title: Lie group

text: Methods for determining whether a Lie group is simply connected or not are discussed in the article on fundamental groups of Lie groups.


title: Lie group

text: The exponential map from the Lie algebra formula_115 of the general linear group formula_116 to formula_116 is defined by the matrix exponential, given by the usual power series:


title: Lie group

text: for matrices formula_87. If formula_2 is a closed subgroup of formula_116, then the exponential map takes the Lie algebra of formula_2 into formula_2; thus, we have an exponential map for all matrix groups. Every element of formula_2 that is sufficiently close to the identity is the exponential of a matrix in the Lie algebra.


title: Lie group

text: The definition above is easy to use, but it is not defined for Lie groups that are not matrix groups, and it is not clear that the exponential map of a Lie group does not depend on its representation as a matrix group. We can solve both problems using a more abstract definition of the exponential map that works for all Lie groups, as follows.


title: Lie group

text: For each vector formula_87 in the Lie algebra formula_93 of formula_2 (i.e., the tangent space to formula_2 at the identity), one proves that there is a unique one-parameter subgroup formula_129 such that formula_130. Saying that formula_131 is a one-parameter subgroup means simply that formula_131 is a smooth map into formula_2 and that


title: Lie group

text: for all formula_135 and formula_136. The operation on the right hand side is the group multiplication in formula_2. The formal similarity of this formula with the one valid for the exponential function justifies the definition


title: Lie group

text: This is called the exponential map, and it maps the Lie algebra formula_93 into the Lie group formula_2. It provides a diffeomorphism between a neighborhood of 0 in formula_93 and a neighborhood of formula_142 in formula_2. This exponential map is a generalization of the exponential function for real numbers (because formula_6 is the Lie algebra of the Lie group of positive real numbers with multiplication), for complex numbers (because formula_7 is the Lie algebra of the Lie group of non-zero complex numbers with multiplication) and for matrices (because formula_146 with the regular commutator is the Lie algebra of the Lie group formula_147 of all invertible matrices).


title: Lie group

text: Because the exponential map is surjective on some neighbourhood formula_148 of formula_142, it is common to call elements of the Lie algebra infinitesimal generators of the group formula_2. The subgroup of formula_2 generated by formula_148 is the identity component of formula_2.


title: Lie group

text: The exponential map and the Lie algebra determine the "local group structure" of every connected Lie group, because of the Baker–Campbell–Hausdorff formula: there exists a neighborhood formula_19 of the zero element of formula_93, such that for formula_156 we have


title: Lie group

text: where the omitted terms are known and involve Lie brackets of four or more elements. In case formula_87 and formula_159 commute, this formula reduces to the familiar exponential law formula_160


title: Lie group

text: The exponential map relates Lie group homomorphisms. That is, if formula_161 is a Lie group homomorphism and formula_162 the induced map on the corresponding Lie algebras, then for all formula_163 we have


title: Lie group

text: The exponential map from the Lie algebra to the Lie group is not always onto, even if the group is connected (though it does map onto the Lie group for connected groups that are either compact or nilpotent). For example, the exponential map of is not surjective. Also, the exponential map is neither surjective nor injective for infinite-dimensional (see below) Lie groups modelled on "C" Fréchet space, even from arbitrary small neighborhood of 0 to corresponding neighborhood of 1.


title: Lie group

text: A Lie subgroup formula_21 of a Lie group formula_2 is a Lie group that is a subset of formula_2 and such that the inclusion map from formula_21 to formula_2 is an injective immersion and group homomorphism. According to Cartan's theorem, a closed subgroup of formula_2 admits a unique smooth structure which makes it an embedded Lie subgroup of formula_2—i.e. a Lie subgroup such that the inclusion map is a smooth embedding.


title: Lie group

text: Examples of non-closed subgroups are plentiful; for example take formula_2 to be a torus of dimension 2 or greater, and let formula_21 be a one-parameter subgroup of "irrational slope", i.e. one that winds around in "G". Then there is a Lie group homomorphism formula_174 with formula_175. The closure of formula_21 will be a sub-torus in formula_2.


title: Lie group

text: The exponential map gives a one-to-one correspondence between the connected Lie subgroups of a connected Lie group formula_2 and the subalgebras of the Lie algebra of formula_2. Typically, the subgroup corresponding to a subalgebra is not a closed subgroup. There is no criterion solely based on the structure of formula_2 which determines which subalgebras correspond to closed subgroups.


title: Lie group

text: One important aspect of the study of Lie groups is their representations, that is, the way they can act (linearly) on vector spaces. In physics, Lie groups often encode the symmetries of a physical system. The way one makes use of this symmetry to help analyze the system is often through representation theory. Consider, for example, the time-independent Schrödinger equation in quantum mechanics, formula_181. Assume the system in question has the rotation group SO(3) as a symmetry, meaning that the Hamiltonian operator formula_182 commutes with the action of SO(3) on the wave function formula_183. (One important example of such a system is the Hydrogen atom, which has a single spherical orbital.) This assumption does not necessarily mean that the solutions formula_183 are rotationally invariant functions. Rather, it means that the "space" of solutions to formula_181 is invariant under rotations (for each fixed value of formula_186). This space, therefore, constitutes a representation of SO(3). These representations have been and the classification leads to a substantial simplification of the problem, essentially converting a three-dimensional partial differential equation to a one-dimensional ordinary differential equation.


title: Lie group

text: The case of a connected compact Lie group "K" (including the just-mentioned case of SO(3)) is particularly tractable. In that case, every finite-dimensional representation of "K" decomposes as a direct sum of irreducible representations. The irreducible representations, in turn, were classified by Hermann Weyl. The classification is in terms of the "highest weight" of the representation. The classification is closely related to the classification of representations of a semisimple Lie algebra.


title: Lie group

text: One can also study (in general infinite-dimensional) unitary representations of an arbitrary Lie group (not necessarily compact). For example, it is possible to give a relatively simple explicit description of the representations of the group SL(2,R) and the representations of the Poincaré group.


title: Lie group

text: Lie groups may be thought of as smoothly varying families of symmetries. Examples of symmetries include rotation about an axis. What must be understood is the nature of 'small' transformations, for example, rotations through tiny angles, that link nearby transformations. The mathematical object capturing this structure is called a Lie algebra (Lie himself called them "infinitesimal groups"). It can be defined because Lie groups are smooth manifolds, so have tangent spaces at each point.


title: Lie group

text: The Lie algebra of any compact Lie group (very roughly: one for which the symmetries form a bounded set) can be decomposed as a direct sum of an abelian Lie algebra and some number of simple ones. The structure of an abelian Lie algebra is mathematically uninteresting (since the Lie bracket is identically zero); the interest is in the simple summands. Hence the question arises: what are the simple Lie algebras of compact groups? It turns out that they mostly fall into four infinite families, the "classical Lie algebras" A, B, C and D, which have simple descriptions in terms of symmetries of Euclidean space. But there are also just five "exceptional Lie algebras" that do not fall into any of these families. E is the largest of these.


title: Lie group

text: Lie groups are classified according to their algebraic properties (simple, semisimple, solvable, nilpotent, abelian), their connectedness (connected or simply connected) and their compactness.


title: Lie group

text: A first key result is the Levi decomposition, which says that every simply connected Lie group is the semidirect product of a solvable normal subgroup and a semisimple subgroup.


title: Lie group

text: The identity component of any Lie group is an open normal subgroup, and the quotient group is a discrete group. The universal cover of any connected Lie group is a simply connected Lie group, and conversely any connected Lie group is a quotient of a simply connected Lie group by a discrete normal subgroup of the center. Any Lie group "G" can be decomposed into discrete, simple, and abelian groups in a canonical way as follows. Write


title: Lie group

text: This can be used to reduce some problems about Lie groups (such as finding their unitary representations) to the same problems for connected simple groups and nilpotent and solvable subgroups of smaller dimension.


title: Lie group

text: Lie groups are often defined to be finite-dimensional, but there are many groups that resemble Lie groups, except for being infinite-dimensional. The simplest way to define infinite-dimensional Lie groups is to model them locally on Banach spaces (as opposed to Euclidean space in the finite-dimensional case), and in this case much of the basic theory is similar to that of finite-dimensional Lie groups. However this is inadequate for many applications, because many natural examples of infinite-dimensional Lie groups are not Banach manifolds. Instead one needs to define Lie groups modeled on more general locally convex topological vector spaces. In this case the relation between the Lie algebra and the Lie group becomes rather subtle, and several results about finite-dimensional Lie groups no longer hold.


title: Lie group

text: The literature is not entirely uniform in its terminology as to exactly which properties of infinite-dimensional groups qualify the group for the prefix "Lie" in "Lie group". On the Lie algebra side of affairs, things are simpler since the qualifying criteria for the prefix "Lie" in "Lie algebra" are purely algebraic. For example, an infinite-dimensional Lie algebra may or may not have a corresponding Lie group. That is, there may be a group corresponding to the Lie algebra, but it might not be nice enough to be called a Lie group, or the connection between the group and the Lie algebra might not be nice enough (for example, failure of the exponential map to be onto a neighborhood of the identity). It is the "nice enough" that is not universally defined.


title: Arunachalesvara Temple

text: Arunachalesvara Temple (also called Annamalaiyar Temple) is a Hindu temple dedicated to the deity Shiva, located at the base of Arunachala hill in the town of Thiruvannamalai in Tamil Nadu, India. It is significant to the Hindu sect of Shaivism as one of the temples associated with the five elements, the "Pancha Bhoota Stalas", and specifically the element of fire, or Agni.


title: Arunachalesvara Temple

text: Shiva is worshiped as Arunachalesvara or Annamalaiyar, and is represented by the "lingam", with his idol referred to as "Agni lingam". His consort Parvati is depicted as Unnamalai Amman or Apithakucha Ambal. The presiding deity is revered in the 7th-century Tamil Saiva canonical work, the "Tevaram", written by Tamil saint poets known as the nayanars and classified as "Paadal Petra Sthalam". The 9th-century "Saiva" saint poet Manikkavasagar composed the "Tiruvempaavai" here.


title: Arunachalesvara Temple

text: The temple complex covers 10 hectares, and is one of the largest in India. It houses four gateway towers known as "gopurams". The tallest is the eastern tower, with 11 stories and a height of , making it one of the tallest temple towers in India built by Sevappa Nayakkar (Nayakar dynasty) The temple has numerous shrines, with those of Arunachalesvara and Unnamalai Amman being the most prominent. The temple complex houses many halls; the most notable is the thousand-pillared hall built during the Vijayanagar period.


title: Arunachalesvara Temple

text: The present masonry structure was built during the Chola dynasty in the 9th century, while later expansions are attributed to Vijayanagara rulers of the Sangama Dynasty (1336–1485 CE), the Saluva Dynasty and the Tuluva Dynasty (1491–1570 CE). The temple is maintained and administered by the Hindu Religious and Charitable Endowments Department of the Government of Tamil Nadu.


title: Arunachalesvara Temple

text: The temple has six daily rituals at various times from a.m. to 10 p.m., and twelve yearly festivals on its calendar. The "Karthigai Deepam" festival is celebrated during the day of the full moon between November and December, and a huge beacon is lit atop the hill. It can be seen from miles around, and symbolizes the Shiva "lingam" of fire joining the sky. The event is witnessed by three million pilgrims. On the day preceding each full moon, pilgrims circumnavigate the temple base and the Arunachala hills in a worship called "Girivalam", a practice carried out by one million pilgrims yearly.


title: Arunachalesvara Temple

text: The western world learnt of Tiruvannamalai during the mid 20th century, through the work of Ramana Maharishi (1879–1950 CE).


title: Arunachalesvara Temple

text: In Hindu mythology, Parvati, wife of Shiva, once closed the eyes of her husband playfully in a flower garden at their abode atop Mount Kailash. Although only a moment for the gods, all light was taken from the universe, and the earth, in turn, was submerged in darkness for years. Parvati performed penance along with other devotees of Shiva. Then her husband appeared as a huge column of fire at the top of Annamalai hills, returning light to the world. He then merged with Parvati to form Ardhanarishvara, the half-female, half-male form of Shiva. The Arunachala, or red mountain, lies behind the Arunachalesvara temple, and is associated with the temple of its namesake. The hill itself is sacred and considered a "lingam", or aniconic representation of Shiva.


title: Arunachalesvara Temple

text: Another legend is that once, while Vishnu and Brahma contested for superiority, Shiva appeared as a flame, and challenged them to find his source. Brahma took the form of a swan, and flew to the sky to see the top of the flame, while Vishnu became the boar Varaha, and sought its base. The scene is called "Lingodbhava", and is represented in the western wall at the sanctum of most Shiva temples. Neither Brahma nor Vishnu could find the source even.


title: Arunachalesvara Temple

text: Ancient Tamil scholars such as Nakkirar (1st century BCE to 1st century CE), Kapilar and Paranar (125 to 225 CE) have referred to the shrine at Annamalai and the presiding deity. The 7th-century Nayanar saints Sambandar and Appar wrote of the temple in their poetic work, "Tevaram". Sekkizhar, the author of the "Periyapuranam" wrote that both Appar and Sambandar worshiped Arunachalesvara in the temple. The Chola Kings ruled over the region for more than four centuries, from 850 CE to 1280 CE, and were temple patrons. The inscriptions from the Chola king record various gifts like land, sheep, cow and oil to the temple commemorating various victories of the dynasty. The Hoysala kings used Tiruvannamalai as their capital beginning in 1328 CE. There are 48 inscriptions from the Sangama Dynasty (1336–1485 CE), 2 inscriptions from Saluva Dynasty, and 55 inscriptions from Tuluva Dynasty (1491–1570 CE) of the Vijayanagara Empire, reflecting gifts to the temple from their rulers. There are also inscriptions from the rule of Krishnadeva Raya (1509–1529 CE), the most powerful Vijayanagara king, indicating further patronage. Most of the Vijayanagara inscriptions were written in Tamil, with some in Kannada and Sanskrit. The inscriptions in temple from the Vijayanagara kings indicate emphasis on administrative matters and local concerns, which contrasts the inscriptions of the same rulers in other temples like Tirupathi. The majority of the gift related inscriptions are for land endowments, followed by goods, cash endowments, cows and oil for lighting lamps. The town of Tiruvannamalai was at a strategic crossroads during the Vijayanagara Empire, connecting sacred centers of pilgrimage and military routes. There are inscriptions that show the area as an urban center before the precolonial period, with the city developing around the temple.


title: Arunachalesvara Temple

text: During the 17th century CE, the temple along with the Tiruvannamalai town came under the dominion of the Nawab of the Carnatic. As the Mughal empire came to an end, the Nawab lost control of the town, with confusion and chaos ensuing after 1753. Subsequently, there were periods of both Hindu and Muslim stewardship of the temple, with Muraru Raya, Krishna Raya, Mrithis Ali Khan, and Burkat Ullakhan besieging the temple in succession. As European incursions progressed, Tiruvannamalai was attacked by French Soupries, Sambrinet, and the English Captain Stephen Smith. While some were repelled, others were victorious. The French occupied the town in 1757, and the temple along with the town came under control of the British in 1760. In 1790 CE, Tiruvannamalai town was captured by Tippu Sultan, who ruled from 1750 to 1799 CE. During the first half of the 19th century, the town along with the temple came under British rule. From 1951, under the provision of the Hindu Religious and Charitable Endowments Act, the temple has been maintained by the Hindu Religious and Charitable Endowments Department (HR & CE) of the Government of Tamil Nadu. In 2002, the Archaeological Survey of India declared the temple a national heritage monument and took over its stewardship. Widespread protests and litigation with the Supreme Court of India, however, led the Archaeological Survey to cede the temple back to the Hindu Religious and Endowment Board.


title: Arunachalesvara Temple

text: The temple is situated at the bottom of the Arunachala hills, and faces east, lying over 25 acres. The walls on the east and west measure , the south , and the north . The present masonry and towers date back to the 9th century CE, as seen from an inscription in the structure made by Chola kings who ruled at that time. Further inscriptions indicate that before the 9th century, Tiruvannamalai was under the Pallava Kings, who ruled from Kanchipuram. It has four gateway towers, the "gopuram", on its four sides. The eastern tower, the "Rajagopuram", is the tallest in the temple. The base of the "Rajagopuram" is made of granite, measuring by . It was begun by king Krishnadevaraya (1509–29 CE) of the Vijayanagara dynasty, and completed by Sevappa Nayaka (1532–80 CE). The inscriptions indicate that the tower was built at the behest of Sivanesa and his brother Lokanatha in 1572 CE. The south tower is called Thirumanjangopuram, and the west tower is called Pe Gopuram. Ammani Amman gourami in the north. "Raghunathabhyudayam" and "Sangitha Sudha", both Nayak scriptures, also describe the towers. The "Tanjavuri Andhra Raja Charitamu" mentions that Krishnadevaraya built the tower and the outer precincts of the temple. The temple has a total of five precincts, each of which holds a huge Nandi, the sacred bull of Shiva. Towers include the Vallala Maharaja Gopuram and Kili Gopuram, or Parrot Tower.


title: Arunachalesvara Temple

text: The main shrine of Arunachalesvara faces east, housing images of Nandi and Surya, and is the oldest structure in the temple. Behind the walls of the sanctum, there is an image of Venugopalaswamy (Krishna), an incarnation of Vishnu. Around the sanctum, there are images of Somaskanda, Durga, Chandeshvara, Gajalakshmi, Arumugaswami (Kartikeya), Dakshinamurthy, Swarnabairavar, Nataraja, and Lingodbhava—the last an image of Shiva emanating from "lingam". The Palliyarai, the divine room for resting deities, is located at the first precinct around the sanctum. The shrine of his consort, Annamalai Amman, lies in the second precinct, with Amman depicted in a standing posture. Sambantha Vinayagar (Ganesha), is located to the north of the flagstaff and the "Bali peeta", or platform for sacrifice. To the south of the thousand-pillared hall, there is a small shrine for Subramanya (Kartikeya) and a large tank. Pathala Lingam, the underground "lingam", is the place where Ramana Maharshi (1879–1950 CE) is believed to have performed his penance. The shrine of Sivagangai Vinayagar (Ganesha) is present in the northern bank of the Sivanganga tank.


title: Arunachalesvara Temple

text: There is a sixteen-pillared Deepa Darshana Mandapam, or hall of light, in the third precinct. The temple tree, Magizha, is considered sacred and medicinal, and childless couples tie small cradles to its branches in obeisance. Vedas write that the mast of the temple separated the earth and the sky during creation of the universe. The Kalyana Mandapam, the marriage hall, is in the south-west of the precinct, and is built in Vijayanagara style. A stone trident is present in the outer shrine of the temple in open air, and has protective railings like a sacred tree. The Vasantha Mandapam, meaning the Hall of spring, is the third precinct, and contains the temple office and Kalahateeswarar shrine. The fourth precinct has an image of Nandi, Brahma Theertham, the temple tank, the Yanai Thirai Konda Vinayaga shrine, and a hall with a six-foot-tall statue of Nandi, erected by Vallala Maharaja.


title: Arunachalesvara Temple

text: Inside the doorway of the first tower and the fifth precinct, there is a thousand-pillared hall built during the late Vijayanagara period. Krishnadevaraya constructed the hall and dug the tank opposite to it. The pillars in the hall are carved with images of "yali", a mythological beast with body of lion and head of an elephant, a symbol of Nayak power. The Arunagirinathar Mandapam is located to the right of the Kalayana Linga Sundara Eswara Mandapam, and the Gopurathilayanar shrine is to the left of a broad flight of stone stairs that lead up to the Vallala Gopuram.


title: Arunachalesvara Temple

text: The temple priests perform the "pooja" (rituals) during festivals and on a daily basis. Like other Shiva temples of Tamil Nadu, the priests belong to the Shaivaite Brahmin caste. The temple rituals are performed by pandit six times a day; Ushatkalam at 5:30 a.m., Kalashanti at 8:00 a.m., Uchikalam at 10:00 a.m., Sayarakshai at 6:00 p.m., Irandamkalam at 8:00 p.m. and Arddha Jamam at 10:00 p.m. Each ritual comprises four steps: "abhishekam" (sacred bath), "alankaram" (decoration), "naivedyam" (food offering) and "deepa aradhanai" (waving of lamps) for both Arunachaleshvara and Unnamulai Amman. The worship is held amidst music with "nagaswaram" (pipe instrument) and "tavil" (percussion instrument), religious instructions in the Vedas read by priests and prostration by worshippers in front of the temple mast. There are weekly rituals like ' and ', fortnightly rituals like "pradosham" and monthly festivals like "amavasai" (new moon day), "kruttika", "purnima" (full moon day) and "chaturthi".


title: Arunachalesvara Temple

text: The temple celebrates dozens of festivals throughout the year. Four prime festivals, the "Brahmotsavam", are celebrated yearly. The most important of these lasts ten days during the Tamil month of "Karthikai", between November and December, concluding with the celebration of Karthikai Deepam. A huge lamp is lit in a cauldron, containing three tons of ghee, at the top of the Arunachala hills during the Deepam. To mark the occasion, the festival image of Arunachalesvara is taken around the wooden chariot around the mountain. Inscriptions indicate that the festival was celebrated as early as the Chola period (from 850 CE to 1280 CE) and was expanded to ten days in the twentieth century.


title: Arunachalesvara Temple

text: Every full moon, tens of thousands of pilgrims worship Arunachalesvara by circumambulating the Arunachala hill barefoot. The circumambulation covers a distance of , and is referred to as "Girivalam". According to Hindu legend, the walk removes sins, fulfils desires and helps achieve freedom from the cycle of birth and rebirth. Offerings are made in a string of tanks, shrines, pillared meditation halls, springs and caves around the hill. The circumambulation continues during the rest of the month. On the day of yearly "Chitra Pournami", the full moon of the Tamil calendar, hundreds of thousands of pilgrims come from across the world to worship Arunachalesvara. Five temple cars, called "ther", with wooden carvings, are used for the procession.


title: Arunachalesvara Temple

text: Tiruvoodal is another festival celebrated during the first week of the Tamil month "Thai" at mid-January of every year. On the morning of "Maatu Pongal", between 15 and 16 January, Nandi is decorated with garlands made of fruits, vegetables and sweets. The festival deities of Arunachalesvara and Unnamamulai Amman are taken out of the temple to Tiruoodal street to enact the "oodal" (or love tiff) between the two in the evening.


title: Arunachalesvara Temple

text: The Arunachalesvara temple is one of the Pancha Bhoota Stalams, or five Shiva temples, with each a manifestation of a natural element: earth, water, air, sky and fire. In Arunachalesvara temple, Shiva is said to have manifested himself as a massive column of fire, whose crown and feet could not be found by the Hindu gods, Brahma and Vishnu. The main "lingam" in the shrine is referred as Agni "Lingam", and represents duty, virtue, self-sacrifice and liberation through ascetic life at the end of the "Agni kalpa".


title: Arunachalesvara Temple

text: "Aathara Stala" are Shiva temples which are considered to be personifications of the Tantric chakras of human anatomy. The Arunachalesvara temple is called the "Manipooraga stalam", and is associated with the "Manipooraga (Manipura)" chakra. Manipooraga is the chakra associated with the solar plexus.


title: Arunachalesvara Temple

text: Tirugnana Sambandar, a 7th-century Tamil "Saivite" poet, venerated Arunachalesvara and Unnamulai Amman in ten verses in "Tevaram", compiled as the "First Tirumurai". Appar, a contemporary of Sambandar, also venerated Arunachalesvara in 10 verses in "Tevaram", compiled as the "Fifth Tirumurai". As the temple is revered in "Tevaram", it is classified as "Paadal Petra Sthalam", one of the 276 temples that find mention in the Saiva canon.


title: Arunachalesvara Temple

text: Manickavasagar, a 9th-century Tamil saint and poet, revered Arunachalesvara in his writing, describing the deity as "AnnAmalai". He composed the "Thiruvempavai" in the Tamil month of "Margazhi" at the temple. Arunagirinathar was a 15th-century Tamil poet born in Tiruvannamalai. He spent his early years as a rioter and seducer of women. After ruining his health, he tried to commit suicide by throwing himself from the northern tower, but was saved by the grace of god Murugan (Kartikeya). He became a staunch devotee and composed Tamil hymns glorifying Murugan, the most notable being "Thirupugazh".


title: Arunachalesvara Temple

text: The western world learnt of Tiruvannamalai during the mid 20th century, through the work of Ramana Maharishi (1879–1950 CE). The cave where Ramana meditated is on the lower slopes of the Arunachala hills, with the "ashram" further down at the foothills. The basement of the raised hall inside the temple has the "Patala Lingam", where Ramana attained supreme awareness while ants devoured his flesh. The place is also called a "Mukthi Sthalam", meaning place of salvation, and saints like Seshadri Swamigal, Gugai Namachivayar and Yogi Ramsuratkumar have been associated with the temple.


title: Without a Paddle

text: Without a Paddle is a 2004 American adventure comedy film directed by Steven Brill, written by Jay Leggett and Mitch Rouse, and based on a story by Harris Goldberg, Tom Nursall, and Fred Wolf. The film stars Seth Green, Matthew Lillard, Dax Shepard, Ethan Suplee, Abraham Benrubi, Rachel Blanchard, Christina Moore, Bonnie Somerville, Ray Baker and Burt Reynolds. It tells the story of three reunited childhood friends going on a trip up a remote river in order to search for the loot of long-lost airplane hijacker D. B. Cooper.


title: Without a Paddle

text: 12 years after graduating from high school, three friends, Jerry, Dan, and Tom, find out that their childhood friend Billy has died in a parasailing accident. After the funeral, they revisit the group's old tree-house and find a map leading to D. B. Cooper's lost treasure, which Billy had apparently been working on for his entire life. Dan takes a break from his job as a doctor and joins Jerry and Tom on a camping trip to find the treasure.


title: Without a Paddle

text: Canoeing down the river, they eventually stop on the riverbank for the night. They realize that they forgot to bring food, so Tom goes out to catch some fish. However, the activity attracts a grizzly bear and it chases them. When Dan falls, the bear seemingly treats him like a cub until he breaks free, following the others up a tree. In the morning, they find all of their gear has been ripped up and completely destroyed by the bear.


title: Without a Paddle

text: The trio takes off into the river but are unable to read the damaged map, causing them to go the wrong way. They go over a waterfall, and although they survive, their canoe is wrecked. Venturing into the woods with a compass, they find themselves at a pot farm where rednecks Dennis and Elwood, mistake them for thieves and start shooting at them. They escape, burning the pot garden down in the process. This enrages Dennis and Elwood, who decide to hunt them down.


title: Without a Paddle

text: Later, far into the forest, the trio meets hippie girls Flower and Butterfly, who treat them in their tree. Using a radio the farmers find them, but the women drop paper bags full of feces at the farmers to distract them while the trio escapes. They are saved from the thunderstorm by a mountain man who takes them to his hut and provides them with clothes. He later reveals himself to be Del Knox, Cooper's partner before his death.


title: Without a Paddle

text: The next morning, the farmers find them, assaulting the hut. The trio escapes while Del shoots at the two with his dual wield revolvers. The trio stumbles upon the site of Cooper's crash-landing, discovering his skeleton and the suitcase he used to hold the ransom money down an old mine shaft. They realize he burned his share of the money attempting to survive.


title: Without a Paddle

text: As Dan crawls through a small tunnel to find a way out, the farmers find Tom and Jerry, and a fistfight ensues. Eventually, Sheriff Briggs, who had earlier helped the trio, intervenes. He then reveals himself to be the farmers' employer. Jerry arms a grenade taken from Dennis and throws it at the pot dealers. It explodes, causing a tree to fall on the farmers and the sheriff, who are soon arrested.


title: Without a Paddle

text: In the closing scenes, Del gives Tom, Jerry and Dan what's left of D.B's non burnt money ($100,000) but Jerry and Dan decide Tom needs it more than they do, so they let Tom keep it, while Del gives D.B. a proper funeral. Jerry proposes to his girlfriend Denise, Dan starts a relationship with Flower, and Tom becomes a camp counselor for a children's summer camp where he tells his troop an exaggerated version of the trip.


title: Without a Paddle

text: "Without a Paddle" ranked second in its opening weekend behind fellow newcomer "", earning $13,528,946. It ultimately grossed $58,169,327 in North America and $14,859,863 internationally for a worldwide total of $73,029,190.


title: Without a Paddle

text: On Rotten Tomatoes the film has an approval rating of 14% based on 126 reviews, with an average rating of 3.9/10. The website's cercus consensus reads: ""Without a Paddle" has a few laughs, but not enough to sustain its running time." On Metacritic the film has a weighted average score of 29 out of 100 based on 27 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.


title: Without a Paddle

text: Dennis Harvey of Variety called it: "An unstable—if mostly painless—mix of low comedy, stabs at higher silliness, and schmaltz."


title: Without a Paddle

text: Entertainment Weekly's Scott Brown was more positive and wrote: "There are some genuinely clever moments of physical comedy, and the inevitable crudeness is offset by winning whimsy. Without has all the freshness of moldering Playboys stashed under a mattress, but it evokes what few boys-will-be-boys larks can: chumminess."


title: Without a Paddle

text: A sequel to the film, titled "", was released direct-to-video on January 13, 2009. None of the actors from the first film returned.


title: The French Laundry

text: The French Laundry is a three-Michelin star French and Californian cuisine restaurant located in Yountville, California, in the Napa Valley. Sally Schmitt opened The French Laundry in 1978 and designed her menus around local, seasonal ingredients; she was a visionary chef and pioneer of California cuisine. Since 1994 the chef and owner of The French Laundry is Thomas Keller. The restaurant building dates from 1900 and was added to the National Register of Historic Places in 1978.


title: The French Laundry

text: The building was built as a saloon in the 1900s by a Scottish stonesman for Pierre Guillaume. In the 1920s, the building was owned by John Lande who used it as a French steam laundry, which is the origin of the restaurant's name.


title: The French Laundry

text: In 1978, Sally Schmitt and her husband Don purchased the building and renovated it into a restaurant. They kept the name, the French Laundry, because locals still referred to the building as such. The French Laundry was one of the first restaurants to offer what would become known as California cuisine. The Schmitts ran the restaurant nonstop for seventeen years, before selling it to Thomas Keller in 1994.


title: The French Laundry

text: In 1999, Keller published "The French Laundry Cookbook", which he considers his definitive book on cuisine. That year it won three International Association of Culinary Professionals (IACP) awards for Cookbook of the Year, Julia Child "First Cookbook" Award, and Design Award.


title: The French Laundry

text: In July 2014, the Napa Valley restaurant celebrated its 20th anniversary with a six-hour feast for friends, locals, and luminaries and temporarily closed for renovations before the end of the year.


title: The French Laundry

text: In December 2014, while being temporarily closed for renovations, The French Laundry wine cellar was robbed of an estimated $500,000 of wine. Most of the wine was subsequently recovered.


title: The French Laundry

text: On April 7, 2015, the restaurant reopened following demolition of a number of buildings on the site. During the remainder of the renovation project, the staff worked out of a temporary kitchen.


title: The French Laundry

text: During the COVID-19 pandemic, The French Laundry closed and re-opened several times, and faced restrictions such as limited seating. In November 2020, Governor Gavin Newsom attended a private party at the restaurant, and was photographed not socially distancing, nor wearing a protective mask, despite guidelines issued by his administration ahead of an expected holiday COVID-19 surge. Newsom received widespread criticism as a result, and the incident attracted support for the recall effort against him, which nonetheless failed by a wide margin.


title: The French Laundry

text: Every day, The French Laundry serves two different nine-course tasting menus, one the Chef's Tasting Menu and the other the Tasting of Vegetables, which is vegetarian. During the winter holiday season, Thanksgiving, Halloween, and other holidays, the restaurant may offer special dishes. Both menus are US$355 per person, including gratuity for the base meal, although not including additional supplements such as caviar and truffles.


title: The French Laundry

text: The food is mainly French with contemporary American influences, for example specialties such as smoked salmon cornets, which were inspired by a trip to Baskin-Robbins.


title: The French Laundry

text: Notable alumni of The French Laundry's kitchen staff have included Grant Achatz of Alinea, Eric Ziebold of Kinship and Métier, Corey Lee of Benu, Jonathan Benno of Lincoln Ristorante, René Redzepi of Noma in Copenhagen, Ron Siegel of The Dining Room at the Ritz Carlton, and Duff Goldman of Charm City Cakes. Previous Timothy Hollingsworth won the Bocuse d'Or USA semi-finals in 2008, and represented the U.S. in the international finals in January 2009, placing sixth.


title: The French Laundry

text: In February 2004, Thomas Keller opened the East Coast version of his Yountville restaurant, which he named Per Se. The kitchens of both restaurants are connected via a real-time video feed on a television screen.


title: The French Laundry

text: Thomas Keller opened a pop-up restaurant in the Silverado Resort & Spa during the renovation of The French Laundry. The restaurant, which serves American classics, is called Ad Lib. This is not the first pop-up restaurant that Keller has helmed, previously popping up at the Mandarin Oriental in Hong Kong and at Harrod's in London.


title: The French Laundry

text: Since 2006, it has been awarded three stars in the Michelin Guide to San Francisco. It received a favorable review in "The New York Times" and was called "the best restaurant in the world, period" in 2005 by Anthony Bourdain.


title: Iron Eagle

text: Iron Eagle is a 1986 action film directed by Sidney J. Furie who co-wrote the screenplay with Kevin Alyn Elders, and starring Jason Gedrick and Louis Gossett Jr. While it received negative reviews, being unfavorably compared to the similarly-themed "Top Gun" released the same year, the film earned $24,159,872 at the U.S. box office. "Iron Eagle" was followed by three sequels: "Iron Eagle II", "", and "Iron Eagle on the Attack", with Gossett being the only actor to appear in all four films.


title: Iron Eagle

text: The basis of the story relates to real life attacks by the United States against Libya over the Gulf of Sidra, in particular the 1981 Gulf of Sidra incident.


title: Iron Eagle

text: Doug Masters, son of veteran U.S. Air Force pilot Col. Ted Masters, is a hotshot civilian pilot, hoping to follow in his father's footsteps. His hopes are dashed when he receives a notice of rejection from the Air Force Academy. Making matters worse is the news that his father has been shot down and captured by the fictional Arab state of Bilya while patrolling over the Mediterranean Sea.


title: Iron Eagle

text: Despite the incident occurring over international waters, the Arab state's court finds Col. Masters guilty of trespassing over their territory and sentences him to hang in three days. Seeing that the U.S. government will do nothing to save his father's life, Doug decides to take matters into his own hands and come up with his own rescue mission. He requests the help of Col. Charles "Chappy" Sinclair, a Vietnam veteran pilot currently in the Air Force Reserve, who, while not knowing Col. Masters personally, had a favorable run-in with him years prior to meeting Doug and "knew the type." Chappy is skeptical at first; but Doug convinces him that, with his friends, he has full access to the airbase's intelligence and resources and can give him an F-16 fighter for the mission. To Doug's surprise, Chappy had already begun planning a rescue operation himself after he learned the outcome of Col. Masters' trial. The combined efforts of Chappy and Doug's team result in a meticulously planned mission and the procurement of two heavily armed F-16B jets, with Doug flying the second unit.


title: Iron Eagle

text: On the day of Col. Masters' scheduled execution, Doug and Chappy fly their jets to the Mediterranean Sea and cross into Bilyan airspace. The Bilyan military responds, and in the ensuing battle Doug and Chappy take out three MiG-23 fighters and destroy an airfield, with Chappy's plane being hit by anti-aircraft fire. He tells Doug to climb to a high altitude and play the tape he made him the night before, then his engine fails, and Doug listens as Chappy's fighter goes down. Chappy's recorded voice gives Doug encouragement and details that help him to complete the mission and rescue his father. Making the enemy believe he is leading a squadron, Doug threatens the enemy state into releasing his father for pickup.


title: Iron Eagle

text: Before Doug lands his F-16, Col. Masters is shot by a sniper, causing Doug to destroy the airbase and engulf the runway with napalm to keep the army at bay while he lands and picks up his wounded father. Just as they take off, Doug and his father encounter another group of MiGs led by Col. Akir Nakesh, himself an ace pilot. The lone F-16 and Nakesh's MiG engage in a dogfight until a missile from Doug finishes off Nakesh. Low on fuel and ammunition, the F-16 is pursued by the other enemy MiGs when a squadron of U.S. Air Force F-16s appear, warding off the MiGs before escorting Doug and his father to Ramstein Air Base in West Germany.


title: Iron Eagle

text: While Col. Masters is being treated for his wounds, Doug is reunited with Chappy, who had ejected from his plane and was picked up by an Egyptian fishing trawler. The two are summoned by an Air Force judiciary panel for their reckless actions. Seeing that any form of punishment for the duo would expose an embarrassing lapse in Air Force security, the panel forgoes prosecution as long as Doug and Chappy never speak of their operation to anyone. In addition, Chappy convinces the panel to grant Doug admission to the Air Force Academy. Days later, a plane assigned by the President returns to the U.S., reuniting Doug, Chappy, and Col. Masters with family and friends.


title: Iron Eagle

text: According to writer/director Sidney J. Furie, the film's working title was "Junior Eagle". The script was turned down by every studio before it was picked up by Joe Wizan, former head of 20th Century Fox. Wizan then handed the script to producer Ron Samuels, who likened it to the old John Wayne westerns. Pre-production work began in late 1984.


title: Iron Eagle

text: Although their F-16s are featured in the movie poster, the United States Air Force has a long-standing policy about not cooperating on any film involving the theft of an aircraft. Consequently, the filmmakers turned to the Israeli Air Force for the necessary aerial sequences. The filming in Israel took six weeks, with the flight sequences choreographed by Jim Gavin, whose earlier works include "Blue Thunder".


title: Iron Eagle

text: Filming took place at both California and Israeli locales. To simulate the above-ground facilities of a typical USAF base, a combination of hangars and barracks at Camarillo and the Planes of Fame Air Museum at Chino, California were employed. Most Israeli airbases are situated in underground hangars, maintenance shops and crew quarters.


title: Iron Eagle

text: The aircraft used for both the American and the Bilyan air forces were Israeli jets: single-seat F-16As, two-seat F-16Bs, and F-21/C-2 Kfirs simulating MiG-23s, painted with fictional national markings. The "Hades" bomb employed by Masters against the Bilyan airfield was a fictional weapon, although its effects were similar to real-life napalm.


title: Iron Eagle

text: The character of Colonel Charles "Chappy" Sinclair was likely inspired by the real life U.S. Air Force General Daniel "Chappie" James, Jr. James was a member of the famed all-black Tuskegee Airmen, and also flew fighter jets in the Korean War and the Vietnam War. He later became the first black four-star general in U.S. history.


title: Iron Eagle

text: The soundtrack album was issued by Capitol Records on LP and cassette, and later on compact disc. It features songs by Queen, King Kobra, Eric Martin, Dio, Adrenalin, George Clinton and more.


title: Iron Eagle

text: In 2008, Varèse Sarabande released the original musical score by Basil Poledouris as part of their CD Club.


title: Iron Eagle

text: "Iron Eagle" earned $24,159,872 at the U.S. box office. Although the movie was not a major success at the cinema, it generated $11 million in home video sales, enough to justify a sequel.


title: Iron Eagle

text: Film reviewers were generally negative; Kevin Thomas of the "Los Angeles Times" called the film "ludicrous", "preposterous", and "a total waste of time", saying it "achieves a kind of perfection of awfulness that only earnest effort can produce".


title: Iron Eagle

text: Film historian and reviewer Leonard Maltin dismissed the film as "...a dum-dum comic-book movie...full of jingoistic ideals and dubious ethics, along with people who die and then miraculously come back to life. Not boring, just stupid."


title: Iron Eagle

text: Joe Kane, aka "The Phantom of the Movies", seemed to agree: "..."Iron Eagle" boasts the hottest rock score of any war film since "Apocalypse Now". Alas, the similarity ends there. Forget the picture and buy the soundtrack album instead; King Kobra's titular music video, "Never Say Die", is better made than the movie itself."


title: Iron Eagle

text: "Variety" magazine commented that the film has "breakneck action and some dandy dogfights", but the dialogue is "simply laughable".


title: Iron Eagle

text: Janet Maslin of the "New York Times", on the other hand, gave the film a favorable review, saying it has a "fun-loving feeling" and "something for everyone", appealing to teenagers as well as military aviation buffs for the "skillfully done" aerial combat sequences, along with the heartwarming, fatherly-like interracial relationship between Chappy and young Doug.


title: Iron Eagle

text: Although user reviews generally gave the film a 56% rating, on Rotten Tomatoes the film has a rating of 20% based on reviews from five critics.


title: Iron Eagle

text: "Iron Eagle" was released on VHS, Betamax, and LaserDisc by CBS/FOX Video in 1986. On October 1, 2002, it was released on DVD and on February 3, 2009, it was reissued on DVD by Sony Pictures Home Entertainment in a double-feature set with the 1993 film "Last Action Hero".


title: Carnival of Venice

text: The Carnival of Venice () is an annual festival held in Venice, Italy. The carnival ends on Shrove Tuesday ("Martedì Grasso" or Mardi Gras), which is the day before the start of Lent on Ash Wednesday. The festival is world famous for its elaborate masks.


title: Carnival of Venice

text: According to legend, the Carnival of Venice began after the military victory of the Venetian Republic over the Patriarch of Aquileia, Ulrico di Treven in the year 1162. In honour of this victory, the people started to dance and gather in San Marco Square. Apparently, this festival started in that period and became official during the Renaissance. In the seventeenth century, the baroque carnival preserved the prestigious image of Venice in the world. It was very famous during the eighteenth century. It encouraged licence and pleasure, but it was also used to protect Venetians from present and future anguish. However, under the rule of the Holy Roman Emperor and later Emperor of Austria, Francis II, the festival was outlawed entirely in 1797 and the use of masks became strictly forbidden. It reappeared gradually in the nineteenth century, but only for short periods and above all for private feasts, where it became an occasion for artistic creations.


title: Carnival of Venice

text: After a long absence, the Carnival returned in 1979. The Italian government decided to bring back the history and culture of Venice and sought to use the traditional Carnival as the centrepiece of its efforts. The redevelopment of the masks began as the pursuit of some Venetian college students for the tourist trade. Since then, approximately 3 million visitors have been coming to Venice every year for the Carnival. One of the most important events is the contest for "la maschera più bella" ("the most beautiful mask"), which is judged by a panel of international costume and fashion designers. Since 2007 the winners have been:


title: Carnival of Venice

text: In February 2020, the Governor of Veneto Luca Zaia announced the decision to call off the Carnival celebrations in an attempt to contain the spread of the coronavirus disease.


title: Carnival of Venice

text: Masks have always been an important feature of the Venetian carnival. Traditionally people were allowed to wear them between the festival of "Santo Stefano" (St. Stephen's Day, December 26) and the end of the carnival season at midnight of Shrove Tuesday (movable, but during February or early March). As masks were also allowed on Ascension and from October 5 to Christmas, people could spend a large portion of the year in disguise.


title: Carnival of Venice

text: Maskmakers ("mascherari") enjoyed a special position in society, with their own laws and their own guild, with their own statute dated 10 April 1436. "Mascherari" belonged to the fringe of painters and were helped in their task by sign-painters who drew faces onto plaster in a range of different shapes and paying extreme attention to detail.


title: Carnival of Venice

text: Venetian masks can be made of leather or porcelain, or by using the original "glass" technique. The original masks were rather simple in design, decoration, and often had a symbolic and practical function. Nowadays, most Italian masks are made with the application of gesso and gold leaf and are hand-painted using natural feathers and gems to decorate. However, this makes them rather expensive when compared to the widespread, low-quality masks produced mainly by American factories. This competition accelerates the decline of this historical craftsmanship peculiar to the city of Venice.


title: Carnival of Venice

text: Several distinct styles of mask are worn in the Venice Carnival, some with identifying names. People with different occupations wore different masks.


title: Carnival of Venice

text: There is less evidence explaining the motive for the earliest mask being worn in Venice. One scholar argues that covering the face in public was a uniquely Venetian response to one of the most rigid class hierarchies in European history. During Carnival, the sumptuary laws were suspended, and people could dress as they liked, instead of according to the rules that were set down in law for their profession and social class.


title: Carnival of Venice

text: The first documented sources mentioning the use of masks in Venice can be found as far back as the 13th century. The Great Council made it a crime for masked people to throw scented eggs. These "ovi odoriferi" were eggshells that were usually filled with rose water perfume, and tossed by young men at their friends or at young women they admired. However, in some cases, the eggs were filled with ink or other damaging substances. Gambling in public was normally illegal, except during Carnival; the Great Council document decrees that masked persons were forbidden to gamble.


title: Carnival of Venice

text: Another law in 1339 forbade Venetians from wearing vulgar disguises and visiting convents while masked. The law also prohibited painting one's face, or wearing false beards or wigs.


title: Carnival of Venice

text: Near the end of the Republic, the wearing of the masks in daily life was severely restricted. By the 18th century, it was limited only to about three months from December 26. The masks were traditionally worn with decorative beads matching in colour.


title: Carnival of Venice

text: The "bauta" (sometimes referred as "baùtta") is a mask, today often heavily gilded though originally simple stark white, which is designed to comfortably cover the entire face; this traditional grotesque piece of art was characterized by the inclusion of an over-prominent nose, a thick supraorbital ridge, a projecting "chin line", and no mouth. The mask's beak-like chin is designed to enable the wearer to talk, eat, and drink without having to remove it, thereby preserving the wearer's anonymity. The "bauta" was often accompanied by a red or black cape and a tricorn.


title: Carnival of Venice

text: In the 18th century, together with a black circular or semicircular clasped cape called a "tabarro" (and "zendale" hood) the "bauta" had become a standardized society mask and disguise regulated by the Venetian government. It was obligatory to wear it at certain political decision-making events when all citizens were required to act anonymously as peers. Only citizens (i.e., men) had the right to use the "bauta". Its role was similar to the anonymizing processes invented to guarantee general, direct, free, equal and secret ballots in modern democracies. Also, the bearing of weapons along with the mask was specifically prohibited by law and enforceable by the Venetian police.


title: Carnival of Venice

text: Given this history and its grotesque design elements, the "bauta" was usually worn by men, but many paintings done in the 18th century also depict women wearing this mask and tricorn hat. "" and "The Perfume Seller" by Pietro Longhi are two examples of this from the 1750s.


title: Carnival of Venice

text: The "Colombina" (also known as "Columbine" and as a "Colombino") is a half-mask, only covering the wearer's eyes, nose, and upper cheeks. It is often highly decorated with gold, silver, crystals, and feathers. It is held up to the face by a baton or is tied with ribbon as with most other Venetian masks. The "Colombina" mask is named after a stock character in the "Commedia dell'arte": "Colombina" was a maidservant and soubrette who was an adored part of the Italian theatre for generations. It is said it was designed for an actress because she did not wish to have her beautiful face covered completely. In fact, the "Colombina" is entirely a modern creation. There are no historic paintings depicting its use on the stage or in social life.


title: Carnival of Venice

text: The "Medico della peste", with its long beak, is one of the most bizarre and recognizable of the Venetian masks, though it did not start out as carnival mask at all but as a method of preventing the spread of disease. The striking design originates from 17th-century French physician Charles de Lorme who adopted the mask together with other sanitary precautions while treating plague victims. The mask is often white, consisting of a hollow beak and round eyeholes covered with crystal discs, creating a bespectacled effect. Its use as a carnival mask is entirely a modern convention, and today these masks are often much more decorative. Although the mask and costume is worn almost exclusively by males, the enhancement in decoration also suggests that women are now more likely to wear the mask and costume than in previous years at the Carnival.


title: Carnival of Venice

text: The plague doctors who followed De Lorme's example wore the usual black hat and long black cloak as well as the mask, white gloves and a staff (so as to be able to move patients without having to come into physical contact with them). They hoped these precautions would prevent them contracting the disease. The mask was originally beaked with a purpose in congruence with the miasmatic theory of disease practiced at that time: the hollow beak allowed for the containment of flowers and other sweet-smelling substances designed to keep away the foul odors that were thought to spread infection. Those who wear the plague doctor mask often also wear the associated clothing of the plague doctor. The popularity of the Medico della peste among carnival celebrants can be seen as a "memento mori".


title: Carnival of Venice

text: The "moretta" (meaning dark one) or "servetta muta" (meaning mute servant woman) was a small strapless black velvet oval mask with wide eyeholes and no lips or mouth worn by patrician women. It derived from the visard mask invented in France in the sixteenth century, but differed in not having a hole to speak through. The mask was only just large enough to conceal a woman's identity and was held in place by the wearer biting on a button or bit (the women wearing this mask were unable to speak, hence "muta") and was often finished off with a veil. by Pietro Longhi, sometimes called "Clara the rhinoceros", depicts this mask in use in 1751. It fell into disuse about 1760.


title: Carnival of Venice

text: The "volto" (Italian for "face") or "larva" (meaning "ghost" in Latin) is the iconic modern Venetian mask: it is often made of stark white porcelain or thick plastic, though also frequently gilded and decorated, and is commonly worn with a tricorn and cloak. The "volto" is also quite heavier than a typical mask and has a much tighter fit; many people who experience claustrophobia do not wear the "volto" at the Carnival. If worn by a woman, who are the most common wearers of the "volto" at the modern festival, it is typically worn with a headdress, scarf, veil, another mask, or a combination of all four. It is secured in the back with a ribbon. Unlike the "moretta muta", the "volto" covers the entire face of the wearer including the whole of the chin. Unlike a typical mask, it also extends farther back to just before the ears and upwards to the top of the forehead; also unlike the "moretta muta", it depicts the nose and lips in simple facial expressions. Unlike the "bauta", the "volto" cannot be worn while eating and drinking because the coverage of the chin and cheeks is too complete and tight (although the jaw on some original "commedia" masks was hinged, this is not a "commedia" mask and so is never hinged—the lips are always sealed).


title: Carnival of Venice

text: Another classic character from the Italian stage, "Pantalone", possibly stemming from the Italian "pianta il leone" referencing the conquests of Venice and the origin of this character, is usually represented as a sad old man with an oversized nose like the beak of a crow with high brows and slanted eyes (meant to signify intelligence on the stage). Like other "commedia" masks, "Pantalone" is also a half mask. This mask is almost exclusively worn by men, although its popularity at the modern festival has declined .


title: Carnival of Venice

text: "Arlecchino", meaning "harlequin" in Italian, is a zanni character of the "commedia". He is meant to be a kind of "noble savage", devoid of reason and full of emotion, a peasant, a servant, even a slave. His originally wooden and later leather half-mask painted black depicts him as having a short, blunt, ape-like nose, a set of wide, round, arching eyebrows, a rounded beard, and always a "bump" upon his forehead meant to signify a devil's horn. He is a theatrical counterpoint to and often servant of "Pantalone", and the two characters often appeared together on the stage.


title: Carnival of Venice

text: The "Zanni" class of characters is another classic of the stage. Theirs is a half mask in leather, presenting themselves with low forehead, bulging eyebrows and a long nose with a reverse curve towards the end. It is said that the longer the nose, the more stupid the character. The low forehead is also seen as a sign of stupidity. The zanni are often the supporting characters in a commedia performance, often fulfilling similar societal roles as Arlecchino, though with smaller parts


title: Carnival of Venice

text: The short story "The Cask of Amontillado", written by Edgar Allan Poe, is set in Venice during the carnival.


title: Carnival of Venice

text: Venetian masks feature prominently in the films "Eyes Wide Shut" and Marco Bellocchio's "The Witches' Sabbath". Stores that supplied the masks include both Ca' Macana and Il Canovaccio in Venice.


title: Franco Zeffirelli

text: Gian Franco Corsi Zeffirelli (12 February 1923 – 15 June 2019), was an Italian stage and film director, producer, production designer and politician. He was one of the most significant opera and theatre directors of the post-World War II era, gaining both acclaim and notoriety for his lavish stagings of classical works, as well as his film adaptations of the same. A member of the Forza Italia party, he served as the Senator for Catania between 1994 until 2001.


title: Franco Zeffirelli

text: Films he directed included the Shakespearean adaptations "The Taming of the Shrew" (1967), starring Elizabeth Taylor and Richard Burton; "Romeo and Juliet" (1968), for which he received a nomination for the Academy Award for Best Director; and "Hamlet" (1990), starring Mel Gibson and Glenn Close. His Biblical television miniseries "Jesus of Nazareth" (1977) won both national and international acclaim and is still frequently shown at Christmas and Easter in many countries.


title: Franco Zeffirelli

text: A Grande Ufficiale OMRI of the Italian Republic since 1977, Zeffirelli also received an honorary British knighthood in 2004 when he was created a KBE. He was awarded the Premio Colosseo in 2009 by the city of Rome.


title: Franco Zeffirelli

text: Zeffirelli was born Gian Franco Corsi Zeffirelli in the outskirts of Florence, Tuscany, Italy. He was born after an affair between Florentine Alaide Garosi, a fashion designer, and Ottorino Corsi, a wool and silk dealer from Vinci. Since both were married, Alaide was unable to use her surname or Corsi's for her child. She came up with "Zeffiretti", which are the "little breezes" mentioned in Mozart's opera "Idomeneo", of which she was quite fond. However, it was misspelt in the register and became Zeffirelli. When he was six years old, his mother died and he subsequently grew up under the auspices of the English expatriate community and was particularly involved with the so-called Scorpioni, who inspired his semi-autobiographical film "Tea with Mussolini" (1999).


title: Franco Zeffirelli

text: Italian researchers found that Zeffirelli was one of a handful of living people traceably consanguineous with Leonardo da Vinci. He was a descendant of one of da Vinci's siblings.


title: Franco Zeffirelli

text: Zeffirelli graduated from the Accademia di Belle Arti Firenze in 1941 and, following his father's advice, entered the University of Florence to study art and architecture. After World War II broke out, he fought as a partisan, before he met up with British soldiers of the 1st Battalion Scots Guards and became their interpreter. After the war, he re-entered the University of Florence to continue his studies, but when he saw Laurence Olivier's "Henry V" in 1945, he directed his attention toward theatre instead.


title: Franco Zeffirelli

text: While working for a scene-painter in Florence, he was introduced to Luchino Visconti, who hired him as an assistant director for the film "La Terra trema", which was released in 1948. Visconti's methods had a deep impact upon Zeffirelli's later work. He also worked with directors such as Vittorio De Sica and Roberto Rossellini. In the 1960s, he made his name designing and directing his own plays in London and New York City and soon transferred his ideas to the cinema.


title: Franco Zeffirelli

text: Zeffirelli's first film as director was a version of "The Taming of the Shrew" (1967), originally intended for Sophia Loren and Marcello Mastroianni but featured the Hollywood stars Elizabeth Taylor and Richard Burton in their stead. Taylor and Burton helped fund production and took a percentage of the profits rather than their normal salaries.


title: Franco Zeffirelli

text: While editing "The Taming of the Shrew", Zeffirelli's native Florence was devastated by floods. A month later, he released a short documentary, entitled "", to raise funds for the disaster appeal.


title: Franco Zeffirelli

text: Zeffirelli's major breakthrough came the year after, when he presented two teenagers as "Romeo and Juliet" (1968). It made Zeffirelli a household name – no other subsequent work by him had the immediate impact of "Romeo and Juliet". The film earned $14.5 million in domestic rentals at the North American box office in 1969. It was re-released in 1973 and earned $1.7 million in rentals.


title: Franco Zeffirelli

text: Film critic Roger Ebert, for the "Chicago Sun-Times", wrote: "I believe Franco Zeffirelli's "Romeo and Juliet" is the most exciting film of Shakespeare ever made".


title: Franco Zeffirelli

text: After two successful film adaptations of Shakespeare, Zeffirelli went on to religious themes, first with a film about the life of St. Francis of Assisi titled "Brother Sun, Sister Moon" (1972), then his extended mini-series "Jesus of Nazareth" (1977) with an all-star cast. The latter was a major success in the ratings.


title: Franco Zeffirelli

text: He moved on to contemporary themes with a remake of the boxing picture "The Champ" (1979) and the critically panned "Endless Love" (1981). In the 1980s, he made a series of successful films adapting opera to the screen, with such stars as Plácido Domingo, Teresa Stratas, Juan Pons and Katia Ricciarelli. He returned to Shakespeare with "Hamlet" (1990), casting Mel Gibson in the lead role. His adaptation of the Charlotte Brontë novel "Jane Eyre" (1996) was a critical success.


title: Franco Zeffirelli

text: Zeffirelli frequently cast unknown actors in major roles: Leonard Whiting (Romeo in "Romeo and Juliet"), Graham Faulkner (St. Francis in "Brother Sun, Sister Moon") and Martin Hewitt (David Axelrod in "Endless Love").


title: Franco Zeffirelli

text: Zeffirelli was a major director of opera productions from the 1950s in Italy and elsewhere in Europe as well as the United States. He began his career in the theatre as assistant to Luchino Visconti. Then he tried his hand at scenography. His first work as a director was buffo operas by Gioachino Rossini. He became a friend of Maria Callas and they worked together on a "La traviata" in Dallas, Texas, in 1958. Of particular note is his 1964 Royal Opera House production of "Tosca" with Maria Callas and Tito Gobbi. In the same year, he created Callas' last "Norma" at the Paris Opera. Zeffirelli also collaborated with Joan Sutherland, designing and directing her performances of Gaetano Donizetti's "Lucia di Lammermoor" in 1959. Over the years he created several productions for the Metropolitan Opera in New York, including "La bohème", "Tosca", "Turandot" and "Don Giovanni". When the new Metropolitan Opera opened at Lincoln Center, he directed its first production, Samuel Barber's "Antony and Cleopatra", starring Leontyne Price.


title: Franco Zeffirelli

text: In 1996, he was awarded an honorary degree for services to the arts by the University of Kent at a graduation ceremony held in Canterbury Cathedral. In 1999, he received the Crystal Globe award for outstanding artistic contribution to world cinema at the Karlovy Vary International Film Festival.


title: Franco Zeffirelli

text: Zeffirelli received criticism from religious groups for what they call the blasphemous representation of biblical figures in his films. Contrariwise, Zeffirelli roused accusations of antisemitism for describing Martin Scorsese's "The Last Temptation of Christ" as a product of "that Jewish cultural scum of Los Angeles which is always spoiling for a chance to attack the Christian world."


title: Franco Zeffirelli

text: Zeffirelli was a highly conservative Catholic, and served two terms in the Italian senate as a member of Silvio Berlusconi's centre-right Forza Italia party. He was criticized by members of the gay community for upholding the Catholic Church's position on homosexuality and by others for support of the Church's position on abortion, which extended to calling for capital punishment for women who had terminated a pregnancy.


title: Franco Zeffirelli

text: He roused controversy again when he told a newspaper in 2006 that he had not suffered any harm from sexual abuse by a priest as a child.


title: Franco Zeffirelli

text: In 1996, Zeffirelli came out as gay, but thereafter preferred to be discreet about his personal life. Zeffirelli said that he considered himself "homosexual" rather than gay, as he felt the term "gay" was less elegant. Zeffirelli adopted two adult sons, men with whom he had lived and who worked for him for years, managing his affairs.


title: Franco Zeffirelli

text: Director Bruce Robinson claimed to have been the target of unwanted amorous attention from Zeffirelli during the filming of "Romeo and Juliet", in which Robinson played Benvolio. Robinson says that he based the lecherous character of Uncle Monty in the film "Withnail and I" on Zeffirelli.


title: Franco Zeffirelli

text: In 2018, the American actor Johnathon Schaech alleged that Zeffirelli sexually assaulted him during the filming of "Sparrow" ("Storia di una capinera", 1993). Zeffirelli's son Giuseppe "Pippo", adopted by the filmmaker as an adult, issued a statement at the time denying the allegation.


title: Ukrainian State

text: The Ukrainian State (), sometimes also called the Second Hetmanate (), was an anti-communist government that existed on most of the modern territory of Ukraine (except for Western Ukraine) from 29 April to 14 December 1918.


title: Ukrainian State

text: It was installed by German military authorities after the socialist-leaning Central Council of the Ukrainian People's Republic was dispersed on 28 April 1918. Ukraine turned into a provisional dictatorship of Hetman of Ukraine Pavlo Skoropadskyi, who outlawed all socialist-oriented political parties, creating an anti-Bolshevik front. It collapsed in December 1918, when Skoropadskyi was deposed and the Ukrainian People's Republic returned to power in the form of the Directorate.


title: Ukrainian State

text: The country lay in Eastern Europe along the middle and lower sections of the Dnieper on the coast of the Black Sea and the Sea of Azov. The Ukrainian State covered most of the territory of modern-day Ukraine—minus West Ukraine and Crimea. Its territory however extended into today's Russia, Belarus, Moldova and Poland.


title: Ukrainian State

text: To its northeast Ukraine established a preliminary demarcation line with the Russian SFSR, on the east it had a border with the Don Republic, to its south were the Black and Azov Seas, while the Crimean peninsula—the Crimean Regional Government—came under the control of Sulkevych. To the southwest along the Dniester lay a border with the Kingdom of Romania, to the west Ukraine bordered the German Empire and Austria-Hungary. To the north were the German-occupied territories of "Ober Ost" and the Belarusian People's Republic.


title: Ukrainian State

text: As a result of the Bolshevik aggression, the government of the Ukrainian People's Republic that initially pursued anti-military policy sought military support after the capital Kyiv was sacked on 9 February 1918, by Mikhail Muravyov. On 9 February, Ukraine signed the Treaty of Brest-Litovsk with the coalition of the Central Powers and by March all Bolshevik forces of the Russian SFSR were removed from the territory of Ukraine. The German Army Group Kyiv was created in order to protect Ukraine from further Bolshevik aggression and headed by the German field marshal Hermann von Eichhorn.


title: Ukrainian State

text: On 25 April, the administration of Army Group Kyiv suspected the government of Vsevolod Holubovych of kidnapping of Abram Dobry (1867–1936), the chairman of the Foreign Trade Bank in Kyiv. Through that bank the German occupational forces were officially conducting all financial operations with the Reichsbank in Berlin. The next day, Eichhorn issued a decree according to which all criminal cases on the territory of Ukraine could selectively fall under the jurisdiction of the German field military court instead of the Ukrainian court system. At the next session of the Central Council on 29 April, Holubovych stated:


title: Ukrainian State

text: On the same day (29 April), a party congress of bread producers consisting of some 6,000 delegates from all eight governorates of Ukraine was taking place in the building of the Kyiv Circus. After receiving information about the situation at the Congress from his couriers, Pavlo Skoropadskyi later arrived in his car to the event where he was elected the Hetman of Ukraine. After that all participants moved to St. Sophia's Square, where Skoropadskyi was blessed by Nykodym, the Vicar of Kyiv and Galicia (Metropolitan Vladimir was executed by Bolsheviks). That night the Hetman supporters took over government building of military and internal affairs as well as the State Bank. The following day, the elite and most loyal formation of the Central Council, the Sich Riflemen, was disarmed.


title: Ukrainian State

text: Skoropadskyi issued his manifesto ("hramota") "To the All-Ukrainian Nation" and the Law of the Provisional State System. Desiring stability, the Austro-Hungarian and German forces welcomed the coup; Skoropadskyi co-operated with them, making him unpopular among many Ukrainian peasants. The new state retained the "tryzub" (coat of arms) and the national flag but reversed the design to light blue over yellow. The Sich Riflemen opposed the coup and were disbanded along with the "Bluecoats", a Ukrainian division formed from POWs in Germany and Austria-Hungary named after their blue uniforms.


title: Ukrainian State

text: Internal opposition was provoked by the requisitioning of food stocks and restoration of land to the wealthy landowners. Opponents of the Skoropadskyi regime committed acts of arson and sabotage and, in July 1918, assassinated Hermann von Eichhorn, the commander of German troops in Ukraine. In August 1918, the anti-Skoropadskyi coalition succeeded in forcing him to re-form the Sich Riflemen. By then it was becoming obvious that the Central Powers had lost the war and that Skoropadskyi could no longer rely on their support. He thus looked for support from conservative Russian elements in society and proposed joining a federation with Anton Denikin and the White movement. This further eroded his standing among Ukrainians.


title: Ukrainian State

text: In December 1918, Skoropadskyi was deposed and the Directorate was established as a form of the Ukrainian People's Republic.


title: Ukrainian State

text: Almost the entire commanding staff of the Ukrainian State armed forces consisted of officers of the former Imperial Russian Army. Most officers were not supportive of the Ukrainian cause and viewed it as a way to make it through tough times. At the same time, wide masses of the population did not have a developed sense of national identity and easily fell under the influence of socialist and communist propaganda.


title: Ukrainian State

text: Following the armistice ending World War I, Ukrainian socialists formed the Directorate of Ukraine (the "Directory"), whose forces were spearheaded by the Sich Riflemen and "Greycoats". Although German and Austrian troops had not yet withdrawn from Ukraine, they had no further interest in fighting. Most of Skoropadskyi's own forces changed sides and joined the Directory.


title: Ukrainian State

text: On 16 November 1918, starting in Bila Tserkva, fighting broke out in the Hetmanate. Skoropadskyi had to turn to the thousands of Russian White Guard officers who had escaped to Ukraine with the intention of joining Denikin's Volunteer Army in the region of the Don river further east. They were assembled into a "Special Corps" but proved unable to resist the Directory's forces led by Symon Petliura. Skoropadskyi abdicated his position as Hetman on 14 December, as the Ukrainian People's Army took Kyiv. He was expelled and the Hetmanate was replaced by the provisional government of the Directorate.


title: Ukrainian State

text: According to the ""Laws on the Provisional State System of Ukraine"", the leading position of the country was occupied by the Christian Orthodox faith. At the same time, citizens of Ukraine who belonged to other denominations had the right to profess their religion and rites.


title: Ukrainian State

text: The Russian Orthodox Church, and later the Ukrainian Autocephalous Orthodox Church, ruled in Central and Eastern Ukraine. However, in Western Ukraine there was friction between Orthodox, Greek Catholics, Roman Catholics and Jews. In the conflicts, the Ministry of Confessions of the Ukrainian State and the Council of Ministers morally and materially supported the Orthodox clergy.


title: Ukrainian State

text: On 25 June, the government allocated 3 million rubles to help priests who moved to Volhynia, Kholmshchyna, Grodno, Podolia, and Polesia, which were annexed to the Ukrainian State. On 2 July, 120,000 roubles were allocated for the maintenance of the Orthodox clergy in the lands of Kholmshchyna, Podlachia and Polesia.


title: Cry of Pugad Lawin

text: The Cry of Pugad Lawin (, ) was the beginning of the Philippine Revolution against the Spanish Empire.


title: Cry of Pugad Lawin

text: In late August 1896, members of the "Katipunan" led by Andrés Bonifacio revolted somewhere around Caloocan, which included parts of the present-day Quezon City.


title: Cry of Pugad Lawin

text: Originally the term "cry" referred to the first clash between the Katipuneros and the Civil Guards ("Guardia Civil"). The cry could also refer to the tearing up of community tax certificates ("cédulas personales") in defiance of their allegiance to Spain. The inscriptions of ""Viva la Independencia Filipina"" can also be referred as term for the cry. This was literally accompanied by patriotic shouts.


title: Cry of Pugad Lawin

text: Because accounts of the event vary, the exact date and place of the event is unknown. From 1908 until 1963, the event was thought to have occurred on August 26 in Balintawak. In 1963, the Philippine government declared August 23 to be the date of the event in Quezon City.


title: Cry of Pugad Lawin

text: The term "Cry" is translated from the Spanish "el grito de rebelion" (cry of rebellion) or "el grito" for short. Thus the "Grito de Balintawak" is comparable to Mexico's "Grito de Dolores" (1810). However, "el grito de rebelion" strictly refers to a decision or call to revolt. It does not necessarily connote shouting, unlike the Filipino "sigaw".


title: Cry of Pugad Lawin

text: On August 26, a big meeting was held in Balintawak, at the house of Apolonio Samson, then cabeza of that barrio of Caloocan. Among those who attended, I remember, were Bonifacio, Emilio Jacinto, Aguedo del Rosario, Tomas Remigio, Briccio Pantas, Teodoro Plata, Pio Valenzuela, Enrique Pacheco, and Francisco Carreon. They were all leaders of the Katipunan and composed the board of directors of the organization. Delegates from Bulacan, Cabanatuan, Cavite, and Morong were also present.


title: Cry of Pugad Lawin

text: At about nine o'clock in the morning of August 26, the meeting was opened with Andres Bonifacio presiding and Emilio Jacinto acting as secretary. The purpose was to discuss when the uprising was to take place. Teodoro Plata, Briccio Pantas, and Pio Valenzuela were all opposed to starting the revolution too early...Andres Bonifacio, sensing that he would lose the discussion then, left the session hall and talked to the people, who were waiting outside for the result of the meeting of the leaders. He told the people that the leaders were arguing against starting the revolution early, and appealed to them in a fiery speech in which he said:"You remember the fate of our countrymen who were shot in Bagumbayan. Should we return now to the towns, the Spaniards will only shoot us. Our organization has been discovered and we are all marked men. If we don't start the uprising, the Spaniards will get us anyway. What then, do you say?"


title: Cry of Pugad Lawin

text: Bonifacio then asked the people to give a pledge that they were to revolt. He told them that the sign of slavery of the Filipinos were (sic) the cedula tax charged each citizen. "If it is true that you are ready to revolt... I want to see you destroy your cedulas. It will be a sign that all of us have declared our severance from the Spaniards.


title: Cry of Pugad Lawin

text: The Cry of Balintawak occurred on August 26, 1896. The Cry, defined as that turning point when the Filipinos finally refused Spanish colonial dominion over the Philippine Islands. With tears in their eyes, the people as one man, pulled out their cedulas and tore them into pieces. It was the beginning of the formal declaration of the separation from Spanish rule."Long Live the Philippine Republic!", the cry of the people. An article from The Sunday Tribune Magazine on August 21, 1932 featured the statements of the eyewitness account by Katipunan General Guillermo Masangkay, "A Katipunero Speaks". Masangkay recounts the "Cry of Balintawak", stating that on August 26, 1896, a big meeting was held in Balintawak at the house of Apolonio Samson, then the cabeza of that barrio of Caloocan. At about nine o'clock in the morning of August 26, the meeting was opened with Andres Bonifacio presiding and Emilio Jacinto acting as Secretary. In August 1896, after the Katipunan was discovered, Masangkay joined Bonifacio, Emilio Jacinto, and others in a clandestine meeting held on the 26th of that month at Apolonio Samson’s house in Caloocan.


title: Cry of Pugad Lawin

text: Initially, the leaders of the movement quarreled over strategy and tactics, and many of its members questioned the wisdom of an open rebellion due to the lack of arms and logistical support. However, after Bonifacio’s intense and convincing speech, everyone destroyed their cedulas to symbolize their defiance towards Spain and, together, raised the cry of “Revolt".


title: Cry of Pugad Lawin

text: In 1936, Pio Valenzuela, along with Briccio Pantas and Enrique Pacheco said (in English translation) "The first Cry of the revolution did not happen in Balintawak where the monument is, but in a place called Pugad Lawin." In 1940, a research team of a forerunner of the National Historical Institute (NHI) which included Valenzuela, identified the location as part of sitio Gulod, Banlat, Kalookan City. IN 1964, the NHI described this location as the house of Tandang Sora.


title: Cry of Pugad Lawin

text: (translate: the first cry of revolution was not happened in Balintawak where it taking place, but in the locality which is known as Pugad Lawin.


title: Cry of Pugad Lawin

text: The first place of refuge of Andres Bonifacio, Emilio Jacinto, Procopio, Bonifacio, Teodoro Plata, Aguedo del Rosario, and myself was Balintawak, the first five arriving there on August 19, and I on August 20, 1896. The first place where some 500 members of the Katipunan met on August 22, 1896, was the house and yard of Apolonio Samson at Kangkong. Aside from the persons mentioned above, among those who were there were Briccio Pantas, Alejandro Santiago, Ramon Bernardo, Apolonio Samson, and others. Here, views were only exchanged, and no resolution was debated or adopted. It was at Pugad Lawin, the house, store-house, and yard of Juan Ramos, son of Melchora Aquino, where over 1,000 members of the Katipunan met and carried out considerable debate and discussion on August 23, 1896. The discussion was on whether or not the revolution against the Spanish government should be started on August 29, 1896... After the tumultuous meeting, many of those present tore their cedula certificates and shouted "Long live the Philippines! Long live the Philippines!"


title: Cry of Pugad Lawin

text: We started our trek to Kangkong at about eleven that night. We walked through the rain over dark expanses of muddy meadows and fields. Our clothes drenched and our bodies numbed by the cold wind, we plodded wordlessly. It was nearly two in the morning when we reached the house of Brother Apolonio Samson in Kangkong. We crowded into the house to rest and warm ourselves. We were so tired that, after hanging our clothes out to dry, we soon feel asleep. The Supremo began assigning guards at five o'clock the following morning, Saturday 22 August 1896. He placed a detachment at the Balintawak boundary and another at the backyard to the north of the house where we were gathered. No less than three hundred men assembled at the bidding of the Supremo Andres Bonifacio. Altogether, they carried assorted weapons, bolos, spears, daggers, a dozen small revolvers and a rifle used by its owner, one Lieutenant Manuel, for hunting birds. The Supremo Bonifacio was restless because of fear of sudden attack by the enemy. He was worried over the thought that any of the couriers carrying the letter sent by Emilio Jacinto could have been intercepted; and in that eventuality, the enemy would surely know their whereabouts and attack them on the sly. He decided that it was better to move to a site called Bahay Toro.


title: Cry of Pugad Lawin

text: At ten o'clock that Sunday morning, 23 August 1896 we arrived at Bahay Toro. Our member had grown to more than 500 and the house, yard, and warehouse of Cabesang Melchora was getting crowded with us Katipuneros. The generous hospitality of Cabesang Melchora was no less than that of Apolonio Samson. Like him, she also opened her granary and had plenty of rice pounded and animals slaughtered to feed us. The following day, Monday, 24 August, more Katipuneros came and increased our number to more than a thousand. The Supremo called a meeting at ten o'clock that morning inside Cabesang Melchora's barn. Flanking him on both sides at the head of the table were Dr. Pio Valenzuela, Emilio Jacinto, Briccio Pantas, Enrique Pacheco, Ramon Bernardo, Pantelaon Torres, Francisco Carreon, Vicente Fernandez, Teodoro Plata, and others. We were so crowded that some stood outside the barn. The following matters were approved at the meeting:


title: Cry of Pugad Lawin

text: After the adjournment of the meeting at twelve noon, there were tumultuous shouts of "Long live the Sons of the People!"


title: Cry of Pugad Lawin

text: Various accounts give differing dates and places for the Cry of Pugad Lawin. An officer of the Spanish "guardia civil", Lt. Olegario Diaz, stated that the Cry took place in Balintawak on August 25, 1896. Historian Teodoro Kalaw in his 1925 book "The Filipino Revolution" wrote that the event took place during the last week of August 1896 at Kangkong, Balintawak. Santiago Alvarez, a "Katipunero" and son of Mariano Alvarez, the leader of the Magdiwang faction in Cavite, stated in 1927 that the Cry took place in Bahay Toro, now in Quezon City on August 24, 1896. Pío Valenzuela, a close associate of Andrés Bonifacio, declared in 1948 that it happened in Pugad Lawin on August 23, 1896. Historian Gregorio Zaide stated in his books in 1954 that the "Cry" happened in Balintawak on August 26, 1896. Fellow historian Teodoro Agoncillo wrote in 1956 that it took place in Pugad Lawin on August 23, 1896, based on Pío Valenzuela's statement. Accounts by historians Milagros Guerrero, Emmanuel Encarnacion and Ramon Villegas claim the event to have taken place in Tandang Sora's barn in Gulod, Barrio Banlat, Caloocan (now part of Quezon City).


title: Cry of Pugad Lawin

text: Some of the apparent confusion is in part due to the double meanings of the terms "Balintawak" and "Caloocan". At the turn of the century. "Balintawak" referred both to a specific place in modern Caloocan and a wider area which included parts of modern Quezon City. Similarly, "Caloocan" referred to modern Caloocan and also a wider area which included modern Quezon City and part of modern Pasig. Pugad Lawin, Pasong Tamo, Kangkong and other specific places were all in "greater Balintawak", which was in turn part of "greater Caloocan".


title: Cry of Pugad Lawin

text: These events vitalized the unity of the Filipino People and brought "thirst" for independence. The Cry of the Rebellion in Pugad Lawin, marked the start of the Philippine Revolution in 1896 which eventually led to Independence of the country in 1898.


title: Cry of Pugad Lawin

text: On January 20, 1872, about 200 Filipino military personnel of Fort San Felipe Arsenal in Cavite, Philippines, staged a mutiny which in a way led to the Philippine Revolution in 1896. The 1872 Cavite Mutiny was precipitated by the removal of long-standing personal benefits to the workers such as tax (tribute) and forced labor exemptions on order from the Governor General Rafael de Izquierdo.


title: Cry of Pugad Lawin

text: Izquierdo replaced Governor General Carlos Maria de la Torre some months before in 1871 and immediately rescinded Torre’s liberal measures and imposed his iron-fist rule. He was opposed to any hint of reformist or nationalistic movements in the Philippines. He was in office for less than two years, but he will be remembered for his cruelty to the Filipinos and the barbaric execution of the three martyr-priests blamed for the mutiny: Fathers Mariano Gomez, Jose Burgos, and Jacinto Zamora, later collectively called “Gomburza.”


title: Cry of Pugad Lawin

text: Izquierdo used the mutiny to implicate Gomburza and other notable Filipinos known for their liberal leanings.


title: Cry of Pugad Lawin

text: The three priests were stripped of their albs, and with chained hands and feet were brought to their cells after their sentence. Gomburza became a rallying catchword for the down-trodden Filipinos seeking justice and freedom from Spain.


title: Cry of Pugad Lawin

text: It is well to remember that the seeds of nationalism that was sown in Cavite blossomed to the Philippine Revolution and later to the Declaration of Independence by Emilio Aguinaldo which took place also in Cavite. 1872 Cavite Mutiny paved way for a momentous 1898, it was a glorious event before we came across to victory.


title: Cry of Pugad Lawin

text: The execution of the three Filipino priest, Mariano Gomez, Jose Burgos, and Jacinto Zamora, who were linked by the Spanish friars as the masterminds of the Filipino insurgency in Cavite. They were prominent Filipino priests charged with treason and sedition. The Spanish clergy connected the priest to the mutiny as part of a conspiracy to stifle the movement of secular priests who desired to have their own parishes instead of being assistants to the regular friars.


title: Cry of Pugad Lawin

text: Father Mariano Gomez, an old man in his mid-‘70, Chinese-Filipino, born in Cavite. He held the most senior position of the three as Archbishop’s Vicar in Cavite. He was truly nationalistic and accepted the death penalty calmly as though it were his penance for being pro-Filipinos.


title: Cry of Pugad Lawin

text: Father José Burgos is a Spanish descent, born in the Philippines. He was a parish priest of the Manila Cathedral and had been known to be close to the liberal Governor General de la Torre. He was 35 years old at that time and was active and outspoken in advocating the Filipinization of the clergy.


title: Cry of Pugad Lawin

text: Father Jacinto Zamora is a 37 years old, was also Spanish, born in the Philippines. He was the parish priest of Marikina and was known to be unfriendly to and would not countenance any arrogance or authoritative behavior from Spaniards coming from Spain. February 17, 1872 in an attempt of the Spanish government to instill fear among the Filipinos so that they may never commit such daring act again, the Gomburza were executed. This event was tragic but served as one of the moving forces that shaped Filipino nationalism.


title: Cry of Pugad Lawin

text: For more than three centuries  the Spanish colonizers became too abusive of their power, force labor, unjustifiable collection of taxes, and deprivation of education brought about centralised idea of independence to the majority of Filipinos. Political and social  reforms then were sought through writings themed on liberalism, honoring rights of the Filipinos, defense against violence and injustices, and sovereignty for the aspirations of the people.


title: Cry of Pugad Lawin

text: From 1880 to 1896 propaganda movements became expansive, though it didn't achieve its purpose for reforms it fostered a sense of nationalism among Filipinos.


title: Cry of Pugad Lawin

text: Noli Me Tangere and  El filibusterismo are some of the literary works written by Jose Rizal, who is one of the many ilustrados, together with the other prominent reformist Graciano López Jaena, Mariano Ponce and Marcelo H. del Pilar who aimed on  uniting the whole country,  and eventually to achieve independence. It was until the latter part of the 1890s when the peaceful movement was shifted to bloody revolts led by Andres Bonifacio who believe that peaceful reforms won't make any change to the corrupt Spaniards, thus initiating the first phase of revolution after the tearing of cedulas at the Cry of Pugadlawin


title: Cry of Pugad Lawin

text: In June 26, 1892, very excitement was caused among to the Filipinos. His popularity feared the Spaniards, and as they notice to his every moves - all houses where he had been were searched and the Filipinos seen in his company were suspected. As he had planned, on July 3, 1892 he founded the La Liga Filipina in the house of Doroteo Ongjunco in Tondo, Manila. Four days after the civic organization's foundation, Jose Rizal was arrested by the Spanish authorities on four grounds: First, he published an anti-Catholic and anti-friar books and articles. Second, having in possession a bundle of handbills, the Pobres Frailes, in which violates the advocacies of the Spanish orders. Third for dedicating his novel, El Filibusterismo to the three “traitors” (Gomez, Burgos and Zamora) and for giving an highlights to the novel's title page that “the only salvation for the Philippines was separation from the Spain". And last, had a simply criticizing the religion and aiming for its exclusion from the Filipino culture.


title: Cry of Pugad Lawin

text: After the disbandment of the La Liga FILIPINA, some of its former members, spearheaded by Andres Bonifacio established the Kataas-taasang, Kagalang-galangang  Katipunan ng mga anak bayan (KKK), with its goal of independence from Spain, the Katipunan led by Andres Bonifacio started the revolution preceded by the Cry of Balintawak.


title: Cry of Pugad Lawin

text: The KKK was revealed by Father Mariano Gil who was disgusted over the governor's attitude, next ran to the military governor of Manila, General Echaluce, and revealed what he knew about the Katipunan. But Echaluce, did not believe him, instead he took precautions to make Manila safe from any disturbances. At almost the same time, an unfortunate event incident happened between two Katipuneros that are working in the Spanish-owned Diario de Manila. Apolonio de la Cruz and Teodoro Patiño had a misunderstanding, and Patiño took his revenge to Apolonio by revealing the secrets of the society to his sister, Honoria. The latter was reported to have cried. The madre portera, Sor Teresa, suggested that Teodoro Patiño tell all he knew to Father Mariano. Afternoon of August 19, Patiño told Father Mariano of what he knew about the secret society. The friar immediately hurried to the printing shop, Diario de Manila and searched the premises for the hidden proofs of the existence of the Katipunan with the accompaniment of the owner of the periodical. The lithographic stone used to print the Katipunan receipts was found and when it was shown to Patiño, he confirmed that it was true. At midnight, the locker of Policarpio Turla, whose signature appeared in the receipts, was forced open and the rules of the society and other pertinent documents were found. These proofs were turned over to the police and were now convinced to the existence of a vast underground society whose purpose is to overthrow Spanish sovereignty in the Philippines.


title: Cry of Pugad Lawin

text: These lines indicate that in so far as the leaders of the revolution are concerned, revolution began on 24 August 1896. The document was written only one and a half years after the event and signed by over 50 Katipunan members, among them Emilio Aguinaldo , Artemio Ricarte and Valentin Diaz.


title: Cry of Pugad Lawin

text: Emilio Aguinaldo’s memoirs, "Mga Gunita ng Himagsikan" (1964, English title:"Memories of the Revolution"), refer to two letters from Andres Bonifacio dated 22 and 24 August that pinpoint the date and place of the crucial Cry meeting when the decision to attack Manila was made.


title: Cry of Pugad Lawin

text: Not all accounts relate the tearing of cédulas in the last days of August. Of the accounts that do, older ones identify the place where this occurred as Kangkong in Balintawak/Kalookan. Most also give the date of the cédula-tearing as August 26, in close proximity to the first encounter. One "Katipunero", Guillermo Masangkay, claimed cédulas were torn more than once – on the 24th as well as the 26th.


title: Cry of Pugad Lawin

text: For his 1956 book "The Revolt of the Masses" Teodoro Agoncillo defined "the Cry" as the tearing of cedulas, departing from precedent which had then defined it as the first skirmish of the revolution. His version was based on the later testimonies of Pío Valenzuela and others who claimed the cry took place in Pugad Lawin instead of Balintawak. Valenzuela's version, through Agoncillo's influence, became the basis of the current stance of the Philippine government. In 1963, President Diosdado Macapagal ordered the official commemorations shifted to Pugad ng uwak, Quezon City on August 23.


title: Cry of Pugad Lawin

text: An alternative definition of the Cry as the "birth of the Filipino nation state" involves the setting up of a national insurgent government through the "Katipunan" with Bonifacio as President in Banlat, Pasong Tamo on August 24, 1896 – after the tearing of cedulas but before the first skirmish. This was called the "Haring Bayang Katagalugan" (Sovereign Tagalog Nation).


title: Cry of Pugad Lawin

text: The Cry of Rebellion in the Philippines happened in August 1896. There are lot of controversies puzzling the minds of the readers regarding the real place and date of this event. Some accounts pointing directly to Balintawak are associated with 'The Cry’. Lt. Olegario Diaz of the Spanish Civil Guards wrote in 1896 that the event happened in Balintawak, which corroborates the accounts of the historian Gregorio Zaide and Teodoro Kalaw. On the other hand, Teodoro Agoncillo based his account from that of Pio Valenzuela that emphasized Pugad Lawin as the place where the ‘cry’ happened.