded and sometimes I have failed, but always I have taken heart from what Theodore Roosevelt once said about the man in the arena, "whose face is marred by dust and sweat and blood [...]"


title: Citizenship in a Republic

text: Nelson Mandela gave a copy of this speech to François Pienaar, captain of the South African rugby team, before the start of the 1995 Rugby World Cup, in which the South African side eventually defeated the heavily favoured All Blacks of New Zealand. In the film based on those events, the poem "Invictus" is used instead.


title: Citizenship in a Republic

text: Mark DeRosa, an American professional baseball utility player then with the Washington Nationals, read the passage to teammates prior to the Nationals' pivotal Game Four versus the St. Louis Cardinals in the 2012 National League Division Series which was won on a walk-off home run by the Nationals' Jayson Werth. Since his days at the University of Pennsylvania, DeRosa would turn to those words before important games.


title: Citizenship in a Republic

text: American scholar Brené Brown quotes the excerpt in the Netflix special "The Call to Courage"; she also used a somewhat abbreviated version of the quote in her March 2012 TED talk "Listening to Shame," and subsequently as the inspiration for the title of her book, "Daring Greatly" (2012).


title: Citizenship in a Republic

text: When then Ferrari Formula One driver Jean Alesi was about to start the last lap of the 1995 Canadian Grand Prix (which would become his only Grand Prix win), then ESPN commentator Bob Varsha used parts of Roosevelt´s speech, saying that Alesi looked a while like being the man Roosevelt had talked about.


title: Citizenship in a Republic

text: At the 2016 Democratic National Convention President Barack Obama cited the speech in his endorsement speech of Hillary Clinton.


title: Citizenship in a Republic

text: Lindsey Stirling's 2016 album release "Brave Enough" features a song titled "The Arena". The inspiration for this song comes from this speech. The music video for the track also starts out with a quotation from this speech.


title: Citizenship in a Republic

text: During the United States Naval Academy's Plebe Summer, incoming freshmen are required to memorize "The Man in the Arena".


title: Citizenship in a Republic

text: At the annual CaseIT MIS Case Competitions, Dr. Peter Tingling, Associate Dean at Simon Fraser University's Beedie School of Business, retold the story of the "Man in the Arena" in the opening ceremony to inspire competitors.


title: Karl-Gerät

text: ""Karl-Gerät"" (040/041) (German literally "Karl-device"), also known as Mörser Karl, was a World War II German self-propelled siege mortar ("Mörser") designed and built by Rheinmetall. Its heaviest munition was a diameter, shell, and the range for its lightest shell of was just over . Each gun had to be accompanied by a crane, a two-piece heavy transport set of railcars, and several modified tanks to carry shells.


title: Karl-Gerät

text: Seven guns were built, six of which saw combat between 1941 and 1945. It was used in attacking the Soviet fortresses of Brest-Litovsk and Sevastopol, bombarded Polish resistance fighters in Warsaw, participated in the Battle of the Bulge, and was used to try to destroy the Ludendorff Bridge during the Battle of Remagen. One Karl-Gerät has survived and the remainder were scrapped after the war.


title: Karl-Gerät

text: In March 1936 Rheinmetall made a proposal for a super-heavy howitzer to attack the Maginot Line. Their initial concept was for a weapon that would be transported by several tracked vehicles and assembled on site, but the lengthy preparation time drove them to change it to a self-propelled weapon in January 1937. Extensive driving trials took place in 1938 and 1939 using the first Neubaufahrzeug tank prototype and a scale model to investigate the extremely high ground pressure and steering of such an enormous vehicle. Firing trials took place in June 1939. The full-scale driving trials were held at Unterlüss in May 1940. General Karl Becker of the Artillery was involved in the development, from whom the huge weapon gained its nickname.


title: Karl-Gerät

text: In total, seven "Karl-Gerät" howitzers were manufactured. The first six had the nicknames "Adam" (later "Baldur"), "Eva" (later "Wotan"), "Thor", "Odin", "Loki", and "Ziu"; the seventh, the research and test weapon (Versuchs-Gerät), had no name. Delivery of the six production vehicles took place from November 1940 to August 1941.


title: Karl-Gerät

text: In February 1941, discussions commenced concerning increasing the range of the weapon, and in May 1942, "Gerät 041" barrels were ordered for the six vehicles. At a conference with Adolf Hitler in March 1943 it was stated that the first "Gerät 041" would be delivered by June 1943, and the third, by mid-August. Only three of the "Gerät 041" barrels were actually completed for mounting on Karl-Gerät Nr. I, IV and V, although any vehicle could be converted to use the smaller weapon.


title: Karl-Gerät

text: Twenty-two Panzer IV Ausf. D, E and F chassis were modified with a superstructure capable of carrying four shells that replaced the turret and outfitted with a crane as "Munitionsschlepper für Karl-Gerät" ammunition transporters/loaders. Two or three of these "Munitionsschlepper" were assigned to each weapon.


title: Karl-Gerät

text: The 124-ton vehicle was propelled by a Daimler-Benz MB 503A 12-cylinder liquid-cooled gasoline engine or a Daimler-Benz MB 507C 12-cylinder liquid-cooled diesel engine, but this was mainly used for aiming (the mount had only 4 degrees of traverse on each side), as the engines provided a top speed of only . For longer distances the "Karl-Gerät" was disassembled using a special mobile crane into seven loads. The chassis was loaded onto a six-axle Culemeyer-Strassenroller lowboy trailer. The other parts of the gun were lighter and used four-axle trailers. If the trailer with the chassis on board had to cross a bridge that couldn't carry their combined weight the chassis had to be off-loaded and driven across under its own power.


title: Karl-Gerät

text: The weapon was moved long distances via rail on a variant of a Schnabel car; the whole chassis was hung between two huge pedestal-mounted swiveling arms fixed to five-axle bogies. When it reached its destination, the weapon was detached from railcars' supporting arms and driven to its intended firing location. The chassis of the ordnance was then lowered to the ground by "raising" the continuous track units' roadwheels by rotating their torsion-bar-sprung suspension arms to drop the chassis close to the ground to distribute the recoil forces more evenly in preparation for firing - the roadwheels for each trackset were also similarly "raised" to allow the tracks to clear the rails while being transported by rail, between the pair of Schnabel railcars. The "Karl-Gerät" proved to have no problems moving over normal soil, but under no circumstances was it allowed to make turns on soft soil lest it throw a track. The chassis had to be backed into position to fire, which expedited movement to a new position, but the land to be used for the ordnance's firing position had to be precisely leveled and the approach route prepared ahead of time to fill in soft spots and any ditches, etc. The mortar itself could only be loaded at zero elevation, so it had to be re-aimed between every shot.


title: Karl-Gerät

text: The various "Karl-Geräte" used two different types of transmissions, engines and suspension system in a bewildering set of combinations. The table below outlines how each vehicle was outfitted. After May 1944 the gasoline engines were replaced by diesels. Little information is available for No. VII, the experimental model, and the data below must be regarded as unconfirmed.


title: Karl-Gerät

text: The original heavy 600 mm concrete-piercing shells ("schwere Betongranate") made a crater up to wide and deep. More range was desired and the light concrete-piercing shell ("leichte Betongranate) 040" was introduced in 1942. Firing trials for the 54 cm shells were not completed until the end of 1944 and they were not used in combat before then. The original 60 cm heavy shell had no designation other than the name. The "Gerät" number was added for the newer shells.


title: Karl-Gerät

text: On 3 January 1941 "Heavy Battery (schwere Batterie) 833" was created at the Bergen training ground and ordered to be combat ready by 15 February 1941. On 2 April 1941 it was expanded into "Heavy Artillery Battalion (schwere Artillerie Bataillon) 833". The original "Batterie 833" was redesignated as the first battery of the new battalion and a new second battery was formed, each battery having two howitzers, with orders to be combat ready by 1 May 1941 in preparation for Operation Barbarossa. Initially a single battery was to be deployed against the Soviet fortress at Brest-Litovsk, but that was changed by 14 May 1941 when the other battery was ordered to attack the Soviet border fortifications near Lviv. The first battery was assigned to IV Army Corps of 17th Army of Army Group South near Lviv while the second battery was ordered to support the attack by the 4th Army of Army Group Center against the Brest Fortress. The batteries were issued 60 and 36 rounds respectively.


title: Karl-Gerät

text: Little is known of "First Battery's" operations except that IV Army Corps reported on 23 June that the battery was no longer needed and was no longer operational due to technical deficiencies. "Second Battery's" weapons had some assembly problems, issues with the electrical firing mechanism and non-standard ammunition, not surprising for the "Karl-Gerät"'s combat debut, but managed to fire 31 of their 36 rounds by 24 June. It was ordered home that day by Army Group Center where the battalion was ordered to reform with eight 21 cm Mörser 18 howitzers on 6 August 1941.