title: I'm with You (album)

text: In June 2011, cryptic themed street posters and artwork of a robot with the band's logo and 8/30/11 began appearing in various places around Los Angeles. At the time it was denied by the band's management that the artwork was released by the band or the album cover however on July 14, 2011, TMZ broke the news that the artwork has been endorsed by the band to promote the global release of the new album. The artist behind the work is Mr. Brainwash. Brainwash claims that his work with the band is not finished and he will be teaming up with them on several more projects.


title: I'm with You (album)

text: The working title for the album was rumored to be "Dr. Johnny Skinz's Disproportionately Rambunctious Polar Express Machine-Head". According to an early 2011 article in Spin Magazine, Kiedis said "[A friend] was reminiscing about one of his legendary acid trips, and told us that he had been playing a sold-out show to the planets and moons, and his number-one hit was, well, that title". Two months later the working title name was denied by producer Rick Rubin and Kiedis. Through his father, Kiedis told fans, don't believe the rumors. There was no friend, no acid trip and it was all a lie.


title: I'm with You (album)

text: When it came time to decide on a title for the album, Kiedis started making lists of titles, though none seemed to capture the spirit of the record. He said they thought of naming it after a song on the album, but Rubin said that made it seem like the band did not have enough ideas. A day before the deadline to find a title, Klinghoffer wrote down the words "I'm with you" on a piece of paper and very subtly showed it to Kiedis and the rest of the band who fell in love with the title right away. Klinghoffer said the title came to him out of nowhere and explained, "It seems pretty open, pretty apropos to where the band is, what the band's doing, how the record wants to be related to, or related with." Kiedis said, "It's open, and there's not really a negative connotation. It's inviting. The first time I heard a non-one-of-us mention it, it gave me the best feeling you could imagine. Unbeknownst to me, the news [of the album's title] had hit the radio, and some kid came up to me and he shook my hand and he said, 'I'm with you!' And I was like, 'Why are you saying that? Where did you hear that?' He said, 'I'm with you!' And then I realized that he must've heard it on the radio or something, and it was just a great feeling." This is the first album since 1989's "Mother's Milk" not to feature a title track.


title: I'm with You (album)

text: The band's official site held a global listening party on August 22, 2011, where they streamed the entire album. Various radio stations throughout the world began playing tracks on the same date leading up to the album's release. The full album was also made available to stream for free on the iTunes Store.


title: I'm with You (album)

text: The band kicked off a string of promotional shows and appearances starting in August 2011. On August 30, 2011, the date following the album's release in the United States, the band performed the entire album (apart from "Even You Brutus?") in sequence at a via satellite worldwide theatrical event called "".


title: I'm with You (album)

text: Sports channel, ESPN and many of their programs featured songs from "I'm with You" during various clips, segments and commercials throughout the months of August and September. The NFL has also used the album's songs during football games mainly prior to commercial breaks or playing throughout the stadium during timeouts. In 2011, the U.S. version of the Simon Cowell reality show, "The X Factor" used "Look Around" as a theme to their earliest commercials to promote the show. The album's second single, "Monarchy of Roses" was used in a Japanese car commercial for the Nissan Elgrand.


title: I'm with You (album)

text: In the United States, "I'm with You" debuted at number two on the "Billboard" 200 with 229,000 copies sold in its first week. The album entered the UK Albums Chart at number one on the strength of 71,000 units, becoming the band's fourth number one effort in the United Kingdom. With a tally of 28,000, the record opened on the Canadian Albums Chart at number two. Internationally, "I'm with You" debuted and peaked atop the charts in over ten countries.


title: I'm with You (album)

text: "I'm with You" received mostly favorable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 63, based on 35 reviews, which indicates "generally favorable reviews." John Lewis of "Uncut" magazine released the first review of the album in said magazine's September 2011 issue. He rated the album 3 out of 5 stars in a generally favorable write-up, stating that although "listening to a playback of new RHCP album, "I'm with You", one can definitely hear a John Frusciante-shaped hole in the proceedings", the album did have many great tracks. In particular, he cited the songs "Happiness Loves Company", "Even You Brutus?" and "Police Station" as some of the album's highlights. Despite all of this however, he alluded that the album lacked the overall quality of the band's material with John Frusciante, saying "Minus their star guitarist, the Chilis are a bit mild.". The second review of "I'm with You" was written by Amy Bangs of Rock Sound. In another positive review which saw the album achieve a rating of 7 out of 10, she felt that any "drastic departure from their mixture of rock and funk is a disservice to fans", although she went on to say that tracks such as "Monarchy of Roses", "Even You Brutus?" and "Did I Let You Know" show a more experimental take on the band's trademark sound, saying that the former "layers a fast-paced dance beat and electronic instrumentation over the top of Flea's characteristic bass lines and Anthony Kiedis' unmistakable vocals." Despite this, she wrote that “There's a familiar funk-inspired sound on "Ethiopia" and "Look Around".” She also claims that new guitarist Josh Klinghoffer's playing on the album avoids the complex playing of former guitarist John Frusciante, whilst also noting his contributions on keyboard. She felt that the album was, overall, a successful continuation of their trademark sound, while also an exploration of several styles new to the band.


title: I'm with You (album)

text: In a similarly positive review, "Q"'s "Isaac Newton" rated the album 3 stars out of 5. He hailed 'Brendan's Death Song' as the album's best track, whilst posing a question about what he interpreted as more introspective lyrics from the band on tracks such as 'Police Station' and 'Meet Me at the Corner', asking "are Red Hot Chili Peppers suffering a sudden attack of level-headedness?".


title: I'm with You (album)

text: Jon Dolan of "Rolling Stone" was also positive about the album, giving it a rating of 3.5 out of 5 stars and saying that "Josh Klinghoffer, who's worked with Beck and Gnarls Barkley, is well suited for giving old tricks new shape", describing his guitar playing as "textured" and "elusive". Dolan also acknowledged the band's influences from The Rolling Stones throughout the album by citing that the album's replacing of John Frusciante with Josh Klinghoffer could be compared to The Rolling Stones' replacing the late Brian Jones and returning to a more stripped down and basic sound formula.


title: I'm with You (album)

text: One of the most positive reviews came from Artistdirect writer Rick Florino, who gave the album 5 stars out of 5. Florino calls "I'm with You" a masterpiece, the best record of their career and a rock record for the ages. Florino said 'Police Station' is the most vibrantly visceral visual that the band has ever conjured and that the song paints a vivid portrait of loneliness and failure that's as tearjerkingly infectious as 'Under the Bridge' but with another two decades of instrumental intricacy infused at heart.


title: I'm with You (album)

text: Diminuendo showed an affinity in the album, although expressed a dislike for the songs "Brendan's Death Song" and "Even You Brutus?", saying the tracks "[were] not so great, and just too long." He noted that "the guitar work is different, obviously, since Josh Klinghoffer filled in for Frusciante. Different, but good." Ultimately, Diminuendo surmised that the "Red Hot Chili Peppers, with or without all of its members, still rocks because the name is just synonymous with greatness," giving the album a rating in volume setting of 7 out of 11.


title: I'm with You (album)

text: However, not all critics were impressed with the album. The band's hometown newspaper, the "Los Angeles Times", gave the album a fairly negative review, saying it was a mishmash, lacked a center, and often felt duct-taped together from various points in the band's career. Writer Randall Roberts stated that out of the 14-song album there is a good EP worth of songs and did praise the album's first single, 'The Adventures of Rain Dance Maggie' along with 'Brendan's Death Song', which he said are among the best songs of the band's career. Roberts ended his review by saying the rest of the songs are stuff that will probably sound just fine beneath NFL highlight reels but fails to gel when the volume is up and California 2011 beckons.


title: I'm with You (album)

text: On August 10, 2011, the album's first single, "The Adventures of Rain Dance Maggie" reached number one on the "Billboard" Alternative Songs chart giving them their 12th number one single. They already held the record for most number one singles at eleven and with this single extended their record. The single also reached number one on the "Billboard" Rock Songs chart giving them their first number one on this chart which was created in 2009. The single also reached number one on the Canadian Alternative chart.


title: I'm with You (album)

text: Released on August 29 it charted at No. 2 on "Billboard"<nowiki>'</nowiki>s Top 200 Albums chart, selling 228,926 copies, with No. 1 debuts in Argentina, Brazil, Croatia, Czech Republic, Denmark, Finland, Germany, Ireland, Japan, Korea, Mexico, the Netherlands, New Zealand, Poland, Spain, Switzerland and the United Kingdom, and No. 2 debuts in Australia, Austria, Belgium, Canada and France.


title: I'm with You (album)

text: On November 29, 2011, the album was nominated for a 2012 Grammy Award for Best Rock Album. The awards show was held February 12, 2012. They lost to Foo Fighters' album "Wasting Light".


title: I'm with You (album)

text: "Rolling Stone" ranked "The Adventures of Rain Dance Maggie" the 50th best single in their Top 50 Singles of 2011, while the Reader's Poll named "I'm with You" the 8th best album of year, and "Brendan's Death Song" as named tenth best song of 2011.


title: I'm with You (album)

text: As of May 2016, "I'm with You" has sold 1,700,000 copies worldwide with 574,000 copies being sold in the United States. By most estimates, sales for the album have been a disappointment especially compared to the band's previous album, "Stadium Arcadium" which went onto sell over eight million copies worldwide with two and a half million copies sold in the U.S.; currently the album is on pace to be the band's lowest selling album since signing with Warner in 1991 and lowest selling album since 1987's "The Uplift Mofo Party Plan".


title: I'm with You (album)

text: In December 2012, the band made Forbes' World's 25 Highest-Paid Musicians for 2012 list placing at number 19 and taking in $39 million for the album and tour to support it. The tour made $33,911,873 in 2012 which was ranked 15th on "Billboard"s annual Top 25 Tours list.


title: I'm with You (album)

text: In the spring of 2011 the band announced its first tour dates since 2007. On July 27, 2011, the band played its first show since August 2007 and first with Klinghoffer. The event was very private and only 300 people were allowed to attend. It was held on the lawn outside the Henry Miller Memorial Library in Big Sur, CA. The band played a mixture of new and older songs. Rick Rubin, David Fricke, Vincent Gallo and Beach Boy Al Jardine were in attendance along with many of Flea's neighbors, since his house is close to the library. They followed this show with two more secret shows in late July. The band played festivals in Asia as a warm-up to the official tour kick off in Colombia on September 11, 2011. Following the Latin American leg, the first European leg of the tour lasted until December 2011.


title: I'm with You (album)

text: Flea said that he expected the tour to last "forever" while Kiedis stated when talking about the new album, "I can't wait to go out and play this." According to sound engineer, Dave Rat, the tour would last into 2013 and the band's schedule would be spent with three weeks on the road and two weeks off throughout the tour, a plan followed on previous tours. Percussionist, Mauro Refosco and keyboard player, Chris Warren have joined the band's touring lineup as backing musicians for the entire tour.


title: I'm with You (album)

text: The band's first leg in North America in early 2012 was forced to be rescheduled until late March 2012 due to multiple foot injuries Kiedis suffered with since the Stadium Arcadium tour. Kiedis then had surgery on his foot. The first U.S. leg of the tour, which included stops in Canada, kicked off in March 2012 and ran to June, with the rest of the U.S. dates being added or made up from August to November 2012. During the first leg of the North American tour, the band was inducted into the Rock and Roll Hall of Fame. In March 2012, Chad Smith said the band planned to tour throughout the remainder of 2012 followed by dates in Australia, New Zealand and Africa scheduled for early 2013.


title: I'm with You (album)

text: The band announced that they would start releasing official bootleg live downloads of full concerts from their current tour. The shows will be available in MP3 for $9.95 and ALAC and FLAC for $12.95. Each show is available for pre-order and will be released 72 hours after the completion of each show.


title: I'm with You (album)

text: In August 2012, the band began releasing additional songs from the "I'm with You" recording sessions. Nine singles featuring 17 songs were released, with the final coming out in July 2013. Each release contained two songs (except for one, "In Love Dying," which clocked in at 8:01) featuring an a-side and a b-side and were available on 7" vinyl and digital download. In late 2013, all 17 outtakes were released as a double LP entitled "I'm Beside You". Klinghoffer confirmed that some post session work was done as late as 2013 on the songs from "I'm Beside You".


title: I'm with You (album)

text: According to the band, around 50 songs were recorded during the album sessions. To date, 19 remain unreleased. Of those, Klinghoffer mentioned "Renaissance" as one of the titles and he even has teased it live. Alternate versions of songs also exist. "Look Around" is featured on Rock Band DLC with its original intro (which was also played live). During recording process for the album, and as with every album, some of the songs had alternate working titles that were mentioned by the band in pre-release interviews. "Did I Let You Know" ("Take Me Home" and "Lagos"), "Police Station" ("Stolen Stone"), "Monarchy of Roses" ("Disco Sabbath"), "Goodbye Hooray" ("See You Around"), "Magpies on Fire" ("Magpies") and "Your Eyes Girl" ("Mormon Lover"). "Did I Let You Know" also had the suffix '(This I Know)' during some of the band's interviews.


title: The Third of May 1808

text: The Third of May 1808 (also known as ' or ', or ) is a painting completed in 1814 by the Spanish painter Francisco Goya, now in the Museo del Prado, Madrid. In the work, Goya sought to commemorate Spanish resistance to Napoleon's armies during the occupation of 1808 in the Peninsular War. Along with its companion piece of the same size, "The Second of May 1808" (or "The Charge of the Mamelukes"), it was commissioned by the provisional government of Spain at Goya's suggestion.


title: The Third of May 1808

text: The painting's content, presentation, and emotional force secure its status as a ground-breaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, "The Third of May 1808" marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era. According to the art historian Kenneth Clark, "The Third of May 1808" is "the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention".


title: The Third of May 1808

text: "The Third of May 1808" inspired Gerald Holtom's peace sign and a number of later major paintings, including a series by Édouard Manet, and Pablo Picasso's "Massacre in Korea" and "Guernica".


title: The Third of May 1808

text: Napoleon I of France declared himself First Consul of the French Republic on November 10, 1799, and crowned himself Emperor in 1804. Because Spain controlled access to the Mediterranean, the country was politically and strategically important to French interests. The reigning Spanish sovereign, Charles IV, was internationally regarded as ineffectual. Even in his own court he was seen as a "half-wit king who renounces cares of state for the satisfaction of hunting", and a cuckold unable to control his energetic wife, Maria Luisa of Parma. Napoleon took advantage of the weak king by suggesting the two nations conquer and divide Portugal, with France and Spain each taking a third of the spoils, and the final third going to the Spanish Prime Minister Manuel de Godoy, along with the title "Prince of the Algarve". Godoy was seduced, and accepted the French offer. He failed, however, to grasp Napoleon's true intentions, and was unaware that his new ally and co-sovereign, the former king's son Ferdinand VII of Spain, was using the invasion merely as a ploy to seize the Spanish parliament and throne. Ferdinand intended not only that Godoy be killed during the impending power struggle, but also that the lives of his own parents be sacrificed.


title: The Third of May 1808

text: Under the guise of reinforcing the Spanish armies, 23,000 French troops entered Spain unopposed in November 1807. Even when Napoleon's intentions became clear the following February, the occupying forces found little resistance apart from isolated actions in disconnected areas, including Zaragoza. Napoleon's principal commander, Marshal Joachim Murat, believed that Spain would benefit from rulers more progressive and competent than the Bourbons, and Napoleon's brother Joseph Bonaparte was to be made king. After Napoleon convinced Ferdinand to return Spanish rule to Charles IV, the latter was left with no choice but to abdicate, on March 19, 1808, in favor of Joseph Bonaparte.


title: The Third of May 1808

text: Although the Spanish people had accepted foreign monarchs in the past, they deeply resented the new French ruler. A French agent in Madrid wrote that "Spain is different. The Spaniards have a noble and generous character, but they have a tendency to ferocity and cannot bear to be treated as a conquered nation. Reduced to despair, they would be prepared to unleash the most terrible and courageous rebellion, and the most vicious excesses." On May 2, 1808, provoked by news of the planned removal to France of the last members of the Spanish royal family, the people of Madrid rebelled in the Dos de Mayo Uprising. A proclamation issued that day to his troops by Marshal Murat read: "The population of Madrid, led astray, has given itself to revolt and murder. French blood has flowed. It demands vengeance. All those arrested in the uprising, arms in hand, will be shot." Goya commemorated the uprising in his "The Second of May", which depicts a cavalry charge against the rebels in the Puerta del Sol square in the center of Madrid, the site of several hours of fierce combat. Much the better known of the pair, "The Third of May" illustrates the French reprisals: before dawn the next day hundreds of Spaniards were rounded up and shot, at a number of locations around Madrid. Civilian Spanish opposition persisted as a feature of the ensuing five-year Peninsular War, the first to be called "guerrilla war". Irregular Spanish forces considerably aided the Spanish, Portuguese, and British armies jointly led by Sir Arthur Wellesley, who first landed in Portugal in August 1808. By the time of the painting's conception, the public imagination had made the rioters symbols of heroism and patriotism.


title: The Third of May 1808

text: Like other Spanish liberals, Goya was placed in a difficult position by the French invasion. He had supported the initial aims of the French Revolution, and hoped for a similar development in Spain. Several of his friends, like the poets Juan Meléndez Valdés and Leandro Fernández de Moratín, were overt , the term for the supporters—collaborators in the view of many—of Joseph Bonaparte. Goya's 1798 portrait of the French ambassador-turned-commandant Ferdinand Guillemardet betrays a personal admiration. Although he maintained his position as court painter, for which an oath of loyalty to Joseph was necessary, Goya had by nature an instinctive dislike of authority. He witnessed the subjugation of his countrymen by the French troops. During these years he painted little, although the experiences of the occupation provided inspiration for drawings that would form the basis for his prints "The Disasters of War" ().


title: The Third of May 1808

text: In February 1814, after the final expulsion of the French, Goya approached the provisional government with a request to "perpetuate by means of his brush the most notable and heroic actions of our glorious insurrection against the Tyrant of Europe". His proposal accepted, Goya began work on "The Third of May". It is not known whether he had personally witnessed either the rebellion or the reprisals, despite many later attempts to place him at the events of either day.


title: The Third of May 1808

text: "The Third of May 1808" is set in the early hours of the morning following the uprising and centers on two masses of men: one a rigidly poised firing squad, the other a disorganized group of captives held at gunpoint. Executioners and victims face each other abruptly across a narrow space; according to Kenneth Clark, "by a stroke of genius [Goya] has contrasted the fierce repetition of the soldiers' attitudes and the steely line of their rifles, with the crumbling irregularity of their target." A square lantern situated on the ground between the two groups throws a dramatic light on the scene. The brightest illumination falls on the huddled victims to the left, whose numbers include a monk or friar in prayer. To the immediate right and at the center of the canvas, other condemned figures stand next in line to be shot. The central figure is the brilliantly lit man kneeling amid the bloodied corpses of those already executed, his arms flung wide in either appeal or defiance. His yellow and white clothing repeats the colors of the lantern. His plain white shirt and sun-burnt face show he is a simple laborer.


title: The Third of May 1808

text: On the right side stands the firing squad, engulfed in shadow and painted as a monolithic unit. Seen nearly from behind, their bayonets and their shako headgear form a relentless and immutable column. Most of the faces of the figures cannot be seen, but the face of the man to the right of the main victim, peeping fearfully towards the soldiers, acts as a at the back of the central group. Without distracting from the intensity of the foreground drama, a townscape with a steeple looms in the nocturnal distance, probably including the barracks used by the French. In the background between the hillside and the shakos is a crowd with torches: perhaps onlookers, perhaps more soldiers or victims.


title: The Third of May 1808

text: The "Second" and "Third of May 1808" are thought to have been intended as parts of a larger series. Written commentary and circumstantial evidence suggest that Goya painted four large canvases memorializing the rebellion of May 1808. In his memoirs of the Royal Academy in 1867, José Caveda wrote of four paintings by Goya of the second of May, and Cristóbal Ferriz—an artist and a collector of Goya—mentioned two other paintings on the theme: a revolt at the royal palace and a defense of artillery barracks. Contemporary prints stand as precedents for such a series. The disappearance of two paintings may indicate official displeasure with the depiction of popular insurrection.


title: The Third of May 1808

text: Goya's series of aquatint etchings "The Disasters of War" () was not completed until 1820, although most of the prints were made in the period 1810–1814. The album of proofs given by Goya to a friend, however, now in the British Museum, provides many indications of the order in which both the preliminary drawings and the prints themselves were composed. The groups identified as the earliest clearly seem to predate the commission for the two paintings, and include two prints with obviously related compositions (illustrated), as well as "I saw this", which is presumably a scene witnessed during Goya's trip to Saragossa. ("One cannot look at this") is clearly related compositionally and thematically; the female central figure has her arms outstretched, but pointing down, while another figure has his hands clasped in prayer, and several others shield or hide their faces. This time the soldiers are not visible even from behind; only the bayonets of their guns are seen.


title: The Third of May 1808

text: At first the painting met with mixed reactions from art critics and historians. Artists had previously tended to depict war in the high style of history painting, and Goya's unheroic description was unusual for the time. According to some early critical opinion the painting was flawed technically: the perspective is flat, or the victims and executioners are standing too close together to be realistic. Although these observations may be strictly correct, the writer Richard Schickel argues that Goya was not striving for academic propriety but rather to strengthen the overall impact of the piece.


title: The Third of May 1808

text: "The Third of May" references a number of earlier works of art, but its power comes from its bluntness rather than its adherence to traditional compositional formulas. Pictorial artifice gives way to the epic portrayal of unvarnished brutality. Even the contemporary Romantic painters—who were also intrigued with subjects of injustice, war, and death—composed their paintings with greater attention to the conventions of beauty, as is evident in Théodore Géricault's "Raft of the Medusa" (1818–1819) and Eugène Delacroix's 1830 painting "Liberty Leading the People".


title: The Third of May 1808

text: The painting is structurally and thematically tied to traditions of martyrdom in Christian art, as exemplified in the dramatic use of chiaroscuro, and the appeal to life juxtaposed with the inevitability of imminent execution. However, Goya's painting departs from this tradition. Works that depicted violence, such as those by Jusepe de Ribera, feature an artful technique and harmonious composition which anticipate the "crown of martyrdom" for the victim. The man with raised arms at the focal point of the composition has often been compared to a crucified Christ, and a similar pose is sometimes seen in depictions of Christ's nocturnal "Agony in the Garden" of Gethsemane. Goya's figure displays stigmata-like marks on his right hand, while the lantern at the center of the canvas references a traditional attribute of the Roman soldiers who arrested Christ in the garden. Not only is he posed as if in crucifixion, he wears yellow and white: the heraldic colors of the papacy.


title: The Third of May 1808

text: The lantern as a source of illumination in art was widely used by Baroque artists, and perfected by Caravaggio. Traditionally a dramatic light source and the resultant chiaroscuro were used as metaphors for the presence of God. Illumination by torch or candlelight took on religious connotations; but in "The Third of May" the lantern manifests no such miracle. Rather, it affords light only so that the firing squad may complete its grim work, and provides a stark illumination so that the viewer may bear witness to wanton violence. The traditional role of light in art as a conduit for the spiritual has been subverted.


title: The Third of May 1808

text: The victim is as anonymous as his killers. His entreaty is addressed not to God in the manner of traditional painting, but to an unheeding and impersonal firing squad. He is not granted the heroism of individuality, but is merely part of a continuum of victims. Beneath him lies a bloody and disfigured corpse; behind and around him are others who will soon share the same fate. Here, for the first time, according to biographer Fred Licht, nobility in individual martyrdom is replaced by futility and irrelevance, the victimization of mass murder, and anonymity as a hallmark of the modern condition.


title: The Third of May 1808

text: The way the painting shows the progress of time is also without precedent in Western art. The death of a blameless victim had typically been presented as a conclusive episode, imbued with the virtue of heroism. "The Third of May" offers no such cathartic message. Instead, there is a continuous procession of the condemned in a mechanical formalization of murder. The inevitable outcome is seen in the corpse of a man, splayed on the ground in the lower left portion of the work. There is no room left for the sublime; his head and body have been disfigured to a degree that renders resurrection impossible. The victim is portrayed bereft of all aesthetic or spiritual grace. For the rest of the picture the viewer's eye level is mostly along the central horizontal axis; only here is the perspectival point of view changed, so that the viewer looks down on the mutilated body.


title: The Third of May 1808

text: Finally, there is no attempt by the artist to soften the subject's brutality through technical skill. Method and subject are indivisible. Goya's procedure is determined less by the mandates of traditional virtuosity than by his intrinsically morbid theme. The brushwork could not be described as pleasing, and the colors are restricted to earth tones and black, punctuated by bright flashes of white and the red blood of the victims. The quality of the pigment itself foreshadows Goya's later works: a granular solution producing a matte, sandy finish. Few would admire the work for painterly flourishes, such is its horrific force and its lack of theatricality.


title: The Third of May 1808

text: Despite the work's commemorative value, no details about its first exhibition are known, and it is not mentioned in any surviving contemporaneous accounts. This lack of commentary may be due to Fernando VII's preference for neoclassical art, and to the fact that popular revolts of any kind were not regarded as suitable subject matter by the restored Bourbons. A monument to the fallen in the uprising, also commissioned in 1814 by the provisional government, "was stopped by Ferdinand VII, in whose eyes the senators and heroes of the war of independence found small favour, on account of their reforming tendencies".


title: The Third of May 1808

text: According to some accounts, the painting lay in storage for thirty to forty years before being shown to the public. Its mention in an 1834 Prado inventory shows that the painting remained in the possession of the government or monarchy; much of the royal collection had been transferred to the museum upon its opening in 1819. Théophile Gautier mentioned seeing "a massacre" by Goya during a visit to the museum in 1845, and a visitor in 1858 noted it as well, though both accounts refer to the work as depicting the events of the second of May, perhaps because continues to be the Spanish name for the whole episode.


title: The Third of May 1808

text: In 1867, Goya's biographer Charles Emile Yriarte considered the painting important enough to warrant its own special exhibition, but it was not until 1872 that "The Third of May" was listed in the Prado's published catalog, under the title "Scene of the Third of May 1808". Both the "Third" and "Second of May" suffered damage in a road accident while being transported by truck to Valencia for safety during the Spanish Civil War, apparently the only time they have left Madrid. Significant paint losses to the left side of the "Second of May" have been deliberately left unrepaired until the restoration work to both paintings done in 2008 in time for an exhibition marking the bicentennial of the uprising.


title: The Third of May 1808

text: In 2009, the Prado selected "The Third of May 1808" as one of the museum's fourteen most important paintings, to be displayed in Google Earth at a resolution of 14,000 megapixels.


title: The Third of May 1808

text: The most likely sources for "The Third of May" were popular imagery, prints, and broadsides. Depictions of firing squads were common in Spanish political imagery during the Napoleonic War, and Goya's appropriations suggest that he envisaged paintings of heroic scale that would appeal to the general public. Miguel Gamborino's 1813 devotional print "The Assassination of Five Monks from Valencia" is thought to have served as a source for Goya's composition. Points of similarity include a victim in a posture of crucifixion, whose white garment sets him apart from his companions; a tonsured monk with clenched hands who kneels to his left; and an executed corpse lying in the foreground.


title: The Third of May 1808

text: The geometry of the composition may be an ironic comment on the French painter Jacques-Louis David's 1784 work "Oath of the Horatii". The outstretched arms of David's three Roman Horatii in salute are transmuted into the rifles of the firing squad; the upraised arms of the Horatii's father become the victim's gesture as he faces his executioners. While David painted his figures' expressions with a neoclassical luster, Goya's reply is fashioned from brutal realism. Goya may also have been responding to a painting by Antoine-Jean Gros; the French occupation of Madrid is the subject of Gros's "".


title: The Third of May 1808

text: The first paraphrasing of "The Third of May" was Édouard Manet's "Execution of Emperor Maximilian", painted in several versions between 1867 and 1869. In recording a current event to which neither he nor the emerging art of photography was witness, Manet was inspired by Goya's precedent and may have seen the work at the Prado in 1865 before beginning his own paintings, which were too sensitive to be exhibited in France in Manet's lifetime. He undoubtedly saw an 1867 print published by an acquaintance. Art critic Arthur Danto compares Goya's work and Manet's:


title: The Third of May 1808

text: "The Third of May" also depicts an execution, an early event in the so-called Peninsular War between France and Spain. Napoleon Bonaparte invaded Spain in 1808, capturing its royal family and replacing them with his brother, Joseph. The French were as unpopular in Spain as they later were in Mexico, and they encountered a fierce insurrection, which ultimately triumphed. The "Third of May" execution was an indiscriminate killing of civilians by French soldiers in reprisal for a guerrilla attack the previous day. Goya's painting of the massacre, which shows terrified civilians facing a firing squad, was intended to arouse anger and hatred on the part of Spanish viewers. Goya's is a highly romantic picture of a deeply emotional episode.


title: The Third of May 1808

text: "The Third of May" is cited as an influence on Pablo Picasso's 1937 "Guernica", which shows the aftermath of the Nazi German bombing of Guernica during the Spanish Civil War. An exhibition in 2006 at the Prado and the Reina Sofía showed "The Third of May", "Guernica", and the "Execution of the Emperor Maximilian" in the same room. Also in the room was Picasso's "Massacre in Korea", painted in 1951 during the Korean War—an even more direct reference to the composition of "The Third of May". The perpetrators in this painting were intended to be the United States Army or their United Nations allies.


title: The Third of May 1808

text: Aldous Huxley wrote in 1957 that Goya lacked Rubens' ability to fill the canvas with an ordered composition; but he considered "The Third of May" a success because Goya "is speaking in his native language, and he is therefore able to express what he wants to say with maximum force and clarity". Kenneth Clark remarked on the painting's radical departure from history painting and its intensity: "With Goya we do not think of the studio or even of the artist at work. We think only of the event. Does this imply that The Third of May is a kind of superior journalism, the record of an incident in which depth of focus is sacrificed to an immediate effect? I am ashamed to say that I once thought so; but the longer I look at this ...the more clearly I recognise that I was mistaken."


title: The Little Shop of Horrors

text: The Little Shop of Horrors is a 1960 American horror comedy film directed by Roger Corman. Written by Charles B. Griffith, the film is a farce about an inadequate florist's assistant who cultivates a plant that feeds on human blood. The film's concept may have been inspired by "Green Thoughts", a 1932 story by John Collier about a man-eating plant. Hollywood writer Dennis McDougal suggests that Griffith may have been influenced by Arthur C. Clarke's 1956 science fiction short story "The Reluctant Orchid" (which was in turn inspired by the 1905 H. G. Wells story "The Flowering of the Strange Orchid").


title: The Little Shop of Horrors

text: The film stars Jonathan Haze, Jackie Joseph, Mel Welles, and Dick Miller, who had all worked for Corman on previous films. Produced under the title "The Passionate People Eater", the film employs an original style of humor, combining dark comedy with farce and incorporating Jewish humor and elements of spoof. "The Little Shop of Horrors" was shot on a budget of $28,000 (about $240,000 in 2019), with interiors being shot in two days utilizing sets that had been left standing from "A Bucket of Blood".


title: The Little Shop of Horrors

text: The film slowly gained a cult following through word of mouth when it was distributed as the B movie in a double feature with Mario Bava's "Black Sunday" and later with "Last Woman on Earth". The film's popularity increased with local television broadcasts, and the presence of a young Jack Nicholson, whose small role in the film has been prominently promoted on home video releases of the film. The film was the basis for an Off-Broadway musical, "Little Shop of Horrors", which in turn was adapted into a 1986 feature film. The musical enjoyed a 2003 Broadway debut.


title: The Little Shop of Horrors

text: Penny-pinching Gravis Mushnick owns a florist shop staffed by himself and two employees, the sweet Audrey Fulquard and the clumsy Seymour Krelboined. Located on skid row, the rundown shop gets little business. When Seymour fouls up a floral arrangement for sadistic dentist Dr. Farb, Mushnick fires him. Hoping to change his mind, Seymour tells him about a special plant he has grown from seeds he got from a "Japanese gardener over on Central Avenue." Seymour admits that he named the plant "Audrey Jr.", which delights the real Audrey.


title: The Little Shop of Horrors

text: Seymour fetches his sickly, odd-looking potted plant, but Mushnick is unimpressed. When it is suggested that Audrey Jr.'s uniqueness might attract people to see it, Mushnick gives Seymour one week to revive it. The usual kinds of plant food do not nourish the plant, but when Seymour accidentally pricks his finger, he discovers that the plant craves blood. Fed on Seymour's blood, Audrey Jr. begins to grow, and the shop's revenues increase when curious customers are lured in to see the plant. Mushnick tells Seymour to refer to him as "Dad" and calls Seymour his son in front of a customer.


title: The Little Shop of Horrors

text: The plant develops the ability to speak and demands that Seymour feed it. Now anemic, Seymour walks along the railroad track; when he carelessly throws a rock to vent his frustration, he inadvertently knocks out a drunken man who falls on the track and is run over by a train. He tries to get rid of the body by throwing it away and burying it in a yard but is nearly caught twice. Guilt-ridden but resourceful, Seymour decides to feed the mutilated body parts to Audrey Jr. Meanwhile, Mushnick returns to the shop to get some cash and secretly observes Seymour feeding the plant. Mushnick considers telling the police but procrastinates when he sees the line of people waiting to spend money at his shop the next day.


title: The Little Shop of Horrors

text: Seymour arrives the next morning suffering from a toothache; despite not going to the police, Mushnick still confronts Seymour about Audrey Jr.'s eating habits; while not explicitly revealing what he knows about the plant. Seymour grows increasingly distressed as he realizes that his boss is onto him. After finishing his rant, Mushnick sends Seymour to the dentist; soon after, Audrey runs up and declares that the shop needs many more flowers. When Seymour visits Dr. Farb, the doctor tries to get even for his ruined flowers and attempts to kill him. Seymour, defending himself, grabs a sharp tool and stabs and kills Farb. Although horrified, Seymour feeds Farb's body to Audrey Jr. The unexplained disappearances of the two men attract the attention of Sergeant Joe Fink and his assistant Officer Frank Stoolie.


title: The Little Shop of Horrors

text: Audrey Jr. has grown several feet tall and is budding, as is the relationship between Seymour and Audrey. A representative of the Society of Silent Flower Observers of Southern California comes to the shop and announces that Seymour will receive a trophy and that she will return when the plant's buds open. While Seymour and Audrey go on a date, Mushnick stays at the shop to see that Audrey Jr. harms no one else.


title: The Little Shop of Horrors

text: While tending to his shop, Mushnick finds himself at the mercy of a robber who pretended to be a customer earlier that day and believes that the huge crowds he observed at the shop indicate the presence of a large amount of money. Mushnick tricks the deranged robber into thinking that the money is where the plant is, which crushes and eats him after Mushnick maneuvers him close enough to it. When Seymour is forced to damage his relationship with Audrey to keep her from discovering the plant's nature, he confronts the plant and asserts that he will no longer do its bidding. The plant then hypnotizes Seymour and commands him to bring it more food. He wanders the night streets and (accidentally) knocks out a streetwalker, who he takes to feed Audrey Jr. Lacking clues about the mysterious disappearances of the two men, Fink and Stoolie attend a sunset celebration at the shop during which Seymour is to be presented with the trophy and Audrey Jr.'s buds are expected to open.


title: The Little Shop of Horrors

text: As the attendees watch, four buds open; inside each flower is the face of one of the plant's victims. Fink and Stoolie realize that Seymour is the murderer; he flees from the shop with the officers in pursuit. He manages to lose them and make his way back to the now-empty shop, where he blames Audrey Jr. for ruining his life, but the plant instead asks to be fed. Seymour grabs a kitchen knife and climbs into Audrey Jr.'s maw saying, "I'll feed you like you've never been fed before!", apparently attempting to kill the plant. Later that evening, it is discovered that Audrey Jr. has begun to wither and die. One last bud opens to reveal Seymour's face. He pitifully moans, "I didn't mean it," and the flower droops.


title: The Little Shop of Horrors

text: "The Little Shop of Horrors" was developed when director Roger Corman was given temporary access to sets that had been left standing from his previous film, "A Bucket of Blood". Corman decided to use the sets in a film made in the last two days before the sets were torn down.


title: The Little Shop of Horrors

text: Corman initially planned to develop a story involving a private investigator. In the story's initial version, the character that eventually became Audrey would have been referred to as "Oriole Plove." Actress Nancy Kulp was a leading candidate for the part. The characters that eventually became Seymour and Winifred Krelborn were named "Irish Eye" and "Iris Eye". Actor Mel Welles was scheduled to play a character named "Draco Cardala," Jonathan Haze was scheduled to play "Archie Aroma," and Jack Nicholson would have played a character named "Jocko".


title: The Little Shop of Horrors

text: Charles B. Griffith wanted to write a horror-themed comedy film. According to Mel Welles, Corman was not impressed by the box office performance of "A Bucket of Blood", and had to be persuaded to direct another comedy. However, Corman later claimed he was interested because of "A Bucket of Blood" and said the development process was similar to that of the earlier film, when he and Griffith were inspired by visiting various coffee houses:


title: The Little Shop of Horrors

text: We tried a similar approach for "The Little Shop of Horrors", dropping in and out of various downtown dives. We ended up at a place where Sally Kellerman (before she became a star) was working as a waitress, and as Chuck and I vied with each other, trying to top each other's sardonic or subversive ideas, appealing to Sally as a referee, she sat down at the table with us, and the three of us worked out the rest of the story together.


title: The Little Shop of Horrors

text: The first screenplay Griffith wrote was "Cardula", a Dracula-themed story involving a vampire music critic. After Corman rejected the idea, Griffith says he wrote a screenplay titled "Gluttony", in which the protagonist was "a salad chef in a restaurant who would wind up cooking customers and stuff like that, you know? We couldn't do that though because of the code at the time. So I said, 'How about a man-eating plant?', and Roger said, 'Okay.' By that time, we were both drunk."


title: The Little Shop of Horrors

text: Jackie Joseph later recalled "at first they told me it was a detective movie; then, while I was flying back [to make the movie], I think they wrote a whole new movie, more in the horror genre. I think over a weekend they rewrote it."


title: The Little Shop of Horrors

text: The screenplay was written under the title "The Passionate People Eater". Welles stated, "The reason that "The Little Shop of Horrors" worked is because it was a love project. It was "our" love project."


title: The Little Shop of Horrors

text: Officers Fink and Stoolie were obvious take-offs of "Dragnet" characters Joe Friday and Frank Smith. The film opens up in a similar format to a Dragnet episode.


title: The Little Shop of Horrors

text: The film was partially cast with stock actors that Corman had used in previous films. Writer Charles B. Griffith portrays several small roles. Griffith's father appears as a dental patient, and his grandmother, Myrtle Vail, appears as Seymour's hypochondriac mother. Dick Miller, who had starred as the protagonist of "A Bucket of Blood" was offered the role of Seymour, but turned it down, instead taking the smaller role of Burson Fouch. Production at the "Bucket of Blood" sets was compressed into three days of cast rehearsals, immediately followed by two days and one night of principal photography.


title: The Little Shop of Horrors

text: It had been rumored that the film's shooting schedule was based on a bet that Corman could not complete a film within that time. However, this claim has been denied by Mel Welles. According to Joseph, Corman shot the film quickly in order to beat changing industry rules that would have prevented producers from "buying out" an actor's performance in perpetuity. On January 1, 1960, new rules were to go into effect requiring producers to pay all actors residuals for all future releases of their work. This meant that Corman's B-movie business model would be permanently changed and he would not be able to produce low-budget movies in the same way. Before these rules went into effect, Corman decided to shoot one last film and scheduled it for the last week in December 1959.


title: The Little Shop of Horrors

text: Interiors were shot with three cameras in wide, lingering master shots in single takes. Welles states that Corman "had two camera crews on the set—that's why the picture, from a cinematic standpoint, is really not very well done. The two camera crews were pointed in opposite directions so that we got both angles, and then other shots were 'picked up' to use in between, to make it flow. It was a pretty fixed set and it was done sort of like a sitcom is done today, so it wasn't very difficult."


title: The Little Shop of Horrors

text: At the time of shooting, Jack Nicholson had appeared in two films and worked with Roger Corman as the lead in "The Cry Baby Killer". According to Nicholson, "I went in to the shoot knowing I had to be very quirky because Roger originally hadn't wanted me. In other words, I couldn't play it straight. So I just did a lot of weird shit that I thought would make it funny." According to Dick Miller, all of the dialogue between his character and Mel Welles was ad-libbed. During a scene in which writer Charles B. Griffith played a robber, Griffith remembers that "When [Welles] and I forgot my lines, I improvised a little, but then I was the writer. I was allowed to." However, Welles states that "Absolutely none of it was ad-libbed [...] every word in "Little Shop" was written by Chuck Griffith, and I did ninety-eight pages of dialogue in two days."


title: The Little Shop of Horrors

text: According to Nicholson, "we never did shoot the end of the scene. This movie was pre-lit. You'd go in, plug in the lights, roll the camera, and shoot. We did the take outside the office and went inside the office, plugged in, lit and rolled. Jonathan Haze was up on my chest pulling my teeth out. And in the take, he leaned back and hit the rented dental machinery with the back of his leg and it started to tip over. Roger didn't even call cut. He leapt onto the set, grabbed the tilting machine, and said 'Next set, that's a wrap.'" By 9 a.m. of the first day, Corman was informed by the production manager that he was behind schedule.


title: The Little Shop of Horrors

text: Exteriors were later directed by Griffith and Welles over two successive weekends, with $279 worth of rented equipment. Griffith and Welles paid a group of children five cents apiece to run out of a subway tunnel. They were also able to persuade winos to appear as extras for ten cents apiece. "The winos would get together, two or three of them, and buy pints of wine for themselves! We also had a couple of the winos act as ramrods—sort of like production assistants—and put them in charge of the other wino extras." Griffith and Welles also persuaded a funeral home to donate a hearse and coffin—with a real corpse inside—for the film shoot. Griffith and Welles were able to use the nearby Southern Pacific Transportation Company yard for an entire evening using two bottles of scotch as persuasion. The scene in which a character portrayed by Robert Coogan is run over by a train was accomplished by persuading the railroad crew to back the locomotive away from the actor. The shot was later printed in reverse. Griffith and Welles spent a total of $1,100 on fifteen minutes' worth of exteriors.


title: The Little Shop of Horrors

text: The film's musical score, written by cellist Fred Katz, was originally written for "A Bucket of Blood". According to Mark Thomas McGee, author of "Roger Corman: The Best of the Cheap Acts", each time Katz was called upon to write music for Corman, Katz sold the same score as if it were new music. The score was used in a total of seven films, including "The Wasp Woman" and "Creature from the Haunted Sea". Katz explained that his music for the film was created by a music editor piecing together selections from other soundtracks that he had produced for Corman.


title: The Little Shop of Horrors

text: Howard R. Cohen learned from Charles B. Griffith that when the film was being edited, "there was a point where two scenes would not cut together. It was just a visual jolt, and it didn't work. And they needed something to bridge that moment. They found in the editing room a nice shot of the moon, and they cut it in, and it worked. Twenty years go by. I'm at the studio one day. Chuck comes running up to me, says, 'You've got to see this!' It was a magazine article—eight pages on the symbolism of the moon in "Little Shop of Horrors"." According to Corman, the total budget for the production was $30,000. Other sources estimate the budget to be between $22,000 and $100,000.


title: The Little Shop of Horrors

text: Corman had initial trouble finding distribution for the film, as some distributors, including American International Pictures (AIP), felt that the film would be interpreted as anti-Semitic, citing the characters of Gravis Mushnick and Siddie Shiva. Welles, who was Jewish, stated that he gave his character a Turkish Jewish accent and mannerisms, and that he saw the humor of the film as playful, and felt there was no intent to defame any ethnic group. The film was finally released by its production company, The Filmgroup, nine months after it had been completed.


title: The Little Shop of Horrors

text: "The Little Shop of Horrors" was screened out of competition at the 1960 Cannes Film Festival. A year later, AIP distributed the film as the B movie for their release of Mario Bava's "Black Sunday". Despite being barely mentioned in advertising (it was only occasionally referred to as an "Added Attraction" to Bava's film), "Black Sunday"'s critical and commercial success resulted in positive word of mouth responses to "The Little Shop of Horrors". The film was re-released again the following year in a double feature with "Last Woman on Earth".


title: The Little Shop of Horrors

text: Because Corman did not believe that "The Little Shop of Horrors" had much financial prospect after its initial theatrical run, he did not bother to copyright it, resulting in the film entering the public domain. Because of this, the film is widely available in copies of varying quality. The film was originally screened theatrically in the widescreen aspect ratio of 1.85:1, but has largely only been seen in open matte at an aspect ratio of 1.33:1 since its original theatrical release.


title: The Little Shop of Horrors

text: The film's critical reception was largely favorable. On review aggregation website Rotten Tomatoes it has an approval rating of 92% based on reviews from 12 critics. "Variety" wrote, "The acting is pleasantly preposterous. [...] Horticulturalists and vegetarians will love it."


title: The Little Shop of Horrors

text: Jack Nicholson, recounting the reaction to a screening of the film, states that the audience "laughed so hard I could barely hear the dialogue. I didn't quite register it right. It was as if I had forgotten it was a comedy since the shoot. I got all embarrassed because I'd never really had such a positive response before."


title: The Little Shop of Horrors

text: In his book "Comedy-Horror Films: A Chronological History, 1914-2008", Bruce G. Hallenbeck called the film "one of Corman's gems, an idea that was born on 'a night out on the town' that's every bit as looney as it sounds." He cited the hilarious performances delivered by the ensemble cast and Corman's strong results while working under the self-imposed pressures of a cheap budget and a fast shooting schedule.


title: The Little Shop of Horrors

text: The film's popularity slowly grew with local television broadcasts throughout the 1960s and 1970s. Interest in the film was rekindled when a stage musical adaptation called "Little Shop of Horrors" was produced in 1982. It was based on the original film and was itself adapted to cinema as "Little Shop of Horrors" in 1986, and with another feature film remake announced in 2020. A short-lived animated television series, "Little Shop", inspired by the musical film, premiered in 1991. It ran for one season on Fox Kids in 1991. Seymour and Audrey were depicted as 13-year-olds, and the plant, "Junior", was a rapping carnivorous prehistoric creature that sprouted from a fossilized seed. Each episode featured a few stylish music video sequences; Corman served as a creative consultant on the show.


title: The Little Shop of Horrors

text: The film was colorized twice, the first time being in 1987. This version was poorly received. The film was colorized again by Legend Films, who released its colorized version as well as a restored black-and-white version of the film on DVD in 2006. Legend Films' colorized version was well received, and was also given a theatrical premiere at the Coney Island Museum on May 27, 2006. The DVD included an audio commentary track by comedian Michael J. Nelson of "Mystery Science Theater 3000" fame. A DivX file of Legend's colorized version with the commentary embedded is also available as part of Nelson's RiffTrax On Demand service. On January 28, 2009, a newly recorded commentary by Nelson, Kevin Murphy and Bill Corbett was released by RiffTrax in MP3 and DivX formats. Legend's colorized version is also available from Amazon Video on Demand, without Nelson's commentary.


title: The Little Shop of Horrors

text: In November 2006, the film was issued by Buena Vista Home Entertainment in a double feature with "The Cry Baby Killer" (billed as a Jack Nicholson double feature) as part of the Roger Corman Classics series. However, the DVD contained only the 1987 colorized version of "The Little Shop of Horrors", and not the original black-and-white version.


title: The Little Shop of Horrors

text: It was announced on April 15, 2009, that Declan O'Brien would helm a studio remake of the film. "It won't be a musical" he told Bloody Disgusting in reference to the Frank Oz film from 1986. "I don't want to reveal too much, but it's me. It'll be dark." When speaking with "Shock 'Till You Drop", he revealed "I have a take on it you're not going to expect. I'm taking it in a different direction, let's put it that way." However, this version of the remake seems to have been shelved.


title: The Little Shop of Horrors

text: On December 7, 2016, Deadline reported that Greg Berlanti is set to direct a revamped film of the musical adaptation with Matthew Robinson writing the script.


title: The Little Shop of Horrors

text: In April 2017, a modern-day trading card set was released by Attic Card Company. The set includes autograph cards by both Jonathan Haze and Jackie Joseph.


title: The Little Shop of Horrors

text: Roger Corman's short-lived imprint Roger Corman's Cosmic Comics released a three-issue comic book adaptation of the film in 1995, written by J. R. Williams with art by Gene Fama and Dean Rohrer.


title: Plant cell

text: Plant cells are the cells present in green plants, photosynthetic eukaryotes of the kingdom Plantae. Their distinctive features include primary cell walls containing cellulose, hemicelluloses and pectin, the presence of plastids with the capability to perform photosynthesis and store starch, a large vacuole that regulates turgor pressure, the absence of flagella or centrioles, except in the gametes, and a unique method of cell division involving the formation of a cell plate or phragmoplast that separates the new daughter cells.


title: Plant cell

text: Plant cells differentiate from undifferentiated meristematic cells (analogous to the stem cells of animals) to form the major classes of cells and tissues of roots, stems, leaves, flowers, and reproductive structures, each of which may be composed of several cell types.


title: Plant cell

text: Parenchyma cells are living cells that have functions ranging from storage and support to photosynthesis (mesophyll cells) and phloem loading (transfer cells). Apart from the xylem and phloem in their vascular bundles, leaves are composed mainly of parenchyma cells. Some parenchyma cells, as in the epidermis, are specialized for light penetration and focusing or regulation of gas exchange, but others are among the least specialized cells in plant tissue, and may remain totipotent, capable of dividing to produce new populations of undifferentiated cells, throughout their lives. Parenchyma cells have thin, permeable primary walls enabling the transport of small molecules between them, and their cytoplasm is responsible for a wide range of biochemical functions such as nectar secretion, or the manufacture of secondary products that discourage herbivory. Parenchyma cells that contain many chloroplasts and are concerned primarily with photosynthesis are called chlorenchyma cells. Chlorenchyma cells are parenchyma cells involved in photosynthesis. Others, such as the majority of the parenchyma cells in potato tubers and the seed cotyledons of legumes, have a storage function.


title: Plant cell

text: Collenchyma cells are alive at maturity and have thickened cellulose cell walls. These cells mature from meristem derivatives that initially resemble parenchyma, but differences quickly become apparent. Plastids do not develop, and the secretory apparatus (ER and Golgi) proliferates to secrete additional primary wall. The wall is most commonly thickest at the corners, where three or more cells come in contact, and thinnest where only two cells come in contact, though other arrangements of the wall thickening are possible. Pectin and hemicellulose are the dominant constituents of collenchyma cell walls of dicotyledon angiosperms, which may contain as little as 20% of cellulose in "Petasites". Collenchyma cells are typically quite elongated, and may divide transversely to give a septate appearance. The role of this cell type is to support the plant in axes still growing in length, and to confer flexibility and tensile strength on tissues. The primary wall lacks lignin that would make it tough and rigid, so this cell type provides what could be called plastic support – support that can hold a young stem or petiole into the air, but in cells that can be stretched as the cells around them elongate. Stretchable support (without elastic snap-back) is a good way to describe what collenchyma does. Parts of the strings in celery are collenchyma.


title: Plant cell

text: Sclerenchyma is a tissue composed of two types of cells, sclereids and fibres that have thickened, lignified secondary walls laid down inside of the primary cell wall. The secondary walls harden the cells and make them impermeable to water. Consequently, sclereids and fibres are typically dead at functional maturity, and the cytoplasm is missing, leaving an empty central cavity. Sclereids or stone cells, (from the Greek skleros, "hard") are hard, tough cells that give leaves or fruits a gritty texture. They may discourage herbivory by damaging digestive passages in small insect larval stages. Sclereids form the hard pit wall of peaches and many other fruits, providing physical protection to the developing kernel. Fibres are elongated cells with lignified secondary walls that provide load-bearing support and tensile strength to the leaves and stems of herbaceous plants. Sclerenchyma fibres are not involved in conduction, either of water and nutrients (as in the xylem) or of carbon compounds (as in the phloem), but it is likely that they evolved as modifications of xylem and phloem initials in early land plants.


title: Plant cell

text: Xylem is a complex vascular tissue composed of water-conducting tracheids or vessel elements, together with fibres and parenchyma cells. Tracheids are elongated cells with lignified secondary thickening of the cell walls, specialised for conduction of water, and first appeared in plants during their transition to land in the Silurian period more than 425 million years ago (see "Cooksonia"). The possession of xylem tracheids defines the vascular plants or Tracheophytes. Tracheids are pointed, elongated xylem cells, the simplest of which have continuous primary cell walls and lignified secondary wall thickenings in the form of rings, hoops, or reticulate networks. More complex tracheids with valve-like perforations called bordered pits characterise the gymnosperms. The ferns and other pteridophytes and the gymnosperms have only xylem tracheids, while the flowering plants also have xylem vessels. Vessel elements are hollow xylem cells without end walls that are aligned end-to-end so as to form long continuous tubes. The bryophytes lack true xylem tissue, but their sporophytes have a water-conducting tissue known as the hydrome that is composed of elongated cells of simpler construction.


title: Plant cell

text: Phloem is a specialised tissue for food transport in higher plants, mainly transporting sucrose along pressure gradients generated by osmosis, a process called translocation. Phloem is a complex tissue, consisting of two main cell types, the sieve tubes and the intimately associated companion cells, together with parenchyma cells, phloem fibres and sclereids. Sieve tubes are joined end-to-end with perforated end-plates between known as "sieve plates", which allow transport of photosynthate between the sieve elements. The sieve tube elements lack nuclei and ribosomes, and their metabolism and functions are regulated by the adjacent nucleate companion cells. The companion cells, connected to the sieve tubes via plasmodesmata, are responsible for loading the phloem with sugars. The bryophytes lack phloem, but moss sporophytes have a simpler tissue with analogous function known as the leptome.


title: Plant cell

text: The plant epidermis is specialised tissue, composed of parenchyma cells, that covers the external surfaces of leaves, stems and roots. Several cell types may be present in the epidermis. Notable among these are the stomatal guard cells that control the rate of gas exchange between the plant and the atmosphere, glandular and clothing hairs or trichomes, and the root hairs of primary roots. In the shoot epidermis of most plants, only the guard cells have chloroplasts. Chloroplasts contain the green pigment chlorophyll which is needed for photosynthesis. The epidermal cells of aerial organs arise from the superficial layer of cells known as the "tunica" (L1 and L2 layers) that covers the plant shoot apex, whereas the cortex and vascular tissues arise from innermost layer of the shoot apex known as the "corpus" (L3 layer). The epidermis of roots originates from the layer of cells immediately beneath the root cap. The epidermis of all aerial organs, but not roots, is covered with a cuticle made of polyester cutin or polymer cutan (or both), with a superficial layer of epicuticular waxes. The epidermal cells of the primary shoot are thought to be the only plant cells with the biochemical capacity to synthesize cutin.


title: Spencer Matthews

text: Spencer George Matthews (born 6 August 1988) is a British entrepreneur and television personality, known for his appearances on "Made in Chelsea". He has also appeared on other television shows such as "Celebrity MasterChef" and "The Jump". He is the founder and CBO of CleanCo non alcoholic spirits.


title: Spencer Matthews

text: Matthews is the third son of landowner and entrepreneur David Matthews, from his second marriage, to Rhodesian-born artist Jane Spencer Parker. His mother was educated at the Slade School of Art. He is named after his maternal grandfather, Robert Spencer Parker, an architect. He has an older half-sister, Nina, and two older brothers James and Michael, the latter of whom died at age 22 in 1999 while scaling Mount Everest.


title: Spencer Matthews

text: The family owned Caunton Manor, a estate in Nottinghamshire, and Eden Rock in Saint Barthélemy, sometimes described as one of the "top 100 resorts in the world". Matthews split his childhood between the two residences.


title: Spencer Matthews

text: He was educated at Eton College. In 1999, when Matthews was ten years old, his brother Michael was killed in a mountaineering accident on Everest, hours after becoming the youngest Briton to conquer the peak.


title: Spencer Matthews

text: Matthews attended the University of Southern California, where he studied Cinema and Television with the aim of becoming an artist; he dropped out after nine months.


title: Spencer Matthews

text: In 2007, upon purchasing a estate with hunting lodge in Scotland, his parents acquired the Scottish courtesy titles of Laird and Lady of Glen Affric.


title: Spencer Matthews

text: Matthews came into the public eye through the E4 "constructed reality" show "Made in Chelsea". In 2017, he won the fourth series of Channel 4's competition show, "The Jump". In 2018, he participated in and reached the final of "Celebrity Masterchef". The same year, he became the face of Cartoon Network's Ben 10 Deluxe Omnitrix Watch.


title: Spencer Matthews

text: 2019 saw Matthews work alongside his wife on their own E4 show "Spencer, Vogue and Baby Too". The show was renewed for a second series.


title: Spencer Matthews

text: Matthews is the founder of CleanCo, which sells non-alcohol spirit alternatives and focuses around the concept of living a 'Life Less Wasted'. He started CleanCo following his own journey into sobriety following the birth of his first child and becoming aware of a lack of sophisticated options for those choosing not to drink alcohol.


title: Spencer Matthews

text: Matthews has presented for the BBC's "Watchdog", appeared in a CBeebies 2019 marketing campaign and worked with the Agricultural and Horticultural Development Board.


title: Spencer Matthews

text: Matthews married Irish model Vogue Williams on 9 June 2018 at his family's Glen Affric estate. They have a son born in September 2018, a daughter born in July 2020 and a son born in April 2022.


title: Spencer Matthews

text: In 2016, Matthews admitted that he had previously used anabolic steroids. The previous year, he had been asked to leave the fifteenth series of "I'm a Celebrity...Get Me Out of Here!" due to his consumption of steroid pills while participating as a contestant in the series.


title: Spencer Matthews

text: Matthews, Spencer (27 April 2014). "Confessions of a Chelsea Boy: The Autobiography". Sidgwick and Jackson. pp 272 .


title: Harry Warner

text: Harry Morris Warner (born Hirsz Mojżesz Wonsal; December 12, 1881 – July 25, 1958) was an American studio executive, one of the founders of Warner Bros., and a major contributor to the development of the film industry. Along with his three younger brothers (Albert, Sam and Jack) Warner played a crucial role in the film business and played a key role in establishing Warner Bros. Pictures, Inc, serving as the company president until 1956.


title: Harry Warner

text: Warner was born Hirsz Mojżesz "Wonsal" or "Wonskolaser" to a family of Ashkenazi Jews from the village of Krasnosielc, Poland (then part of Congress Poland within the Russian Empire). He was the son of Benjamin Wonsal, a shoemaker born in Krasnosielc, and Pearl Leah Eichelbaum. His given name was Mojżesz (Moses), however, he was called Hirsz (Anglicized to Hirsch) in the United States. In October 1889, he came to Baltimore, Maryland with his mother and siblings on the steamship "Hermann" from Bremen, Germany. Their father had preceded them, immigrating to Baltimore in 1888 in order to pursue his trade in shoes and shoe repair. It was at that time that he changed the family name to Warner which was used thereafter. As in many Jewish immigrant families, some of the children gradually acquired anglicized versions of their Yiddish-sounding names. Hirsz became Harry, and his middle name Morris was likely a version of Mojżesz.


title: Harry Warner

text: In Baltimore, the money Benjamin Warner earned in the shoe repair business was not enough to provide for his growing household. He and Pearl had another daughter, Fannie, not long after they arrived. Benjamin moved the family to Canada, inspired by a friend's advice that he could make an excellent living bartering tin wares with trappers in exchange for furs. Sons Jacob and David Warner were born in London, Ontario. After two arduous years in Canada, the Warners returned to Baltimore. Two more children, Sadie and Milton, were added to the household there. In 1896, the family relocated to Youngstown, Ohio, following the lead of Harry, who had established a shoe repair shop in the heart of the emerging industrial town. Benjamin worked with Harry in the shoe repair shop until he secured a loan to open a meat counter and grocery store in the city's downtown area.


title: Harry Warner

text: Eventually, Harry and Abe also opened a bowling alley together. The bowling alley failed and closed shortly after it opened. Harry eventually accepted an offer to become a salesman for a local meat franchise, and sold meat in the states of Ohio and Pennsylvania. However, by his nineteenth birthday, Harry was reduced to living in his parents' crowded household.


title: Harry Warner

text: In 1903, Harry's brothers, Abe and Sam, began to exhibit "The Great Train Robbery" at carnivals across Ohio and Pennsylvania. In 1905, Harry sold his bicycle shop and joined his brothers in their fledgling film business. With the money Harry made from selling the bicycle shop, the three brothers were able to purchase a building in New Castle, Pennsylvania. They would use this building to establish their first theater, the Cascade. The Cascade was so successful that the brothers were able to purchase a second theater in New Castle. This makeshift theatre, called the Bijou, was furnished with chairs borrowed from a local undertaker.


title: Harry Warner

text: In 1907, the Warners expanded the business further and purchased fifteen theaters in Pennsylvania. Harry, Sam, and Albert then formed a new film exchange company, The Duquesne Amusement Supply Company, and rented an office in the Bakewell building in downtown Pittsburgh. Harry sent Sam to New York to purchase, and ship, films for their Pittsburgh exchange company, while he and Albert remained in Pittsburgh to run the business. In 1909, the brothers sold the Cascade Theater and established a second film exchange company in Norfolk, Virginia. Harry agreed to let younger brother Jack be a part of the company, sending him to Norfolk to serve as Sam's assistant. A serious problem threatened the Warners' film company with the advent of Thomas Edison's Motion Picture Patents Company (also known as the Edison Trust), which charged distributors exorbitant fees. In 1910, the Warners sold the family business to the General Film Company for "$10,000 in cash, $12,000 in preferred stock, and payments over a four-year period for a total of $52,000".


title: Harry Warner

text: After they sold their business, Harry and his three brothers joined forces with independent filmmaker Carl Laemmle's Independent Motion Picture Company, and began distributing films from his Pittsburgh film exchange division. In 1912, the brothers earned a $1,500 profit with the film "Dante's Inferno". In the wake of this success, Harry and the brothers broke with Laemmle and established their own film production company. They named their new company Warner Features. Once Warner Features was established, Harry acquired an office in New York with his brother Albert, sending Sam and Jack to run the new corporation's film exchange divisions in San Francisco and Los Angeles. In 1917, Harry won more capital for the studio when he was able to negotiate a deal with Ambassador James W. Gerard to make Gerard's book "My Four Years In Germany" into a film.


title: Harry Warner

text: In 1918, after the success of "My Four Years In Germany", the brothers were able to establish a studio near Hollywood, California. In the new Hollywood studio, Sam became co-head of production along with his younger brother, Jack. They were convinced that they would have to make movies themselves if they were to ever generate a profit. Between the years 1919 and 1920, the studio did not turn a profit. During this time, banker Motley Flint, who was, unlike most bankers at the time, not anti-semitic, helped the brothers pay off their debts. The four brothers then decided to relocate their studio from Culver City, California to the Sunset Boulevard section of Hollywood.


title: Harry Warner

text: During this time, Warner decided to focus on making only dramas for the studio. The studio rebounded in 1921 with the success of the studio's film "Why Girls Leave Home"; The film's director, Harry Rapf, became the studio's new head producer. On April 4, 1923, following the success of the studio's film "The Gold Diggers", Warner Bros. Pictures, Inc. was officially established, with help from a loan given to Harry by Montly Flint. Harry became company president, with Albert as treasurer and Jack and Sam as co-heads of production. Harry and his family moved to Hollywood.


title: Harry Warner

text: The studio discovered a trained German Shepherd named Rin Tin Tin in 1923. The canine made his starring debut in "Where the North Begins", a film about an abandoned pup who is raised by wolves and befriends a fur trapper. According to one biographer, Jack Warner's initial doubts about the project were quelled when he met Rin Tin Tin, "who seemed to display more intelligence than some of the Warner comics." The trained dog proved to be the studio's most important commercial asset until the introduction of sound. Prolific screenwriter Darryl F. Zanuck produced several scripts for Rin Tin Tin vehicles and, during one year, wrote more than half of the studio's features. Between 1928 and 1933, Zanuck served as the studio's executive producer, a position whose responsibilities included the day-to-day production of films; while Warner's younger brother Jack and Zanuck were able to obtain a close friendship, Warner never really accepted Zanuck as a friend.


title: Harry Warner

text: After establishing Warner Bros., the studio had unfortunately overdrawn $1 million (the amount which Warner had loaned from Flint) and Warner decided to pay off the debt by expanding the studio's operations further. In the process, Warner acquired forty theaters in the state of Pennsylvania. In 1924, Warner Bros. would produce two more successful films, "The Marriage Circle" and "Beau Brummell". In 1924, after Rapf departed the studio to accept an offer at MGM, Ernst Lubitsch, the successful director of "The Marriage Circle", was also given the title of head producer; Lubitsch would add additional success for the studio's profits. The film "Beau Brummel" also made John Barrymore a top star at the studio as well. Despite the success the studio now, the brothers were still unable to compete with The Big Three (Paramount, Universal, and First National).


title: Harry Warner

text: In 1925, Harry and a large group of independent film-makers assembled in Milwaukee to challenge the monopoly the Big Three had over the film industry. Harry and the other independent film-makers at the Milwaukee convention agreed to spend $500,000 in newspaper advertisements; this action would help benefit Warner Bros. profits. With help from a loan supplied by Goldman, Sachs head banker Waddill Catchings, Warner would find a way to successfully respond to the growing concern the Big Three Studios further induced to Warner Bros., and expanded the company's operations further by purchasing the Brooklyn theater company Vitagraph. Because of this, Warner Pictures now owned theaters in the New York area. Around this time, Warner purchased a home in the Los Angeles neighborhood of Hancock Park, where he remained until 1929.


title: Harry Warner

text: In the later part of 1925, Harry's younger brother Sam had also acquired a radio station, KWBC. After acquiring his radio station, Sam decided to make an attempt to use synchronized sound in future Warner Bros. Pictures. Harry had initial reservations about the idea; when Sam first made this suggestion, Harry wanted to focus on background music before delving into people talking on screen. Harry responded, "We could ultimately develop sound to the point where people ask for talking pictures" The company also began acquiring theaters. Eventually, Warner Bros. came to own and operate some 250 theaters. By February 1926, however, the brothers' radio business had failed, and the studio was facing a net loss of $333,413.00.


title: Harry Warner

text: After a long period of refusing to accept the usage of sound in the company's films, Warner now agreed to use synchronized sound in Warner Bros. shorts, as long as it was used only for background music, Harry then made a visit to Western Electric's Bell Laboratories in New York, (which younger brother Sam had earlier visited) and was impressed. One problem that occurred for the Warners, though, was the fact that the high-ups at Western Electric were anti-Semitic. Sam, though, was able to convince the high-ups to sign with the studio after his wife Lina wore a gold cross at a dinner he attended with Western Electric brass. After this, Harry signed a partnership agreement with Western Electric to use Bell Laboratories to test the sound-on-film process.


title: Harry Warner

text: The success of Warner Bros.' early talkie films ("The Jazz Singer", "The Lights of New York", "The Singing Fool" and "The Terror") catapulted the studio into the ranks of the major studios. Flush with cash, the Warners abandoned their old location in the Poverty Row section of Hollywood and acquired a big studio in Burbank, California. As a result of this success, Warner was able to acquire the Stanley Company of America (founded by Jules E. Mastbaum), which controlled most of the first-run theaters on the East Coast. This purchase gave them a share in rival First National Pictures, of which Stanley owned one-third. After this purchase, Warner was soon able to acquire William Fox’s one third remaining share in First National and was now officially the majority stockholder of the company. After success of the studio's 1929 First National film "Noah's Ark", Harry Warner also agreed to make Michael Curtiz a major director at the Burbank studio as well.


title: Harry Warner

text: Warner, after purchasing a string of music publishers, was even able to establish a music subsidiary-Warner Bros. Music- and buy out additional radio companies, foreign sound patents, and a lithograph company as well; he even was able to produce a Broadway musical "Fifty Million Frenchmen". By the time the 1st Academy Awards took place, Warner was recognized as the second most powerful figure in the movie industry, just behind MGM head Nicholas Schenck. In the wake of the success of "Gold Diggers of Broadway", journalists had dubbed Warner "the godfather of the talking screen." The studio's net profit was now over $14,000,000.00. During this time, Warner soon also grew tired of the Hollywood atmosphere and acquired a twenty-two acre ranch in Mount Vernon, New York. Once Warner returned to New York, he and Albert found work together once again.


title: Harry Warner

text: Following Albert's advice, Jack and Harry Warner acquired three Paramount stars (William Powell, Kay Francis and Ruth Chatterton) for salaries doubled from their previous ones. This move proved to be a success, and stockholders maintained confidence in the Warners. The first year of the Great Depression, 1930, did not damage the studio badly, and Warner was even able to acquire more theaters for the studio in Atlantic City. During this time, Warner was also engaged in a lawsuit with a Boston stockholder who accused him of trying use money from the studio's profitable businesses to try to purchase his vast 300 shares of stock about declare monopoly. The company would, however, suffer a minor financial blow during the year after Motley Flint, the longtime banker for the studio, and by now also a close friend of the Warners, was murdered by an angry investor.


title: Harry Warner

text: In the latter part of 1929, much to Harry's dismay, younger brother Jack would hire sixty-one-year-old actor George Arliss to star in the studio's film "Disraeli". To Warner's surprise, the film Disraeli would go to be a success at the box office, and Warner was convinced to make Arliss a top star for the studio as well. During the Depression era, the studio also produced a series of gangster films; Warner Bros. soon became known as "gangster studio." The studio's first gangster film "Little Caesar" was a great success at the box office. Following Little Caesar, the studio agreed to cast Edward Robinson in a wave of gangster pictures. The studio's second gangster film, "The Public Enemy", would also make James Cagney arguably the studio's new top star, and the Warners were now further convinced to make more gangster films as well. Another gangster film the studio released during the Depression era was the critically acclaimed "I Am a Fugitive from a Chain Gang". The film made Paul Muni a top studio star, and also got audiences in the United States to question the legal system as well.


title: Harry Warner

text: However, they would begin to feel the effects of the Depression in 1931. As ticket prices became unaffordable, the studio would lose money. By the end of 1931, the studio suffered a net loss of reportedly $8,000,000.00, During this time, Warner rented the Teddington Studio in London, England. To help fight off the financial problems the Depression gave the studio, Warner Bros was now focused on making films for the London market and Irving Asher was appointed as the Teddington Studio's head producer. Unfortunately, the Teddington studio could not bring in additional profit to the Warners, and the Burbank studio would lose an additional $14,000,000 in 1932 as well. In 1934, Warner officially bought out the struggling Teddington Studio.


title: Harry Warner

text: However, relief would also come for the studio after Franklin Roosevelt became US president in 1933 and the New Deal revived the US Economy. Movie tickets became affordable once again. During the year, the studio was able to make a very profitable musical, "42nd Street". which revived the studio's musical films. However, in 1933, a blow would also occur as the studio's longtime head producer Darryl F. Zanuck would quit, because: (1) Harry was strongly against allowing his film "Baby Face" to step outside the Hays Code boundaries; and 2) the studio reduced his salary as a result of the financial woes the studio temporarily faced from President Roosevelt's bank holiday, and Harry still refused to raise his salary in the wake of the New Deal's economic rebound. Following Zanuck's resignation, studio director Hal B. Wallis took his place as the studio's executive producer, and Harry—who, along with his brother Jack, was a notable "penny-pincher"— finally agreed to bring salaries back up to government expectations once again.


title: Harry Warner

text: In 1933, the studio was also able to bring newspaper tycoon William Randolph Hearst's Cosmopolitan films into the Warner Bros. fold. Hearst had previously been signed with MGM, but he ended his ties with the company after a dispute with the company's head producer Irving Thalberg over the treatment of Marion Davies; Davies was a longtime mistress of Hearst, and was now struggling to draw box office success. Through the studio's partnership with Hearst, Harry's younger brother Jack was also able to sign Davies to a studio contract as well. However, Hearst's company and Davies' films could not increase the studio's net profits.


title: Harry Warner

text: In 1934, the studio had a net loss of over $2,500,000. $500,000 of this loss was the result of physical damage to the Warner Bros. Burbank studio that occurred after a massive fire that broke out in the studio around the end of 1934, and destroyed twenty years' worth of early Warner Bros. films. The following year, Hearst's film adaption of William Shakespeare's "A Midsummer Night's Dream" would fail at the box office and the studio's net loss increased. During this time, Warner was also indicted, along with six other Hollywood studio figures who owned movie theaters, of conspiracy to violate the Sherman Antitrust Act, through an attempt to gain a monopoly over theaters in the St. Louis area. In 1935, Warner, along with executives at RKO and Paramount, were put on trial for this charge. After a mistrial occurred, Warner sold the company's movie theaters, at least for a short time, and the case was never reopened. One problem that remained for Warner, however, was the studio's projectionist labor union, which was now controlled by the Mafia.


title: Harry Warner

text: In 1935, the studio's revived musicals would also suffer a major blow after director Busby Berkeley was arrested after killing three people while driving drunk one night. During the studio's union crisis, Warner received a threatening phone call from a union member, stating that he would seize Warner's daughter Betty and adopted daughter Lita within a forty-eight-hour period. Warner then agreed to accept the union's demands, and the kidnapping threat ended. However, 1935 also saw some relief for Harry as the studio rebounded with a year-end net profit of $674,158.00. Around this time, a depressed Warner—seeing that the newly rebounded Warner studio no longer needed loans to pay off debts—decided to move to California, and acquired of ranch land just northwest of Hollywood in Calabasas, California. He later moved into a 1,100-acre ranch in the San Fernando Valley.


title: Harry Warner

text: During 1936, the studio's film "The Story of Louis Pasteur" was a success at the box office. In addition to the film's box office success, Paul Muni won the Oscar for Best Actor in March 1937 for his performance as the title role. The studio's film "The Life of Emile Zola" (1937) gave the studio its first Oscar for Best Picture.


title: Harry Warner

text: Warner occupied a central place in the Hollywood-Washington wartime propaganda effort during the Second World War, and by the end of 1942, served as a frequent, anti-Axis spokesman for the movie industry. Despite his conservative viewpoint and longtime affiliation with the Republican Party, Warner was also a close friend of President Franklin D. Roosevelt and supported him during the early 1930s. During Roosevelt's fight for the Democratic nomination in early 1932, the Warners made an effort to make his name known throughout the state of California. After Roosevelt was nominated, the three brothers asked their friends to contribute to his campaign. Jack Warner even staged a "Motion Picture and Electrical Parade Sports Pageant" at L.A. Stadium Franklin Roosevelt's honor in 1932. During Roosevelt's 1932 campaign, Warner and the studio also contributed $10,000.00 to the Democratic National Committee. In the wake of Nazi Germany's rise to power, Warner became a key proponent of US intervention in Europe.


title: Harry Warner

text: Prior to the beginning of the war in Europe, Warner had produced a series of film shorts which glorified America's fight against Germany during World War I; Warner later received an honorary award for producing these shorts. By the fall of 1938, Warner had gradually helped block the distribution of Warner Bros. films in Nazi Germany and its ally Italy. Prior to the war's beginning in Europe, Warner supervised the production of two anti-German feature films, "The Life of Emile Zola" (1937) and "Confessions of a Nazi Spy" (1939). He spent large sums of money to get many of his relatives and employees out of Germany when the war officially began in the latter part of 1939. Before the U.S. officially entered World War II, Warner supervised the production of three more anti-German films: "The Sea Hawk" (1940), which mirrored Spain's King Phillip II as an equivalent to Adolf Hitler, "Sergeant York" (1941) and "You're in the Army Now" (1941). After America's entry into the war, Warner decided to focus on making just war films.


title: Harry Warner

text: Among the war films Warner made during the duration of the war were "Casablanca", "Yankee Doodle Dandy", "This Is the Army" and the controversial film "Mission to Moscow". At the premieres of "Yankee Doodle Dandy" (in Los Angeles, New York and London), audiences for the film would purchase an altogether total of $15,600,000.00 in war bonds for the governments of England and the United States. By the middle of 1943, however, it became clear that audiences were tired of war films. Despite the growing pressure to abandon production of war films, Warner continued to produce them, losing money in the process. Eventually, in honor of studio contributions to the war cause, the United States Government would name a Liberty Ship after the brothers' father, Benjamin Warner, and Warner would be the one who was given the honor to christen the ship during its first voyage. By the time the war ended, $20,000,000.00 worth of war bonds would be purchased through the studio, the Red Cross collected 5,200 pints of plasma from studio employees, with 763 of the studio's employees, as well as Warner's son-in-law Milton Sperling and nephew Jack Warner Jr., would be recognized with having the honor of having served as in the armed forces.


title: Harry Warner

text: Following a dispute over ownership of "Casablanca"'s Oscar for Best Picture, head producer Hal B. Wallis broke with Warner and resigned from the studio. Following "Casablanca", Humphrey Bogart became arguably the studio's top star. In 1943, Olivia de Havilland (whom Warner was now loaning to different companies) sued Jack Warner for breach of contract. de Havilland cited that the government laws only required employee contracts to reach a maximum of seven years; de Havilland had been employed under her studio contract since won her case, and many of the studio's longtime actors were now free of their contracts. To help keep these actors at the studio, Harry now decided to give up the studio's suspension policy.


title: Harry Warner

text: In 1947, Warner, who was by now exhausted from all his years of arguing with his brother Jack, decided to spend more time at his San Fernando Valley ranch and to expand his interest in horse racing. Along with brother Jack, in 1938, Harry Warner became one of the founders of Hollywood Park Racetrack. In partnership with Mervyn Le Roy, he created the W-L Ranch Co. Thoroughbred racing stable. In 1947, the Warner-LeRoy stable was able to acquire a valuable racehorse named "Stepfather." Warner had a bitter rivalry with his brother Jack over the years, particularly due to Jack's longtime infidelities (as Jack had been engaged in affairs with a wide range of various women since Warner Bros. Inc. was established in 1923) and waste of the Burbank studio's money. In the 1930s Harry, like most of his relatives, also refused to accept Jack's second wife, actress Ann Paige - with whom Jack had an affair while still married to his first wife Irma Solomon - as a member of the Warner clan. When Jack and Ann officially got married in January 1936, Harry and the rest of the Warner family refused to attend the ceremony. In a letter Harry sent to Jack on his wedding day to Ann, Harry stated "the only thing that could come from this day was that our parents didn't live to see this."


title: Harry Warner

text: Throughout the early years of the studio's existence, various people, including Warner's younger brother Sam, had served as buffers between Harry and Jack. The last person to serve as a buffer between the two, father Benjamin Warner, died on November 5, 1935. Following Benjamin's death, Jack and Harry were now barely on speaking terms, and were merely just business partners to one another. Jack's marriage to Ann was also arguably a huge turning point in the two brothers' fragile relationship as well; Harry's arguments with Jack were now practically on a daily basis.


title: Harry Warner

text: By the early 1950s, the brothers' long-simmering feud had risen to new heights, as Jack began spending a lot of his time in France, occasionally ignored managing the studio in favor of vacationing, gambling, and socializing with royalty, and spent studio money lavishly on 3-D films. On one occasion during this period, studio employees claimed they saw Harry Warner who was very furious at his brother Jack chase him through the studio with a lead pipe, shouting "I'll get you for this, you son of a bitch".


title: Harry Warner

text: The studio prospered post-war time, and by 1946, company payroll had reached $600,000 a week for studio employees, and the studio's net profit would reach $19,424,650.00 by the end of the year as well. During this time, Warner hired his son-in-law, Milton Sperling, to head an independent film production company for the studio. In 1947, Harry also tried to move Warner Bros. headquarters from the longtime New York building to the Burbank area, but was unsuccessful. By the end of 1947, the studio had a record net profit of $22,000,000.00, although the following year, the studio profits would decrease by 50%.


title: Harry Warner

text: During this time, the studio was a party to the "United States v. Paramount Pictures, Inc." antitrust case. This action, brought by the Justice Department and the Federal Trade Commission, claimed that the five integrated studio-theater chain combinations restrained competition. The Supreme Court heard the case in 1948, and ruled for the government. As a result, Warner and four other major studios were forced to separate production from exhibition. In early 1953, the brothers finally fulfilled their end of the bargain and sold their theater chain to Fabian Enterprises. In 1948, Bette Davis, now fed up with Jack Warner, would serve as a big problem for Harry after she, and a number of her colleagues, departed from the studio after completing the film "Beyond the Forest". By 1949, the studio's net profit had fallen to $10,000,000.00, and the studio would soon suffer more losses with the rise of television.


title: Harry Warner

text: In 1949, Warner, seeing the threat of television grow, decided to shift his focus towards television production. However, the Federal Communications Commission would not allow Warner to do so. After an unsuccessful attempt to convince other movie studio bosses to switch their focus to television, he abandoned his television efforts. As the threat of television grew in the early 1950s, Warner's younger brother, Jack, decided to try a new approach to help regain profits for the studio.