title: Jack Shepherd (actor)

text: Shepherd also spent the decade running a drama studio in Kentish Town, north London along with fellow actor Richard Wilson, and during that time became interested in scriptwriting. He devised several plays for the theatre including "The Sleep of Reason", "Real Time", "Clapperclaw" and "Half Moon".


title: Jack Shepherd (actor)

text: In 1972 he was a founding member, along with Ian McKellen and Edward Petherbridge, of the democratically run Actors' Company, playing Vasques in "'Tis Pity She's a Whore", Inspector of Police in "Ruling the Roost" (Edinburgh Festival and tour) and Okano in "The Three Arrows" at the Arts, Cambridge in October 1972. In December 1972 he played Ben in David Mercer's "Let's Murder Vivaldi" at The King's Head Theatre, and in January 1973 took the title role in "Dracula" at the Bush Theatre, also collaborating in the writing.


title: Jack Shepherd (actor)

text: His television work in the 70s included All Good Men, Through the Night and Occupations, all by Trevor Griffiths


title: Jack Shepherd (actor)

text: From 1977 to 1985 he was a member of Bill Bryden's Cottesloe Theatre Company at the National Theatre, playing Teach in "American Buffalo", Judas in "The Passion", Boamer in "Lark Rise", Thomas Clarkeson in "The World Turned Upside Down", Smitty in "The Long Voyage Home", The Correspondent in "Dispatches" and Hickey in "The Iceman Cometh". Shepherd originated the stage role of Richard Roma in "Glengarry Glen Ross" at the Cottesloe in 1983, for which he received a Society of West End Theatre award (later known as the Laurence Olivier Awards) as Actor of the Year in a New Play.


title: Jack Shepherd (actor)

text: His first written work for the stage was "In Lambeth", an imaginary conversation about revolution between the poet and artist William Blake, his wife Catherine and Thomas Paine, author of "The Rights of Man". He first directed it at the Partisan Theatre in July 1989 before its transfer to the Donmar Warehouse, winning the 1989 "Time Out" Awards for Best Directing and Best Writing.


title: Jack Shepherd (actor)

text: Shepherd's work in television during the 1980s and 1990s included "Blind Justice", a miniseries by Peter Flannery, and culminated in his acclaimed role as the eponymous Detective Superintendent Charles Wycliffe in the HTV television series "Wycliffe" from 1993 to 1998. He appeared as Butler the Butler in the 1996 television miniseries "Over Here".


title: Jack Shepherd (actor)

text: As a theatre director he has staged several productions at the Shakespeare's Globe, including his lively 'Prologue Production' of "The Two Gentlemen of Verona" starring Mark Rylance as Proteus, which opened the Globe to the theatregoing public in August 1996, a year before the formal opening Gala. In 1998 at the Globe he played a sad Antonio in Richard Olivier's production of "The Merchant of Venice".


title: Jack Shepherd (actor)

text: Shepherd's epic drama about the Chartist movement, "Holding Fire!" was commissioned by the Shakespeare's Globe Theatre as part of its Renaissance and Revolution season, and was first staged there by Mark Rosenblatt in August 2007.


title: Jack Shepherd (actor)

text: He played the part of the Father in Rupert Goold's production of "Six Characters in Search of an Author" in 2009, the Doctor in "The Master Builder" at the Almeida, and Melchior, one of the Magi, in the four-part TV drama "The Nativity", broadcast on BBC One in December 2010.


title: Jack Shepherd (actor)

text: He played Ralph Palmer (from a 1980s case) in the 2011 episode "Solidarity” of TV series "Waking the Dead". In 2013 he played Harry in "Home" by David Storey at the Arcola Theatre and Joe in the BBC TV series"The Politician's Husband". In 2014 Serebryakov in "Uncle Vanya at the St James Theatre. Also in 2014/15 he toured in 3 ghost stories, Whistle and I'll Come to You, and The Signalman for Middleground Theatre Company, and in 2015/6 with the same company he toured in a stage adaptation of the film The Verdict. 2017/2018 he played Art Hockstadder in Gore Vidal's play The Best Man, first on tour and then at the Playhouse Theatre London.


title: Jack Shepherd (actor)

text: His interest in community theatre led to adaptations of "Dorian Gray" and of Hardy's "Under the Greenwood Tree" for the Players Collective in Lewes. His version of "Under the Greenwood Tree" was performed by the Hardy Players in Dorchester in Dec 2016.


title: Jack Shepherd (actor)

text: He has written and directed a new play, The Cutting Edge, which runs at the Arcola Theatre Feb-Mar 2020.


title: Jack Shepherd (actor)

text: Co-wrote with Keith Dewhurst "Impossible Plays", an account of his years in Bill Bryden's Cottesloe Company at the National Theatre. Published by Methuen.


title: Jack Shepherd (actor)

text: His two recently completed plays are "Against the Tide", about William Morris, and "The Valley of the Shadow", about World War I.


title: Love to Love You Baby (song)

text: "Love to Love You Baby" is a song by American singer Donna Summer from her second studio album, "Love to Love You Baby" (1975). Produced by Pete Bellotte, and written by Italian musician Giorgio Moroder, Summer, and Bellotte, the song was first released as a single in the Netherlands in June 1975 as "Love to Love You" and then released worldwide in November 1975 as "Love to Love You Baby". It became one of the first disco hits to be released in an extended form.


title: Love to Love You Baby (song)

text: The Rock and Roll Hall of Fame named it one of the 500 Songs That Shaped Rock and Roll, Summer's only selection on this list.


title: Love to Love You Baby (song)

text: By 1975, Summer had been living in Germany for eight years and had participated in several musical theatre shows. She had also released an album in The Netherlands entitled "Lady of the Night" (1974), written by Giorgio Moroder and Pete Bellotte and produced by Bellotte, which had given her a couple of hit singles. She was still a complete unknown in her home country when she suggested the lyric "Love to Love You Baby" to Moroder in 1975. He turned the lyric into a full disco song and asked Summer to record it. The full lyrics were somewhat explicit, and at first, Summer said she would only record it as a demo to give to someone else. However, Summer's erotic moans and groans impressed Moroder so much that he persuaded her to release it as her own song, and "Love to Love You" became a moderate hit in the Netherlands.


title: Love to Love You Baby (song)

text: In an interview in 1976, Summer responded to a number of questions that she claimed she'd been asked about the process of recording the song: "Everyone's asking, 'Were you alone in the studio?' Yes, I was alone in the studio. 'Did you touch yourself?' Yes, well, actually I had my hand on my knee. 'Did you fantasize on anything?' Yes, on my handsome boyfriend Peter."


title: Love to Love You Baby (song)

text: A tape of the song was sent to Casablanca Records president Neil Bogart in the US, and he played it at a party at his home. Impressed with the track, Bogart continued to play it over and over all night. He later contacted Moroder and suggested that he make the track longer - possibly as long as 20 minutes. However, Summer again had reservations; she was not sure of all of the lyrics. Nevertheless, she imagined herself as an actress (namely Marilyn Monroe) playing the part of someone in sexual ecstasy. The studio lights were dimmed so that Summer was more or less in complete darkness as she lay on the floor.


title: Love to Love You Baby (song)

text: The final recording lasted over 16 minutes, and according to the BBC, contained 23 "orgasms". By that point, the song was renamed "Love to Love You Baby". It took up the entire first side of the album of the same name, and edited versions were also found on 7" vinyl.


title: Love to Love You Baby (song)

text: Originally released in November 1975, the song became an international disco smash. In the US, it became Summer's first US Top 40 hit, spending two weeks at #2 on the "Billboard" Hot 100 chart on February 7 and 14, 1976, being held off the number one spot by Paul Simon's "50 Ways to Leave Your Lover" and logged four weeks atop the "Billboard" Dance Club Songs chart, as well number three on the "Billboard" Hot Soul Singles chart.


title: Love to Love You Baby (song)

text: In the UK, upon release in January 1976, the song reached #4 on the UK Singles Chart in spite of the BBC's initial refusal to promote it. They also refused to play it. As a result of the success of the song, Summer would be named "the first lady of love," which labeled her with a sexually oriented, fantasy image from which she would struggle to free herself.


title: Love to Love You Baby (song)

text: According to Peter Shapiro, a freelance British music journalist, the song was marked by "little more than Donna Summer simulating an orgasm over a background of blaxploitation cymbals, wah-wah guitars, a funky-butt clarinet riff, and some synth chimes." He continued, "Love to Love You Baby" [...] was extended into a seventeen-minute minisymphony at the behest of Casablanca Records chief Neil Bogart, who wanted a soundtrack for his sexual exploits. The song reached number two in the American charts and was largely responsible for the development of the twelve inch single."


title: Love to Love You Baby (song)

text: Donna Summer was forced to stop performing "Love to Love You" live when, "Riots broke out [...] [She] was in a tent in Italy, 5,000 men, almost no women, and was doing 'Love to Love You, Baby,' fairly scantily clad, and the guys got so wrapped up that they began to push the stage back. And [she] had to run off the stage, to [her] trailer out the back. And they came to the trailer and started to rock it. [She] just thought, 'I'm going to die today, I'm not going to get out of here.' It's not the kind of song you just want to throw out there."


title: Love to Love You Baby (song)

text: Following the dance chart success of the Patrick Cowley remix of Summer's "I Feel Love" in 1982, Casablanca Records/PolyGram re-issued her first hit single "Love to Love You Baby". However, the single failed to make an impact on the charts the second time around, and it would be the label's final single re-release of tracks from the Donna Summer back catalog in the 1980s. In 1984, Casablanca Records was closed by PolyGram.


title: Paulo Wanchope

text: Paulo César Wanchope Watson (; born 31 July 1976), more commonly known as Paulo Wanchope, is a Costa Rican football coach and former professional footballer


title: Paulo Wanchope

text: As a player he was a striker who notably played in the Premier League for Derby County, West Ham United and Manchester City. He also had spells in La Liga and Major League Soccer for Málaga and Chicago Fire as well as Herediano, Al-Gharafa, Rosario Central and FC Tokyo. He was capped 73 times by Costa Rica, scoring 45 goals. Wanchope is the second most prolific goalscorer in the history of the Costa Rica national football team, behind Rolando Fonseca, with 45 goals in 73 international matches. Having scored against Brazil in 2002 and a brace against Germany in 2006, Wanchope is the top goalscorer for Costa Rica in the FIFA World Cup, a record he shares with Rónald Gómez.


title: Paulo Wanchope

text: As he is the former head coach of the Costa Rica national football team with a spell in charge between 2014 and 2015. He has also managed Herediano, Uruguay Coronado, CS Cartaginés and Pérez Zeledón.


title: Paulo Wanchope

text: Born in Heredia, Wanchope began his career with CS Herediano moving to England to play with Derby County along with fellow Costa Rican Mauricio Solís on 27 March 1997. He cost Derby £600,000.


title: Paulo Wanchope

text: Wanchope marked his debut for Derby on 5 April 1997 with a memorable goal against Manchester United at Old Trafford, beating four United players before slotting past Peter Schmeichel during a 3–2 win – the goal was later voted the greatest in the club's history by the Derby fans as part of the club's 125th Anniversary Celebrations.


title: Paulo Wanchope

text: He scored 13 league goals in 1997–98 as Derby finished ninth – their highest finish since 1989 – and helped them go one better in 1998–99 when his nine goals that season helped the Rams finish eighth.


title: Paulo Wanchope

text: After scoring 28 goals in 83 games within two seasons for Derby, Wanchope was sold to West Ham United for £3.5 million on 16 July 1999.


title: Paulo Wanchope

text: Wanchope made his debut for West Ham on 28 July 1999, at Upton Park, against Heerenveen in the Intertoto Cup. His first West Ham goal came on 4 August 1999 in the away leg of the same tie. He scored 15 goals in 47 appearances in all competitions; his final game coming on 14 May 2000, at home to Leeds United. During his one year at Upton Park Wanchope formed a deadly partnership with Paolo Di Canio, the two scored a combined 31 league goals in the 1999–2000 season, and West Ham finished 9th in the Premier League, putting them in the top nine for the third consecutive season.


title: Paulo Wanchope

text: He was eventually sold to Manchester City at the start of the 2000–01 season, following the arrivals of Davor Šuker and Frédéric Kanouté, for a fee of £3.65million.


title: Paulo Wanchope

text: Wanchope earned a starting position at Manchester City, but was unable to help them avoid immediate relegation back to Division One at the end of the 2000–01 season, despite scoring nine league goals.


title: Paulo Wanchope

text: The following season was a mixed one for Wanchope. Despite missing large chunks of it through injury, he still managed 12 goals in just 15 games and often showed his best form. After City's return to the top flight as Division One champions he played almost no part, with injury once again keeping him on the sidelines – he missed the entire 2002–03 season.


title: Paulo Wanchope

text: However, he returned to play a vital part at the end of 2003–04 and scored some vital goals to help avoid relegation, including the winning goal against Newcastle United, which effectively made City safe. He managed six goals from 22 league games that campaign.


title: Paulo Wanchope

text: In August 2004, Wanchope was sold to Málaga CF of the Spanish La Liga for £500,000. He played 25 games for the club, scoring six goals.


title: Paulo Wanchope

text: In 2005, "ESPN" declared Wanchope's goal against Numancia the best of the entire 2004–05 Spanish First Division. In 2006, following the World Cup in Germany and short but successful stints with Al-Gharafa in Qatar and Herediano in his native Costa Rica, he signed with Argentine club Rosario Central, scoring five goals in 14 games.


title: Paulo Wanchope

text: On 29 December 2006, J1 League club FC Tokyo announced the acquisition of Wanchope on a transfer from Rosario Central. Along with local prospect Sota Hirayama, Wanchope allowed FC Tokyo to utilise a pair of large (190 cm+) strikers. He was released by FC Tokyo and subsequently signed a one-year deal with MLS team Chicago Fire.


title: Paulo Wanchope

text: On 16 November 2007, after a 13-year career in football, Wanchope decided to put an end to his career, primarily based on how his old knee injury was affecting his performance on the field, the same injury that made him lose large parts of his career with Manchester City, making him unable to reach his best physical shape, an argument that was commonly criticized by the press during recent years in every club he played for. At his retirement press conference he manifested his interest in becoming a professional coach, looking forward to accomplishing it in England.


title: Paulo Wanchope

text: He was a member of Costa Rica's youth national teams, playing in the 1995 FIFA World Youth Championship finals in the Qatar.


title: Paulo Wanchope

text: Wanchope would become hugely important to the senior Costa Rica national team, after making his debut in an October 1996 friendly match against Venezuela and playing for the team in the 2002 FIFA World Cup and several Gold Cups. On 8 October 2005, Wanchope became the all-time leading goal scorer for "Los Ticos" when he scored the first goal in a home win over the USA in the qualifying match that sent "Los Ticos" to the 2006 FIFA World Cup. Wanchope has twenty plus World Cup qualifier goals to his name.


title: Paulo Wanchope

text: On 9 June 2006, he scored twice in the opening game of the 2006 World Cup, a 4–2 loss to Germany. These two goals made Wanchope the inaugural Costa Rican to score twice in one World Cup match, and put him alongside Rónald Gómez as the sole Costa Ricans ever to score more than one World Cup goal. After the defeat to Germany, Costa Rica were defeated by both Ecuador and Poland. Thus Costa Rica finished last in their group and failed to qualify for the second round. Wanchope played his last game for his country in January 2008 when Sweden had come to visit Costa Rica. He played 25 minutes and then he was substituted.


title: Paulo Wanchope

text: He managed Club Sport Herediano from 2008 to 2009. He resigned citing that the team's performance was low, and that he wanted to further his studies in England. Having left Herediano, he expressed his dissatisfaction with the administration of the club.


title: Paulo Wanchope

text: Wanchope became an assistant to the Costa Rica national team coach, Jorge Luis Pinto. Upon Pinto's departure after the 2014 FIFA World Cup, Wanchope took over as interim national team coach.


title: Paulo Wanchope

text: In September 2014, he won the Copa Centroamericana with the Costa Rica national football team. On 31 January 2015, he was officially named as national team coach.


title: Paulo Wanchope

text: On 12 August 2015, Wanchope resigned as manager of Costa Rica's national team following a post-match brawl with a steward.


title: Paulo Wanchope

text: Wanchope is a son of Costa Rican former international striker Vicente Wanchope and Patricia Watson and both his brothers, Javier and Carlos, also played for the national team. He is married to Brenda Carballo and they have a son and daughter.


title: What a Way to Go!

text: What a Way to Go! is a 1964 American black comedy film directed by J. Lee Thompson and starring Shirley MacLaine, Paul Newman, Robert Mitchum, Dean Martin, Gene Kelly, Bob Cummings and Dick Van Dyke.


title: What a Way to Go!

text: In a dream-like pre-credit sequence, Louisa, a black-clad widow, descends a pink staircase inside a pink mansion. She is followed by pall-bearers carrying a pink coffin. The pallbearers slip and drop the coffin, which slides down the stairs, leading into the opening titles.


title: What a Way to Go!

text: Louisa wants to give her $211 million to the U.S. government Internal Revenue Service, who believes it is an April Fools' Day joke. Sobbing to her unstable psychiatrist, Dr. Steffanson, Louisa tries to explain why she wants to give away her money, leading to a series of flashbacks, interspersed with fantasy sequences.


title: What a Way to Go!

text: Louisa describes her childhood as being a young, idealistic girl. Her money-grubbing mother pushed Louisa to marry rich local business owner, Leonard Crawley. Louisa instead marries Edgar Hopper, a poor shop owner who, inspired by Henry David Thoreau, prefers a simple life. They are happily poor until the jilted Leonard arrives and ridicules their rustic lifestyle, humiliating Edgar and motivating him to achieve success. Edgar transform his small store into a tremendous empire, neglecting Louisa, ruining Crawley, and eventually overworking himself to an early death.


title: What a Way to Go!

text: A grieving Louisa travels to Paris where she meets Larry Flint, an impoverished avant-garde artist. They fall in love, marry, and live a picturesque bohemian lifestyle. Larry invents a crane-like machine that converts eclectic sounds into paint strokes on canvas. One day, Louisa plays classical music that produces a beautiful painting resulting in Larry's first major art sale. Larry builds larger cranes and sells many more paintings, making him a successful artist. One night, two petulant cranes turn on their creator and beat him to death.


title: What a Way to Go!

text: Louisa, richer and more depressed, prepares to return to the US. When she misses her flight, famed business tycoon Rod Anderson Jr. offers her a lift on his private jet. She initially finds him cold and calculating, but sees his softer side during the flight. They marry shortly after and live luxuriously. Fearful of losing him like her first two husbands, Louisa convinces Rod to retire to a small farm similar to his boyhood home. After sharing a jug with a few locals, an inebriated Rod mistakenly attempts to milk a bull, which kicks him through the barn wall, leaving Louisa widowed once again.


title: What a Way to Go!

text: Now fantastically wealthy, Louisa wanders the country. In a small-town café, she meets Pinky Benson who, for over a decade, has performed nightly dressed as a clown. Management loves Pinky's corny musical act because it never distracts the customers from eating and drinking. The two fall in love and idyllically live aboard Pinky's run-down houseboat on the Hudson River. On Pinky's birthday, Louisa suggests he perform without his usual time-consuming make-up and costume so they will not be late for his party after the show. Without his clown getup, the customers notice that Pinky sings and dances beautifully. Virtually overnight, Pinky is a famous Hollywood star. He neglects Louisa and becomes so arrogant and self-centered that he has the entire mansion painted pink so fans will know it is his. At his film premier, despite being warned, Pinky insists on greeting his excited fans. They become frenzied and trample Pinky to death.


title: What a Way to Go!

text: After hearing Louisa's story, Dr. Steffanson proposes marriage, claiming to be the simple man she wants. She declines, which she declares is progress in her recovery. Steffanson accidentally presses the switch that raises the movable psychiatric couch about ten feet. Sitting on the edge, he falls off and is knocked unconscious, leaving Louisa stranded on top. The janitor enters and helps Louisa down. She is shocked it is Leonard Crawley, who lost everything after Edgar Hopper ruined his business. Leonard claims he is happy and credits Louisa and Thoreau for making his life "successful" because it is simple.


title: What a Way to Go!

text: Leonard and Louisa marry and enjoy a bucolic life on a farm with their four children. The story ends when Leonard, plowing a field, is distracted while reading Thoreau and apparently strikes oil after the tractor tire grinds into the ground. Louisa is distraught, believing her curse has struck again until oil company representatives arrive and say that Leonard punctured their pipeline. Leonard and Louisa rejoice, as they are still poor but happy.


title: What a Way to Go!

text: Publicist Arthur Jacobs wanted to move into film production. One of his clients was Marilyn Monroe who said she would appear in a movie Jacobs produced if she liked the story. He found "I Love Louisa" based on a story by Gwen Davis about a woman with six husbands. In June 1962, Daryl Zanuck reportedly told Marilyn Monroe that she would make two films for 20th Century Fox (which he was in the process of taking over again): a re-vived "Something's Got to Give" and "What a Way to Go" (the alternate title for "I Love Louisa"). Monroe's fee would be a million dollars for both films. In July, Monroe reportedly approved J. Lee Thompson as director after watching "Tiger Bay" and "Northwest Frontier" and she was going to meet Gene Kelly to discuss his being her co-star. Monroe died in August 1962.


title: What a Way to Go!

text: In September 1962, Jacobs said that J. Lee Thompson, who was another client of his, would direct the film following "The Mound Builders" (which became "Kings of the Sun"). Jacobs wanted one of the "top three" stars in the world to play the lead, and "important names" to play the six husbands. No distributor had been signed. Later that month Thompson said he would make "I Love Louisa" with Elizabeth Taylor. In October the Los Angeles Times reported that the Mirisch Company, who had a long-term deal with Thompson, would finance. That month Betty Comden and Adolph Green signed to write the script. In December Thompson said Comden and Green wanted to call the movie "What a Way to Go" and that he hoped Frank Sinatra and Marcello Matroianni to play husbands.


title: What a Way to Go!

text: In January 1963, Thompson said he was confident about Frank Sinatra, Marlon Brando and David Niven playing husbands. In April 1963 Hedda Hopper reported that Steve McQueen would star in the film opposite Shirley MacLaine.


title: What a Way to Go!

text: MacLaine was formally signed in July 1963. Also that month Jacobs announced he had signed a deal with 20th Century Fox for the latter to finance and distribute. The production companies would be Jacob's Apjac and Thompson's Malibu Productions. The stars would be MacLaine, Dean Martin, Paul Newman, Robert Mitchum, Dick Van Dyke and Gene Kelly. Filming would start 8 August. Jacobs called the project "a sad comedy – a farout picture that has both loudness and pathos."


title: What a Way to Go!

text: According to Mitchum, Frank Sinatra had wanted $500,000 for two weeks worth of work, so they offered the role to Mitchum instead. He agreed to do it because he liked working with MacLaine and Thompson (who had directed him in "Cape Fear").


title: What a Way to Go!

text: MacLaine said, "There is – I hope – pathos, anyway that's what I'm trying to do. It's funny for a girl to go through five husbands, getting wealthier with the death of each one – but it's sad, too, because she didn't want them to die and she hates money."


title: What a Way to Go!

text: Gene Kelly originally had the rights to the story, intending to direct it, but relinquished it to Jacobs. Kelly agreed to appear in a single sequence. He choreographed the dance as well, calling it "a kind of gentle spoof of old movie musicals, though not as much of a parody, really, as "Sing Along with Mitch"."


title: What a Way to Go!

text: Robert Mitchum's role was originally meant for Frank Sinatra, but Sinatra suddenly wanted several times more money than what the other male leads received, and the studio refused his demands. Gregory Peck was sought, but he was unavailable. The previous year, MacLaine had co-starred with Mitchum in "Two for the Seesaw", and she recommended him to director J. Lee Thompson who passed the endorsement on to the studio.


title: What a Way to Go!

text: Except for one scene at Los Angeles Airport, the entire film was shot on the Fox backlot on 73 sets. Because of the limited availability of the stars, the movie was shot over 45 days, which was considered short for a movie of this scale.


title: What a Way to Go!

text: The swimming pool set in the Pinky Benson sequences is the same set (with some minor redressing) used for "Something's Got to Give".


title: What a Way to Go!

text: MacLaine was quoted as saying that she was happy to work with "Edith Head with a $500,000 budget, 72 hairstyles to match the gowns, and a $3.5-million gem collection loaned by Harry Winston of New York. Pretty good perks, I'd say."


title: What a Way to Go!

text: "What a Way to Go!" premiered on May 12, 1964, and grossed $11,180,531 at the U.S. box office, earning $6.10 million in the United States.


title: What a Way to Go!

text: According to Fox records, the film needed to earn $8.5 million in film rentals to break even and made $9.09 million, meaning it made a profit.


title: What a Way to Go!

text: John Simon of The New Leader wrote 'The mildest thing that can be said about this film is that it is an abomination'.


title: What a Way to Go!

text: "What a Way to Go!" was nominated for two Academy Awards for Best Art Direction (Jack Martin Smith, Ted Haworth, Walter M. Scott, Stuart A. Reiss) and Best Costume Design by Edith Head and Moss Mabry, a BAFTA Best Foreign Actress Award for Shirley MacLaine, a Laurel award for Best Comedy and Best Comedy performer for Paul Newman, and an American Cinema Editors Eddie award for best editor for Marjorie Fowler. It won a Locarno Film Festival award for Best Actor for Gene Kelly.


title: Kerala backwaters

text: The Kerala backwaters are a network of brackish lagoons and canals lying parallel to the Arabian Sea of the Malabar coast of Kerala state in south-western India. It also includes interconnected lakes, rivers, and inlets, a labyrinthine system formed by more than of waterways, and sometimes compared to bayous. The network includes five large lakes linked by canals, both man made and natural, fed by 38 rivers, and extending virtually half the length of Kerala state. The backwaters were formed by the action of waves and shore currents creating low barrier islands across the mouths of the many rivers flowing down from the Western Ghats range. In the midst of this landscape there are a number of towns and cities, which serve as the starting and end points of backwater cruises. There are 34 backwaters in Kerala. Out of it, 27 are located either closer to Arabian Sea or parallel to the sea. The remaining 7 are inland navigation routes.


title: Kerala backwaters

text: The backwaters have a unique ecosystem: freshwater from the rivers meets the seawater from the Arabian Sea. A barrage has been built near Thanneermukkom, so salt water from the sea is prevented from entering the deep inside, keeping the fresh water intact. Such fresh water is extensively used for irrigation purposes. Many unique species of aquatic life including crabs, frogs and mudskippers, water birds such as terns, kingfishers, darters and cormorants, and animals such as otters and turtles live in and alongside the backwaters. Palm trees, pandanus shrubs, various leafy plants, and bushes grow alongside the backwaters, providing a green hue to the surrounding landscape.


title: Kerala backwaters

text: National Waterway 3 from Kollam to Kottappuram, covers a distance of and runs almost parallel to the coastline of southern Kerala facilitating both cargo movement and backwater tourism. Vembanad is the largest of the lakes, covering an area of . The lake has a large network of canals that meander through the region of Kuttanad. The important rivers from north to south are the Valapattanam , Chaliyar , Kadalundipuzha , Bharathappuzha , Chalakudy , Periyar , Pamba , Achankovil , Meenachil , and Kalladayar . Other than these, there are 35 more small rivers and rivulets flowing down from the Ghats. Most of these rivers are navigable up to the midland region, in country crafts.


title: Kerala backwaters

text: Vembanad Lake is the longest backwater in Kerala, as well as the longest lake in India. The Kochi city, Kuttanad, Kumarakom, and Pathiramanal Island are located in this long backwater. The Vellayani Lake, the Pookode Lake, and the Sasthamcotta Lake are the freshwater lakes in Kerala. Sasthamcotta is the largest among them. The Kerala backwaters host three of the world’s Ramsar Convention-listed wetlands: Ashtamudi Lake, Sasthamkotta Lake, and the Vembanad-Kol wetlands are noted as being wetlands of international importance.


title: Kerala backwaters

text: "Kettuvallam" (Kerala houseboats) in the backwaters are one of the prominent tourist attractions in Kerala. More than 2,000 of these ply the waterways. The Kerala government has classified the tourist houseboats as platinum, gold, and silver.


title: Kerala backwaters

text: The "Kettuvallam" were traditionally used as grain barges, to transport the rice harvested in the fertile fields alongside the backwaters. Thatched roof covers over wooden hulls, in length, providing protected from the elements. At some point in time, the boats were used as living quarters by the royalty. Converted to accommodate tourists, the houseboats have become floating cottages having a sleeping area, with western-style toilets, a dining area and a sit out on the deck. Most tourists spend the night on a houseboat. Food is cooked on board by the accompanying staff—mostly having a flavour of Kerala. The houseboats are of various patterns and can be hired as per the size of the family or visiting group. The living-dining room is usually open on at least three sides providing a grand view of the surroundings, including other boats, throughout the day when it is on the move. It is brought to a standstill at times of taking food and at night. After sunset, the boat crew provide burning coils to drive away mosquitoes. "Ketuvallam" are motorised but generally proceed at a slow speed for smooth travel. All "Ketuvallam" have a generator and most bedrooms are air-conditioned. At times, as per the demand of customers, electricity is switched off and lanterns are provided to create a rural setting


title: Kerala backwaters

text: Beypore, located south of Kozhikode at the mouth of the Chaliyar River, is a famous fishing harbour, port and boatbuilding centre. Beypore has a 1,500-year tradition of boatbuilding. The skills of the local shipwrights and boatbuilders have widely sought after.


title: Kerala backwaters

text: Regular ferry services connect most locations on both banks of the backwaters. The Kerala State Water Transport Department operates ferries for passengers as well as tourists. It is the cheapest mode of transport through the backwaters.


title: Kerala backwaters

text: Ashtamudi lake, which was a sleepy destination for years, has been transformed into a busy tourist destination with plush resorts around the Lake and the backwaters.


title: Kerala backwaters

text: The unregulated proliferation of motorised houseboats in the lakes and backwaters has raised concerns regarding the adverse impact of pollution from diesel engines and outboard motors on the fragile ecosystem.


title: Kerala backwaters

text: Connected by artificial canals, the backwaters form an economical means of transport, and a large local trade is carried on by inland navigation. Fishing, along with fish curing, is an important industry.


title: Kerala backwaters

text: Kerala backwaters have been used for centuries by the local people for transportation, fishing and agriculture. The region has supported the efforts of the local people to earn a livelihood. In more recent times, agricultural efforts have been strengthened with the reclamation of some backwater lands for rice growing, particularly in the Kuttanad area. Boat-making has been a traditional craft, so has been the coir industry.


title: Kerala backwaters

text: Kuttanad region is crisscrossed with waterways that run alongside extensive paddy fields, as well as fields of cassava, banana and yam. The crops are grown on the low-lying ground and irrigated with fresh water from the canal and waterways connected to Vembanad lake. Palakkad, the granary of Kerala, lies on the bank of Bharathappuzha river. Thrissur-Ponnani Kole Wetlands are fertile. Ponnani Kole Wetlands lie on the bank of Biyyam backwater. The area is similar to the dikes of the Netherlands, where land has been reclaimed from the sea and crops are grown.


title: Kerala backwaters

text: Vembanad Wetland is included in the list of wetlands of international importance, as defined by the Ramsar Convention for the conservation and sustainable utilization of wetlands.


title: Kerala backwaters

text: Chundan vallams or snake boats are narrowboats over long, with a raised prow that stands above water and resembles the hood of a snake. Traditionally these were used by local rulers to transport soldiers during waterfront wars. In modern times, it has spawned a new sport – the Vallam Kali (boat race). Each Chandan vallam accommodates about a hundred muscular oarsmen.


title: Kerala backwaters

text: Boat races are occasions of great excitement and entertainment with thousands gathered on the banks to watch and cheer. Most of these races are held in the Kuttanad Region


title: Kerala backwaters

text: The boat races starts with Champakulam Moolam Boat Race which is held on the Pamba River in the village Champakulam on Moolam day (according to the Malayalam Era M.E) of the Malayalam month Midhunam, the day of the installation of the deity at the Ambalappuzha Sree Krishna Temple. Very interesting stories lie behind the origin of the Moolam Boat Race.


title: Kerala backwaters

text: When Jawaharlal Nehru visited Kerala in 1952, four traditional Chandan valloms went to receive him. A snake boat race was organized for him. He was so impressed that when he went back to Delhi, he sent back a gleaming silver trophy for a boat race. Even today, the 1.5  km Nehru Trophy Boat Race is the most prestigious.


title: Kerala backwaters

text: The Thazhathangadi boat race held every year on the Meenachil river, at Thazhathangadi, Kottayam is one of the oldest and most popular boat races in the state.


title: Kerala backwaters

text: Other renowned boat races are: Indira Gandhi Boat Race, Champakulam Moolam Boat Race, Aranmula Uthrattadi Vallamkali, Payippad Jalotsavam, kallada Boat Race and Kumarakom Boat Race.


title: Kerala backwaters

text: Important in the ancient history of South India, Kuttanadu is a region spanning the Alappuzha and Kottayam districts; it is well known for its vast paddy fields and geographical peculiarities. The region is the lowest lying of any in India and is one of the few places in the world where farming is carried around 1.2 to 3.0 metres (4 to 10 ft) below sea level. Four of Kerala's major rivers—the Pamba, Meenachil, Achankovil, and Manimala—flow into the region, and it is well known for its boat races.


title: Kerala backwaters

text: Vembanad Lake, the largest lake in Kerala is at the heart of Backwater tourism, with hundreds of kettuvallams plying it and with numerous resorts on its banks. The Kumarakom Bird Sanctuary is located on the east coast of the lake.


title: Kerala backwaters

text: The major occupation in Kuttanadu is farming, with rice the most important agricultural product; it is the major rice producer in the state. This activity gives the area its moniker of "The Rice Bowl of Kerala". Large farming areas near Vembanad Lake were reclaimed from the lake. In 2013, the Food and Agriculture Organization (FAO) of the United Nations formally declared the below-sea-level farming system in Kuttanad as Globally Important Agricultural Heritage Systems (GIAHS).


title: Kerala backwaters

text: Kollam (earlier known as Quilon) was one of the leading trade centres of the ancient world, eulogised by travellers such as Ibn Battuta and Marco Polo. It is also the starting point of the backwater waterways. The Ashtamudi Kayal, known as the gateway to the backwaters, covers about 30 per cent of Kollam. Sasthamcotta Kayal, the large freshwater lake is 28.5  km from Kollam city.


title: Kerala backwaters

text: Islands are the eye-catching factors as well as the beauty of Lake Ashtamudi, Kollam. Most of these islands are potential tourism spots in the state. The Indian Railways also planning to develop one of the islands in Kollam for a tourism project. There are big as well as small islands which are inhabited and uninhabited by human beings. There are more than 15 islands in Ashtamudi Lake. The important islands in Kollam are:


title: Kerala backwaters

text: Paravur Estuaries lie near to the south-western coast of Kollam. The place is world-famous for its natural beauties, backwater locations, white-sand beaches and concentration of temples in every square kilometer. The peninsula of Paravur is one of the most visited in Kollam district. Both north and south tips of Paravur town have both peninsula and estuary. Pozhikara is north and Thekkumbhagam is south of Paravur. One more estuary mouth in Pozhikara, which is very close to Pozhikara Devi Temple, which has breached in 2014 under the supervision of Water Resources Department (WRD), after a long gap of 14 years.


title: Kerala backwaters

text: Munroethuruth or Munroe Island is a place surrounded by Kallada River, Ashtamudi Lake and Sasthamkotta Lake in Kollam district, Munroe Island is a cluster of eight tiny islands, Blessed with a number of criss-cross canals and zigzag water channels, this Island plays a host to many migratory birds from various


title: Kerala backwaters

text: countries around the world. You can watch birds such as Kingfisher, Woodpecker, Egret, Bee-eater, Crow pheasant, and Paddy Birds. There is yet another rare chance to see the traditional Indian spice plants such as Pepper, Nutmeg and Cloves. ()


title: Kerala backwaters

text: The first community tourism programme in the State will start functioning from the MunroeThuruthu islands. Coir making is a


title: Kerala backwaters

text: home industry to almost all the village living people. It is very interesting to watch the coir making by the village ladies with the help of weaving Wheels. They make the coir ropes by hand. In addition to this, on the way, you can see the process of extracting coconut oil from the "copra" [dried coconut]. Among the routine traditional engagements, duck, poultry farm and prawn breeding are common in all houses.


title: Kerala backwaters

text: It is one of the freshwater lakes in Kerala. It is located in the city of Thiruvananthapuram, which is also Kerala's administrative headquarters. It is located nearer to Kovalam beach.


title: Kerala backwaters

text: Thiruvallam backwaters are just 6  km from Thiruvananthapuram, the state capital. Known for its canoe rides, Thiruvallam is becoming increasingly popular with tourists. Two rivers, the Killi and the Karamana, come together at Thiruvallam. Not far from Thiruvallam is the Veli Lagoon, where there are facilities for water sports, a waterfront park and a floating bridge. The Akkulam Boat club, which offers boating cruises on Akkulam Lake and a park for children, is also a popular tourist attraction near Thiruvallam.


title: Kerala backwaters

text: Wayanad is home to one of the state's freshwater lakes - Pookode Lake. It is also one of the 7 inland navigation backwaters in Kerala. Panamaram, the rivulet which ultimately becomes Kabani River, originates from the Pookode lake. It is spread across an area of 8.5 hectares and with a maximum depth of 6.5 metres.


title: Kerala backwaters

text: Kavvayi backwater is a stunningly beautiful backwater destination tucked away near Payyannur in the district of Kannur. Kavvayi Backwaters form the biggest wetland in north Kerala. With its five rivers, the Kavvayi River, and its tributaries- Kankol, Vannathichal, Kuppithodu, and Kuniyan – flows together to form the Kavvayi kayal. Adorned with many small islands, a relaxing boat ride in these waters is the best way to enjoy the mesmerizing greenery of the surroundings.


title: Kerala backwaters

text: Kasargod in north Kerala is a backwater destination, known for rice cultivation, coir processing and lovely landscape, it has the sea to the west and the Western Ghats to the north and east. Cruise options are Chandragiri and Valiyaparamba near Kavvayi Backwater. Chandragiri has situated 4  km to the southeast of Kasargod town and takes tourists to the historic Chandragiri fort. Valiyaparamba is a scenic backwater stretch near Kasargod. Four rivers flow into the backwaters near Kasargod and there are many small islands along these backwater stretches, where birds can be seen.


title: Kerala backwaters

text: Kozhikode (also known as Calicut) has backwaters which are largely unexplored by tourist hordes. Elathur, the Canoly Canal and the Kallayi River are favourite haunts for boating and cruising. Korapuzha, the venue of the Korapuzha Jalotsavam, is a popular water sports destination.


title: Kerala backwaters

text: The coastal region of Malappuram contains the backwaters like Biyyam, Manoor, Veliyankode, Kodinhi, etc. Biyyam backwater which lies south of Bharathappuzha river (which is also the second longest river of Kerala) is the largest among them. Biyyam backwater and Conolly Canal together empties into Arabian Sea near Puthuponnani promontory.


title: Kerala backwaters

text: Thakazhi Sivasankara Pillai, (1912–1999), the Padmabhusan and Jnanpith and Sahitya Akedemi award-winning writer, was born in Thakazhi village in Alappuzha district. He wrote in Malayalam. His novel "Chemmeen" has been translated into most Indian languages and several foreign languages.


title: Kerala backwaters

text: Arundhati Roy (born 1961) was brought up in Ayemenem near Kottayam, and her Booker-Prize-winning "The God of Small Things" is set in Kerala.


title: Parallels Desktop for Mac

text: Parallels Desktop for Mac is software providing hardware virtualization for Macintosh computers with Intel processors, and since version 16.5 also for Apple silicon-based Macintosh computers. It is developed by Parallels, since 2018 a subsidiary of Corel.


title: Parallels Desktop for Mac

text: Released on June 15, 2006, it was the first software product to bring mainstream virtualization to Macintosh computers utilizing the Apple–Intel architecture (earlier software products ran PC software in an emulated environment).


title: Parallels Desktop for Mac

text: Its name initially was 'Parallels Workstation for Mac OS X', which was consistent with the company's corresponding Linux and Windows products. This name was not well received within the Mac community, where some felt that the name, particularly the term “workstation,” evoked the aesthetics of a Windows product. Parallels agreed: “"Since we've got a great Mac product, we should make it look and sound like a Mac product..."”, it was therefore renamed ‘Parallels Desktop for Mac’.


title: Parallels Desktop for Mac

text: Parallels Desktop for Mac is a hardware emulation virtualization software, using hypervisor technology that works by mapping the host computer's hardware resources directly to the virtual machine's resources. Each virtual machine thus operates identically to a standalone computer, with virtually all the resources of a physical computer. Because all guest virtual machines use the same hardware drivers irrespective of the actual hardware on the host computer, virtual machine instances are highly portable between computers. For example, a running virtual machine can be stopped, copied to another physical computer, and restarted.


title: Parallels Desktop for Mac

text: Version 2.5 brought support for USB 2.0 devices, which expanded the number of USB devices supported at native speed, including support for built-in iSight USB webcams. The amount of video RAM allocated to the guest OS was made adjustable, up to 32MB. Full featured CD/DVD drives arrived in this version, which allowed the user to burn disks directly in the virtual environment, and play any copy-protected CD or DVD as one would in Mac OS X. In addition, a shared clipboard and drag-drop support between Mac OS X and the guest OS was implemented. This version brought the ability for users with a Windows XP installation to upgrade to Windows Vista from within the VM environment. A new feature known as Coherence was added, which removed the Windows chrome, desktop, and the virtualization frames to create a more seamless desktop environment between Windows and Mac OS X applications. This version also allowed users to boot their existing Boot Camp Windows XP partitions, which eliminated the need to have multiple Windows installations on their Mac. A tool called Parallels Transporter was included to allow users to migrate their Windows PC, or existing VMware or Virtual PC VMs to Parallels Desktop for Mac.


title: Parallels Desktop for Mac

text: In 2007, the German company Netsys GmbH sued Parallels' German distributor Avanquest for copyright violation, claiming that Parallels Desktop and Parallels Workstation are directly based on a line of products called “twoOStwo” that Parallels developed on paid commission for Netsys, of which it says, Netsys has been assigned all copyrights. Additionally, the lawsuit claimed that Parallels Desktop 2.5's compatibility with “twoOStwo” showed that the two software products are run by essentially the same functional core. When Netsys lost its initial urgency proceeding, it filed a new suit, in which it requested a temporary injunction from the Landgericht district court of Berlin.


title: Parallels Desktop for Mac

text: Version 3.0 retained all of the functionality from previous versions and added new features and tools. Support for DirectX 8.1 and OpenGL was added, allowing Mac users to play some Windows games without the need to boot into Windows with Boot Camp. A new feature called SmartSelect offers cross OS file and application integration by allowing the user to open Windows files with Mac OS X programs and vice versa. Parallels Explorer was introduced, which allows the user to browse their Windows system files in Mac OS X without actually launching Windows. A new snapshot feature was included, allowing one to restore their virtual machine environment to a previous state in case of issues. Further, Parallels added a security manager to limit the amount of interaction between the Windows and Mac OS X installations. This version included a long-awaited "complete" “Parallels tools'” driver suite for Linux guest operating systems. Therefore, integration between Mac OS X and Linux guest-OS's was greatly improved.


title: Parallels Desktop for Mac

text: Despite the addition of numerous new features, tools and added functionality, the first iteration of Parallels Desktop for Mac 3.0 was missing some of the features that Parallels had planned for it. A Parallels, Inc. representative stated at MacWorld in January 2007 that version 3.0 would bring accelerated graphics, “multi-core virtual machines/virtual SMP, some SCSI support, a more Mac-like feel, as well as a more sophisticated coherence mode, dubbed Coherence 2.0”. While accelerated graphics have materialised, Coherence, as well as the overall look and feel of Parallels Desktop for Mac has only changed slightly. Also, SCSI support has not been implemented.


title: Parallels Desktop for Mac

text: It is currently unknown if these features have been abandoned altogether, or if they will show up in a later build of version 3.0.


title: Parallels Desktop for Mac

text: Build 4560, released on July 17, 2007, added an imaging tool which allowed users to add capacity to their virtual disks.


title: Parallels Desktop for Mac

text: Build 5160, released on September 11, 2007, added some new features and updated some current features.


title: Parallels Desktop for Mac

text: The release focused on updates to Coherence, with support for Exposé, window shadows, transparent windows, and the ability to overlap several Windows and Mac windows. Further, Parallels' Image Tool was updated to allow one to change their virtual hard disk format between plain and expanding.


title: Parallels Desktop for Mac

text: Parallels Explorer was updated to allow for one to automatically mount an offline VM hard drive to the Mac desktop. Some new features added are iPhone support in Windows, allowing iTunes in Windows to sync with it. Users can now mirror desktops or other folders. Further, Mac drives can now be mapped by Windows and sound devices can now be changed ‘on the fly’. Up to 2 GB of RAM can be allocated to a virtual machine, with a total of 4 GB of RAM available.


title: Parallels Desktop for Mac

text: Parallels Desktop for Mac Build 5608 added support for guest Parallels Tools for Linux in the latest Linux distributions (including Ubuntu 8). It also added support for running 3D graphics in Windows virtual machines on Mac OS X Leopard 10.5.3.


title: Parallels Desktop for Mac

text: According to Parallels' Licensing page, Desktop for Mac version 3.0 contains Direct3D code that was originally developed by the Wine open-source project. Wine software is licensed under the GNU Lesser General Public License, which required Parallels to release the source code. Parallels released the modified source code on July 2, 2007, about 2 weeks after the promised release date. A Parallels spokesman explained the reasons for the delay in a message on the official company blog.


title: Parallels Desktop for Mac

text: Version 4.0, released November 11, 2008, updates its GUI, adds some new features, enhances its performance by up to 50% and consumes 15–30% less power than previous versions. Version 4.0 is the first version that supports both 32-bit and 64-bit guest operating systems. Parallels Desktop 4.0 for Mac's 3D support includes DirectX 9.0, DirectX Pixel Shader 2.0 and OpenGL 2.0 as well as 256 MB video memory. It also adds support for 8 GB RAM in a virtual machine and 8-way SMP. Parallels Desktop 4.0 introduces an adaptive hypervisor, which allows users to focus the host computer's resources towards either host or the guest operating system.


title: Parallels Desktop for Mac

text: Starting with the Version 4.0 release, Parallels Desktop for Mac has a new logo, which resembles an aluminum iMac, with what appears to be Windows XP on the screen and 2 parallel red lines overlaid on the right side.


title: Parallels Desktop for Mac

text: Build 3810, released January 9, 2009, includes performance enhancements and features, such as DirectX 9.0 Shaders Model 2 and Vertex Shader support for additional 3D support Intel Streaming SIMD Extensions (SSE4) for better media applications performance. Build 3810 also adds support for running Windows 7 in a VM and for running Mac OS X Snow Leopard Server as either a host or as a guest OS.


title: Parallels Desktop for Mac

text: Also included are usability features such as the ability to share Windows files by dragging them directly to a Mac application in the Mac Dock. Windows can now also automatically start in the background when a user opens a Windows application on the Mac desktop. Version 4.0 drew criticism for problems upgrading from Version 3.0 shortly after its initial release. Build 3810 also addresses installation and upgrade issues previously experienced with Version 4.0 and introduces the option to enroll in the company's new Customer Experience Program, which lets customers provide information about their preferences and user priorities.


title: Parallels Desktop for Mac

text: Officially released on November 4, 2009, Parallels Desktop 5 adds several new features, mainly to improve integration with the host OS.


title: Parallels Desktop for Mac

text: Officially announced on September 9, 2010 and launched on September 14, 2010, Parallel 6 has full 64-bit support for the first time. Parallels claims that Parallels Desktop 6 for Mac "[has] over 80 new and improved features, including speed 40% above the previous version."


title: Parallels Desktop for Mac

text: Officially announced on September 1, 2011 and released on September 6, 2011, Parallels Desktop 7 adds many new features. These include:


title: Parallels Desktop for Mac

text: Officially announced August 22, 2012 and released September 4, 2012, Parallels Desktop 8 adds many new features:


title: Parallels Desktop for Mac

text: Officially announced on August 29, 2013 and released on September 5, 2013, Parallels Desktop 9 for Mac includes these new features and enhancements:


title: Parallels Desktop for Mac

text: Released August 20, 2014, Parallels Desktop 10 for Mac includes support for OS X 10.10 "Yosemite", and ends support for Snow Leopard.


title: Parallels Desktop for Mac

text: Less than a year after release of its release, Parallels spokesperson John Uppendahl confirmed version 10 will not be fully compatible with Windows 10. The coherence mode, which integrates the Windows user interface with OS X, will not be updated and users will need to purchase and upgrade to version 11 to continue using this feature.


title: Parallels Desktop for Mac

text: Released August 19, 2015, Parallels Desktop 11 for Mac includes support for Windows 10 and is ready for OS X 10.11 "El Capitan".


title: Parallels Desktop for Mac

text: Parallels Desktop 11 for Mac is available as a one-time purchase of $79.99 for the Desktop edition, and as an annual subscription of $99.99 for Pro edition. Version 11 has multiple issues with macOS 10.13, High Sierra. The website currently offers a full price upgrade to Version 13 as a correction, effectively making this version obsolete with the macOS upgrades.


title: Parallels Desktop for Mac

text: Released August 22, 2017, Parallels Desktop 13 for Mac provides macOS High Sierra readiness and support for upcoming Windows 10 features. According to Parallels, the new version makes it simple for MacBook Pro users to add Windows applications to the Touch Bar, and to use the Touch Bar within Windows applications. It is also the first solution to bring the upcoming Windows 10 People Bar feature to the Mac, including integration with the Mac Dock and Spotlight. The new version also features up to 100 percent performance improvements for completing certain tasks. The update also brings in a slightly refreshed UI to better match macOS and visual improvements for Windows users on Retina displays.


title: Parallels Desktop for Mac

text: On April 14, 2021, Parallels updated the software to version 16.5, notably adding support for Apple silicon-based Macs. On such Macs, only ARM-compatible OSes can be run in VMs; Parallels does not emulate the x86 architecture. Supported guest OSes include Windows Insider builds of Windows 10 (as no retail ARM versions of Windows 10 nor installation disk images for such versions are publicly available), as well as ARM builds of various Linux distributions.


title: Parallels Desktop for Mac

text: In Parallels Desktop 10 for Mac, support for guest operating systems includes a variety of 32-bit and 64-bit x86 operating systems, including:


title: Otello

text: Otello () is an opera in four acts by Giuseppe Verdi to an Italian libretto by Arrigo Boito, based on Shakespeare's play "Othello". It was Verdi's penultimate opera, first performed at the Teatro alla Scala, Milan, on 5 February 1887.


title: Otello

text: The composer was reluctant to write anything new after the success of "Aida" in 1871, and he retreated into retirement. It took his Milan publisher Giulio Ricordi the next ten years, first to encourage the revision of Verdi's 1857 "Simon Boccanegra" by introducing Boito as librettist and then to begin the arduous process of persuading and cajoling Verdi to see Boito's completed libretto for "Otello" in July/August 1881. However, the process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. It wasn't until 1884, five years after the first drafts of the libretto, that composition began, with most of the work finishing in late 1885. When it finally premiered in Milan on 5 February 1887, it proved to be a resounding success, and further stagings of "Otello" soon followed at leading theatres throughout Europe and America.


title: Otello

text: After the completion and premiere of his opera "Aida" in December 1871, Verdi decided that it was time for him to end his successful career as a composer of opera, much as Rossini had done after the completion of the opera "William Tell", though he was easily the most popular, and possibly the wealthiest, composer in Italy at the time. However, Verdi's sixties were not good years: as musicologist Julian Budden notes, "he seemed to have entered [those years] in a mood of gloom and depression [..and..] his letters at the time were full of complaints about the Italian theatre, Italian politics and Italian music in general [all] seen by him as sinking beneath a tide of Germanism".


title: Otello

text: Because of the immense popularity of Verdi's music in Italy by the 1870s, Verdi's retirement seemed to his publisher, Giulio Ricordi, to be a waste of talent and possible profits. Thus a plot of sorts was hatched in order to coax the composer out of retirement to write another opera. Because of the importance of the dramatic aspects of opera to the composer, Verdi was especially selective in his choice of subjects. Consequently, if he were to agree to create another opera after a decade of retirement, the libretto would need to be one that would capture his interest.


title: Otello

text: During the period when a suitable story was being sought for what became "Aida", Ricordi had come across Boito's partly finished libretto of his own opera "Nerone", and he even suggested in a letter of February 1870 to Verdi that, with Boito's permission, he set it to music. Verdi ignored it, and so Ricordi tried again in January 1871, enclosing with his letter a copy of Boito's libretto for Boito's friend and collaborator Franco Faccio's "Amleto" which had been given in 1865 and was revived in February 1871. Nothing came of this approach, although Ricordi persevered in various ways, as seen by the composer's gruff response to the publisher's statement "The whole salvation of the theatre and the art is in your hands" when Verdi wrote in April 1875 that "I cannot take it as but a joke", continuing with "Oh no, never fear, composers for the theatre will never be lacking".


title: Otello

text: Verdi's refusals continued as the 1870s progressed. Knowing of his interest in the soprano Adelina Patti, Ricordi tried to entice him into writing an opera for her, but Verdi's refusal resulted in another approach via a letter to the composer's wife Giuseppina, who was to present the idea at an opportune time. But she confessed defeat yet again. Clara Maffei also tried, unsuccessfully, in March 1878 to interest Verdi, who replied: "For what reason should I write? What would I succeed in doing?"


title: Otello

text: While he was attempting to get Verdi involved a new opera, in May 1879 Ricordi also tried to engage the composer in revising "Simon Boccanegra". This suggestion, originally expressed ten years before but ignored, was once again shrugged off by Verdi, who sent a note saying that the 1857 score, which had been sent to the composer for review, would remain untouched "just as you sent it to me".


title: Otello

text: Persisting with further attempts to convince the composer, Ricordi had also broached the idea of a collaboration with Boito for a new opera based on Shakespeare's "Othello". Verdi admired the dramatic works of Shakespeare and had, throughout his career, desired to create operas based on his plays, although his one attempt at doing so, "Macbeth" in 1847, although initially successful, was not well received when revised for performance in Paris in 1865. Because of its relatively straightforward story, the play "Othello" was selected as a likely target.


title: Otello

text: Collaborations with Boito in the revision of the 1857 opera "Simon Boccanegra" helped to convince Verdi of Boito's ability as a librettist. Musicologist Roger Parker speculates that Verdi's final agreement to revise "Boccanegra" was based on a desire to "test the possibility" of working with Boito before possibly embarking on the larger project. Frank Walker expresses much the same thoughts, noting that "some of the results, such as the magnificent scene in the Council Chamber and the villainous Paolo's Iago-like recitatives, foreshadow the later opera."


title: Otello

text: Verdi visited Milan on 30 June 1879, and conducted his "Requiem Mass" in a benefit performance at La Scala. He received the great acclaim of the public, which included the La Scala orchestra playing outside his hotel. Walker assumes that it was both Ricordi and Faccio who stage managed the effects to give the composer the sense of being welcome and respected in Milan.


title: Otello

text: Finally, after some plotting, Ricordi, in conjunction with Verdi's friend, the conductor Franco Faccio, subtly introduced the idea of a new opera to Verdi. During a dinner at Verdi's Milan residence during the summer of 1879, Ricordi and Faccio guided the conversation towards Shakespeare's play "Othello" and to the librettist Arrigo Boito (whom Ricordi claimed to be a great fan of the play also). Ricordi told the story to Giuseppe Adami, a librettist for three of Puccini's operas:


title: Otello

text: The idea of a new opera arose during a dinner among friends, when I turned the conversation, by chance, on Shakespeare and on Boito. At the mention of "Othello" I saw Verdi fix his eyes on me, with suspicion, but with interest. He had certainly understood; he had certainly reacted. I believed the time was ripe.


title: Otello

text: Suggestions were made, despite initial skepticism on the part of the composer, that Boito would be interested in creating a new libretto based upon the play. Within several days, Ricordi approached Verdi with the request that he would like to visit Sant' Agata "with a friend" in September. Verdi's reaction was clearly non-committal: "I wish absolutely to avoid committing myself [...] The best thing ... is for him to send me the finished poem".


title: Otello

text: Meanwhile, Boito began work on the libretto in spite of illness and, by late October/early November had sent a copy of the work so far. After appealing to Giuseppina, Ricordi was told that the Verdis would be coming to Milan and that he would meet privately with Boito. However, she noted in her letter of 7 November: "Between ourselves, what Boito has so far written of the African seems to please him, and is very well done."


title: Otello

text: At this point the opera was being referred to as Iago rather than "Otello", due to the tradition—"an unwritten law of the theatre"—that any new opera would have a new title rather than that of one still in the repertoire, in this case by Rossini.


title: Otello

text: The process of writing the first drafts of the libretto and the years of their revision, with Verdi all along not promising anything, dragged on. As Walker charts it, the opera was completed:


title: Otello

text: in three comparatively short bouts of composition: the first, very brief, was at Genoa in March 1884 [five years after the first drafts of the libretto began!]; the second, the principal one, at Genoa from December 1884 to April 1885; the third at Sant' Agata from the middle of September to early October 1885.


title: Otello

text: By late August 1881, it appears that the text of the finale of act 3, over which there had been some considerable discussion (with ideas exchanged between both men) was sent to Verdi, who responded in a long letter from Milan regarding his feelings about its overall structure, the role of the chorus, and other issues. Throughout 1882 and 1883 very little happened, although during the winter of 1883 Verdi and Boito met in Genoa where the Verdis spent their winters, but it prompted Ricordi for three Christmases in a row to send a cake to Verdi with the figure of the Moor—in chocolate—on the top. In order to keep information about the composition within the group, this gesture may have been the cause for the name given to the project for many years, "chocolate", as in Boito's letter of 1864 noting that "the manufacture of chocolate was going ahead".


title: Otello

text: Early the following year, Verdi began to compose and on 20 March 1884, in a letter from Boito to Ricordi, the librettist announced that Verdi had begun with the "opening of first act and seems to be working with fervor". There then occurred an event which unsettled both Verdi and Boito, and which nearly caused the project to come to a complete stop. While attending a banquet in Naples following the successful presentation of his opera "Mefistofele", Boito gave an interview to a journalist and, in trying to keep information about the proposed "Otello" as quiet as possible, appears to have been misquoted by another journalist who overheard part of the conversation. The key point was that Boito, himself a composer, appeared to want to compose the music for "Otello" himself. When Verdi read this in a Milan newspaper, he was horrified and, in a letter to Faccio (rather than directly confronting Boito) stated that he wanted Faccio to directly tell the librettist that "I will give him his manuscript intact, without a shadow of resentment, without rancor of any kind".


title: Otello

text: The theme and my libretto are yours by right of conquest. You alone can set "Othello" to music—all the dramatic creations you have given us proclaim the truth.


title: Otello

text: [He continues by discussing his own preoccupation with Emperor Nero and his love for the period of Ancient Roman history, pointing to his ongoing work on his own opera, "Nerone"]


title: Otello

text: ... no other subject in the world can distract me, not even Shakespeare's "Othello", could distract me from my theme.[He asks the composer, given the above comments, whether he really believes that he would accept his offer. Boito begs Verdi to not to abandon "Otello":] It is predestined for you. Create it. You had begun work upon it [so..] take up you pen again and write me soon: 'Dear Boito, do me the favour of altering these verses, etc. etc...'


title: Otello

text: Verdi's response, which came right away was quite blunt: in addition to complaining of his age, his years of service, and raising other objections, he states: "The conclusion is that all this has cast a chill over this "Otello", and stiffened the hand that had begun to trace out a few bars!", but, in total contrast, Boito appears to have simply decided to carry on. Albeit "somewhat disquieted", he immediately proposes "a sort of "evil Credo" [which] I did... for my own comfort and personal satisfaction, because I felt the need of doing it". On 3 May, Verdi wrote back, calming this down: "Most beautiful this Credo; most powerful and wholly Shakespearian... it would be well to leave this "Otello" in peace for a bit ... [and encouraging Boito to come to Sant'Agata where] "we shall be able to talk it over again, and by then with the necessary calm". Boito did visit Verdi in September for three days.


title: Otello

text: "It seems impossible, but it's true all the same! I'm busy, writing!! ... without purpose, without worries, without thinking of what will happen next..." So Verdi wrote to Boito, with a request for a few more lines for act two, to which the librettist immediately responded: "One can't escape one's destiny, and by a law of intellectual affinity that tragedy of Shakespeare's is predestined for you".


title: Otello

text: Verdi's second burst of creative energy lasted until mid-April 1885, and was followed by the usual summer break and a lack of any activity. He confesses to Boito in a letter of 10 September of that year, when he invites him to come to Sant'Agata the following Sunday, stating "since I've been here [from the end of April] (I blush to say it) I've done nothing!" It was during this time that the fourth act was pulled together. Walker speculates that Boito's visit and his conversations with the composer must have had some effect on Verdi because, on 5 October, Verdi made the announcement: "I have finished the fourth act, and I breathe again".


title: Otello

text: Scoring took another year which, from January 1886 onward, involved the librettist in re-writes and additions at Verdi's request. It was at this time that it was decided to call the opera "Otello" rather than "Iago" (as noted above). Verdi's letter to Boito in January settles the matter: "I would find it hypocritical not to call it "Otello". Emanuele Muzio (Verdi's long-time assistant) tells Ricordi in March that the love duet in act 1 was finished and performed.


title: Otello

text: In May, Verdi "hit upon the precise form of one of the most famous entrances in all opera" – Otello's "Esultate" – in act 1. Boito modified his verses accordingly. Other minor changes and proposed revisions were wrapped up into September so that Verdi could write to Ricordi on 9 September: "Tomorrow I shall send to Casa Ricordi, completely finished, all the first act and all scene "vi" of the third; and thus with the fourth, already sent, perhaps three-fifths of the Moor are ready".


title: Otello

text: But on 1 November 1886, in a laconic communication, Verdi was able to proclaim: "DEAR BOITO, It is finished! All honour to us! (and to "Him"!!). Farewell. G. VERDI".("sic") This left only a few minor tweaks to be done, with Boito providing two more lines in December and Verdi writing to him on the 18th saying "I have just consigned to [Ricordi] the last acts of "Otello"! Poor Othello!... He won't come back here any more!!!" The librettist replied: "The Moor will come back no more to knock on the door of the Palazzo Doria [Verdi's Genoa residence], but you will go to meet the Moor at La Scala. "Otello" exists. The great dream has become reality".


title: Otello

text: As the Italian public became aware that the retired Verdi was composing another opera, rumors about it abounded. At the same time, many of the most illustrious conductors, singers and opera-house managers in Europe were vying for an opportunity to play a part in "Otello"s premiere, despite the fact that Faccio and La Scala, Milan, had already been selected as the conductor and the venue for the first performance. The two male protagonists had been selected, too: Italy's foremost dramatic tenor, Francesco Tamagno, was to sing Otello while the esteemed French singing-actor Victor Maurel would assume the villainous baritone role of Iago. Romilda Pantaleoni, a well-known singing-actress, was assigned Desdemona's soprano part.


title: Otello

text: Upon the completion of the opera, preparations for the initial performance were conducted in absolute secrecy and Verdi reserved the right to cancel the premiere up to the last minute. In particular, the composer expressed reservations about Tamagno's softer singing, though not about the power and ring of his vocalism in dramatic passages of the score.


title: Otello

text: Verdi need not have worried: "Otello"s debut proved to be a resounding success. The audience's enthusiasm for Verdi was shown by the 20 curtain calls that he took at the end of the opera. Further stagings of "Otello" soon followed at leading theatres throughout Europe and America.


title: Otello

text: The opera was first seen in the US at the Academy of Music in New York on 16 April 1888 and in the UK on 5 July 1889 in London. At its first appearance in Vienna (14 March 1888), the title role was sung by Hermann Winkelmann, who had created the title role in Wagner's "Parsifal" at Bayreuth in 1882.


title: Otello

text: "Otello" was given its Paris premiere by the Opéra at the Palais Garnier on 12 October 1894 with Albert Saléza in the title role, Rose Caron as Desdemona, and Paul Taffanel conducting. It was performed in a French translation by Arrigo Boito and Camille Du Locle. Verdi composed a short ballet for the finale of Act 3 (ceremony of welcome for the Venetian ambassadors). The production was directed by Alexandre Lapissida, the costumes were designed by Charles Bianchini, and the sets, by Marcel Jambon (Act I); and Eugène Gardy (Act II); Eugène Carpezat (Act III); and Auguste Alfred Rubé and Philippe Chaperon (Act IV).


title: Otello

text: Since the three leading roles of the opera (Otello, Desdemona and Iago) are among Verdi's most demanding, both vocally and dramatically, some of the most illustrious singers of the past 130 years have made "Otello" part of their repertoire. Famous Otellos of the past have included Tamagno, the role's trumpet-voiced creator, as well as Giovanni Battista De Negri, Albert Alvarez, Francesc Viñas, Giuseppe Borgatti, Antonio Paoli, Giovanni Zenatello, Renato Zanelli, Giovanni Martinelli, Aureliano Pertile, Francesco Merli, Giacomo Lauri-Volpi, Frank Mullings, Leo Slezak, Jose Luccioni, Ramón Vinay, Mario Del Monaco, James McCracken, Jon Vickers, David Rendall, Jeffrey Lawton and Carlo Cossutta. Pre-Second World War Wagnerian tenors such as Jacques Urlus, Heinrich Knote, Alexander Kirchner, Lauritz Melchior and Franz Völker also undertook the part (usually singing it in German). The Russian heroic tenor Ivan Yershov was a renowned pre-World War I Otello in his native country. His compatriot Arnold Azrikan achieved his greatest recognition as a dramatic tenor in Otello. For this performance he was awarded the Stalin Prize in 1946.


title: Otello

text: Enrico Caruso was studying "Otello" when he died unexpectedly in 1921, thus thwarting the New York Metropolitan Opera company's plans to stage the opera as a new vehicle for its star tenor.


title: Otello

text: Currently, Plácido Domingo has appeared in more video productions of the opera than any other tenor. Also, he has recorded the complete role several times on CD and appeared in numerous stage productions of the work on both sides of the Atlantic. In his book "My First Forty Years", Domingo has written about different approaches over the years towards singing the role of Otello:


title: Otello

text: As to the other question — that of singing roles that, according to self-proclaimed experts, we ought not to be singing — I have a little story to tell. When I decided to sing Otello, many people told me that I was crazy. Mario Del Monaco, they said, had had the proper kind of voice for the role, and my voice was nothing like his. Twenty years earlier, Del Monaco had been warned not to sing Otello because his voice was nothing like that of Ramon Vinay, who was then performing the opera all over the world. Vinay, of course, had heard that only a tenor with a piercing sound like Giovanni Martinelli's ought to sing the part. Some years earlier, Martinelli had had Antonin Trantoul, who had sung Otello at La Scala in the twenties, held up to him as a shining example; but at La Scala, those who still remembered the very first Otello, Francesco Tamagno, had found Trantoul completely unsatisfactory. But there exists a letter from Verdi to his publisher in which the composer makes it quite clear that Tamagno left a great deal to be desired.


title: Otello

text: A long lineage of renowned baritones have sung Iago since 1887. Among them: Victor Maurel (the role's first exponent), Mattia Battistini, Mario Ancona, Antonio Scotti, Titta Ruffo, Pasquale Amato, Carlo Galeffi and Lawrence Tibbett. Leading post-war exponents of the part have included Giuseppe Valdengo, Leonard Warren, Robert Merrill, Tito Gobbi, Sherrill Milnes and James Morris. Many lyric sopranos have also sung the role of Desdemona since 1887, including Renata Tebaldi (1954), Leonie Rysanek (1960), Gwyneth Jones (1968), Mirella Freni (1974), Kiri Te Kanawa (1974), Margaret Price (1977), Renata Scotto (1978), Katia Ricciarelli (1985), Cheryl Studer (1993), Renée Fleming (1996) and Sonya Yoncheva (2015).


title: Otello

text: For many years it was common for white singers to wear dark makeup when playing Otello. The Metropolitan Opera stopped the practice in 2015. Some have argued that using dark makeup for the character is a matter of costuming, and not a true example of racist blackface. The Metropolitan decision led to calls for casting more people of color in opera.


title: Otello

text: "A town in Cyprus, outside the castle. An inn with a pergola, in the background the quayside and sea. It is evening. Lightning, thunder, gale force winds."


title: Otello

text: On a stormy evening, the people of Cyprus anxiously await the arrival of the new governor, Otello, from a naval battle with the Turks (Chorus, Montano, Cassio, Iago, Roderigo: "Una vela!" / "A sail!"). For a moment it seems as if Otello's ship will founder, to the delight of Otello's treacherous ensign, Iago, but Otello arrives safely and announces that the Turkish fleet has been destroyed, and the Cypriots cheer (Otello, chorus: "Esultate! L'orgoglio musulmano sepolto è in mar" / "Rejoice! The Muslim’s pride is buried in the sea").


title: Otello

text: Iago offers to help the young Venetian gentleman Roderigo in his seduction of Otello's wife, Desdemona – Iago envies Otello his success and longs to destroy the Moor (Iago, Roderigo: "Roderigo, ebben che pensi?" / "Well, Roderigo, what are you thinking?"). Among his grievances, Iago is outraged that Otello has appointed Cassio to be the captain of the navy, a position that Iago hoped to have. The people of Cyprus celebrate the safe return of Otello and his men by lighting a bonfire and drinking (Chorus: "Fuoco di gioia!"/ "Fire of joy").


title: Otello

text: Iago proposes a toast to Otello and his wife, while Cassio praises Desdemona (Iago, Cassio, Chorus, Roderigo: "Roderigo, beviam!" / "Roderigo, let's drink!"). Iago offers Cassio more wine, but Cassio says he has had enough. Iago pressures him and offers a toast to Otello and Desdemona. Cassio gives in. Iago sings a drinking song and continues to pour Cassio wine (Iago, Cassio, Roderigo, chorus: "Inaffia l'ugola!" / "Wet your throat").


title: Otello

text: Montano enters and calls for Cassio to begin his watch; he is surprised to find Cassio drunk and barely able to stand upright. Iago lies to Montano, telling him that this is how Cassio spends every evening. Roderigo laughs at Cassio's drunkenness and Cassio attacks him. Montano tells Cassio to calm down, but Cassio draws his sword and threatens to crack open Montano's head. (Montano, Cassio, Iago, Roderigo, chorus: "Capitano, v'attende la fazione ai baluardi" / "Captain, the guard awaits you on the ramparts".) Cassio and Montano begin to duel, and Iago sends Roderigo to call the alarm. Montano is wounded and the fight is stopped only by the appearance of Otello.


title: Otello

text: Otello orders Montano and Cassio to lower their swords. He then asks "honest Iago" to explain how the duel began, but Iago says he doesn't know. Otello then turns to Cassio, who is embarrassed and cannot excuse his actions. When Otello discovers that Montano is wounded, he becomes enraged. Desdemona enters, and, upon seeing that his bride's rest has been disturbed, Otello declares that Cassio is no longer Captain. (Otello, Iago, Cassio, Montano: "Abbasso le spade" / "Down with your swords".) He tells Iago to patrol the town to restore quiet, calls for help for Montano and orders everyone to return to their houses.


title: Otello

text: The Cypriots leave Otello alone with Desdemona. Together Otello and Desdemona recall why they fell in love. Otello, in an ecstasy of joy, invites death, fearing that he will never know such happiness again. Desdemona prays that their love will remain unchanged. They kiss, overcome with love for each other. (Otello, Desdemona: "Già nella notte densa s'estingue ogni clamor" /"Now in the dark night all noise is silenced".)


title: Otello

text: "A hall on the ground floor of the castle, divided by a glass partition from the garden at the back, with a balcony."


title: Otello

text: Iago suggests to Cassio that he should ask Desdemona to talk to Otello about his demotion; Desdemona can influence her husband to reinstate him (Iago, Cassio: "Non ti crucciar" / "Do not fret"). Desdemona and Emilia can be seen walking the garden. Cassio approaches Desdemona. Watching from the room, Iago voices his nihilistic beliefs and hatred of humankind ("Credo in un Dio crudel" / "I believe in a cruel God").


title: Otello

text: Otello enters the room; Iago, pretending not to notice him, says that he is deeply troubled. Cassio sees Otello from afar and goes discreetly away. Otello asks what's wrong, but Iago gives only vague answers. Finally, he hints that Cassio and Desdemona are having an affair. Otello begins to get suspicious, but declares that he needs proof before believing that Desdemona has been unfaithful. (Iago, Otello: "Ciò m'accora... Che parli?" / "That worries me..." "What did you say?") Iago warns Otello against jealousy, but also advises him to be vigilant.


title: Otello

text: A crowd of children, sailors, and Cypriots sing to Desdemona, praising her beauty and purity (Chorus, Iago, children, Desdemona, Otello: "Dove guardi splendono raggi" / "Wherever you look, brightness shines..."). They present her with gifts and wish her happiness before leaving.


title: Otello

text: Desdemona carries Cassio's request for reinstatement to Otello. Otello sourly tells her to ask him another time; as she persists, he grows impatient and says he has a headache. Desdemona offers to wrap his head in a handkerchief Otello once gave her, linen embroidered with strawberries. Otello throws it to the ground and says he doesn't need it (Desdemona, Otello: "D'un uom che geme sotto il tuo disdegno la preghiera ti porto" / "I bring a petition from one who suffers under your displeasure"). Emilia picks up the handkerchief. Desdemona asks for Otello's forgiveness. Aside, Iago demands that Emilia give him the handkerchief. When she refuses, Iago forcibly takes it from her.


title: Otello

text: Otello dismisses the others, and declares that he now believes that Desdemona may be deceiving him (Otello: "Ora e per sempre addio sante memorie" / "Now and forever farewell, holy memories"). Iago returns, and the jealous Otello demands proof of Desdemona's infidelity. Iago says that once, when he and Cassio were sleeping in the same room, he heard Cassio talking to Desdemona in a dream. In the dream, says Iago, Cassio told Desdemona that they must be careful to conceal their love. (Iago: "Era la notte, Cassio dormia" / "It was night, Cassio was sleeping".) Iago says that dreams don't prove anything, but remarks that he saw Cassio carrying Desdemona's strawberry-embroidered handkerchief just the day before. Otello swears vengeance on Desdemona and Cassio, and Iago joins him in his vow (Otello, Iago: "Sì, pel ciel marmoreo giuro" / "Yes, by the marble heavens I swear").


title: Otello

text: "The great hall of the castle. To the right, a large colonnade leading to a smaller hall, in the back of which is a balcony. Othello and Iago talking in the hall as a herald enters."


title: Otello

text: A herald brings news of the approach of ambassadors from Venice. Iago explains to Otello that he will lure Cassio here and talk with him while Otello watches, hidden. He leaves to go get Cassio. (Iago: "Qui trarrò Cassio" / "Here I will bring Cassio".)


title: Otello

text: Desdemona enters and reminds Otello of Cassio's request. Otello says that his headache has returned, and asks Desdemona to wrap her handkerchief around his head. When Desdemona produces a different handkerchief, Otello demands the one with strawberries. When she says she does not have it, Otello says that it was a talisman, and troubles will befall her if she loses it. Desdemona says that he is trying to ignore Cassio's plea, and as she asks him about Cassio, he demands the handkerchief ever more insistently. (Desdemona, Otello: "Dio ti giocondi, o sposo" / "God keep you merry, husband".) Desdemona protests that she is faithful; Otello sends her away (Desdemona, Otello: "Esterrefatta fisso lo sguardo tuo tremendo" / "Terrified, I face your dreadful look").


title: Otello

text: Otello laments his fate ("Dio! mi potevi scagliar tutti i mali" / "God, you could have thrown every evil at me" ). When Iago calls out "Cassio is here!" Otello hides as Iago and Cassio enter. Cassio says he had hoped to see Desdemona here, for he wanted to know whether she had been successful with Otello (Iago, Cassio, Otello: "Vieni; l'aula è deserta" / "Come, the hall is deserted"). Iago asks him to tell of his adventures with that woman. Cassio asks which woman, and, softly, so that Otello cannot hear, Iago says "Bianca" (the name of Cassio's actual lover). As Cassio laughs about his romantic adventures, Otello assumes he is speaking of Desdemona. In a conversation only partially heard, Cassio seems to be telling Iago that another woman, a secret admirer, left him a handkerchief as a token. At Iago's urging, Cassio produces it, whereupon Iago seizes it—for it is Desdemona's—and holds it out where he knows Otello can see it. He then returns it to Cassio and teases him, while in his hiding place Otello fumes (Iago, Cassio, Otello: "Questa è una ragna dove il tuo cuor casca" / "This is a spiderweb in which your heart is caught").


title: Otello

text: Bugles sound, announcing the arrival of the Venetian ambassador, Lodovico. Iago warns Cassio that he should leave unless he wants to see Otello. Cassio exits, and Otello asks Iago how he should kill his wife. Iago advises Otello to kill Desdemona by suffocating her in her bed, while he will take care of Cassio. Otello promotes Iago to Captain.


title: Otello

text: Lodovico, Desdemona, Emilia, Roderigo, and other dignitaries enter. When Lodovico notes Cassio's absence, Iago tells him that Cassio is out of favor. Desdemona interrupts, telling Lodovico that she hopes he will soon be restored. Otello calls her a demon and almost strikes her violently but is held back by Lodovico. Otello then calls for Cassio. (Lodovico, Otello, Desdemona, Emilia, Iago, chorus: "Il Doge ed il Senato salutano l'eroe trionfatore" / "The Doge and the Senate greet the triumphant hero".) Cassio enters and Otello reads (mixing in insults to Desdemona) a letter from the Doge, announcing that he (Otello) has been called back to Venice and Cassio is to succeed him as governor of Cyprus. Enraged, Otello throws Desdemona to the ground. (Otello, Roderigo, Iago, Cassio, Lodovico: "Messeri! il Doge mi richiama a Venezia" / "Gentlemen! The Doge recalls me to Venice".)


title: Otello

text: Desdemona, on the ground, laments ("A terra! … sì … nel livido fango" / "Fallen! yes, in the foul mud..."). The various characters express their feelings: Emilia and Lodovico express their sympathy for Desdemona, Cassio marvels at his sudden change of fortune, and Roderigo laments that Desdemona will soon depart. In separate asides, Iago urges Otello to take his revenge as soon as possible, while he will take care of Cassio. He advises Roderigo that the only way to prevent Desdemona from leaving is for Cassio, the new Duke, to die, and suggests that Roderigo murder Cassio that night. (Emilia, Cassio, Desdemona, Roderigo, Lodovico, Iago, Otello, chorus: "Quell'innocente un fremito d'odio non ha nè un gesto" / "That innocent one is without feeling or gesture of hatred"). In a fury, Otello orders everyone to leave. Desdemona goes to comfort him, but Lodovico pulls her away as Otello curses her. As the others leave, Otello raves about the handkerchief, then collapses. Outside, the crowd of Cypriots hails the victory and glory for Otello, whom they call "the Lion of Venice". Iago presses Otello's forehead with his heel, and snarls, with contemptuous irony: "Ecco il Leone! ("This is the lion!"), and then walks away. (Otello, Desdemona, Emilia, Cassio, Roderigo, Lodovico, Iago, chorus: "Fuggite!" / "Begone".)


title: Otello

text: "Desdemona's bedchamber. A bed, a prie-dieu, a table, a mirror, some chairs. A light burns in front of an image of the Madonna which hangs above the prie-dieu. To the right is a door. On the table a light. It is night. "


title: Otello

text: Desdemona is preparing for bed with the assistance of Emilia. She asks Emilia to put out the bridal gown she used on her wedding day, and says that if she dies, she wants to be buried in it. Emilia tells her not to talk about such things. Desdemona recalls how her mother's servant Barbara was abandoned by her lover, and how she used to sing the Willow Song (Desdemona: "Piangea cantando nell'erma landa" / "Singing, she wept on the lonely hearth"). After Emilia leaves, Desdemona prays ("Ave Maria") and then falls asleep.


title: Otello

text: Silently, Otello enters, with a sword. He kisses his wife three times; she awakens. Otello asks her if she has prayed tonight; she must die, and he does not wish to condemn her soul. She asks God for mercy, both for her and for Otello. Otello accuses her of sin, saying that he must kill her because she loves Cassio. Desdemona denies it and asks that he summon Cassio to testify to her innocence. Otello says that Cassio is already dead. Desdemona, horrified, pleads for mercy, but Otello tells her it's too late and strangles her (Otello, Desdemona: "Diceste questa sera le vostre preci" / "Have you said your prayers tonight?").


title: Otello

text: Emilia knocks at the door, (Emilia: "Aprite! Aprite!" / "Open up!") announcing that Cassio has killed Roderigo. Desdemona softly calls out that she has been unjustly accused, but refuses to blame Otello. She dies. Emilia calls Otello a murderer; he retorts that Iago gave him proof of Desdemona's infidelity. Otello begins to threaten Emilia, who calls for help. Iago, Cassio, and Lodovico enter. Emilia demands that Iago deny Otello's accusation; he refuses. Otello says that the handkerchief Desdemona gave to Cassio is proof enough. Emilia, horrified, explains that Iago stole the handkerchief from her—Cassio confirms that the handkerchief appeared mysteriously in his lodgings. Montano enters and says that Roderigo, with his dying breath, has revealed Iago's plot. Iago, brandishing his sword, runs away.


title: Otello

text: After he realizes what has happened, Otello grieves over Desdemona's death. Initially he draws his scimitar (Otello: "Niun mi tema" / "That none fear me") but then relinquishes it. He then stealthily draws a dagger from his robe (Otello: "Ho un'arma ancor!" / I still have another weapon!) and stabs himself. Others try to stop him, but it is too late. Before he dies, he drags himself next to his wife and kisses her (Otello: "Un bacio...un bacio ancora...ah!...un altro bacio..." / A kiss.. another kiss...ah...and yet another kiss). He lies dead next to Desdemona.


title: Otello

text: In 1894, Verdi composed a short ballet for a French production of "Otello", which takes place during the third act and precedes the entrance of Lodovico. It is rarely performed as part of the opera.


title: Coffeemaker

text: A coffeemaker, coffee maker or coffee machine is a cooking appliance used to brew coffee. While there are many different types of coffeemakers the two most common brewing principles use gravity or pressure to move hot water through coffee grounds. In the most common devices, coffee grounds are placed into a paper or metal filter inside a funnel, which is set over a glass or ceramic coffee pot, a cooking pot in the kettle family. Cold water is poured into a separate chamber, which is then boiled and directed into the funnel and allowed to drip through the grounds under gravity. This is also called "automatic drip-brew". Coffee makers that use pressure to force water through the coffee grounds are called espresso makers, and they produce espresso coffee.


title: Coffeemaker

text: On August 27, 1930, Inez H. Peirce of Chicago, Illinois, filed her patent for the first vacuum coffee maker that truly automated the vacuum brewing process, while eliminating the need for a stovetop burner or liquid fuels.


title: Coffeemaker

text: A cafetiere (coffee plunger, French press in US English) requires coffee of a coarser grind than does a drip brew coffee filter, as finer grounds will seep through the press filter and into the coffee.


title: Coffeemaker

text: Because the coffee grounds remain in direct contact with the brewing water and the grounds are filtered from the water via a mesh instead of a paper filter, coffee brewed with the cafetiere captures more of the coffee's flavour and essential oils, which would become trapped in a traditional drip brew machine's paper filters. As with drip-brewed coffee, cafetiere coffee can be brewed to any strength by adjusting the amount of ground coffee which is brewed. If the used grounds remain in the drink after brewing, French pressed coffee left to stand can become "bitter", though this is an effect that many users of cafetiere consider beneficial. For a cafetiere, the contents are considered spoiled, by some reports, after around 20 minutes.


title: Antihumanism

text: In social theory and philosophy, antihumanism or anti-humanism is a theory that is critical of traditional humanism, traditional ideas about humanity and the human condition. Central to antihumanism is the view that philosophical anthropology and its concepts of "human nature", "man" or "humanity" should be rejected as historically relative, ideological or metaphysical.


title: Antihumanism

text: In the late 18th and 19th centuries, the philosophy of humanism was a cornerstone of the Enlightenment. Human history was seen as a product of human thought and action, to be understood through the categories of "consciousness", "agency", "choice", "responsibility", "moral values". Human beings were viewed as possessing common essential features. From the belief in a universal moral core of humanity, it followed that all persons were inherently free and equal. For liberal humanists such as Immanuel Kant, the universal law of reason was a guide towards total emancipation from any kind of tyranny.


title: Antihumanism

text: Criticism of humanism as over-idealistic began in the 19th century. For Friedrich Nietzsche, humanism was nothing more than an empty figure of speech – a secular version of theism. Max Stirner expressed a similar position in his book "The Ego and Its Own", published several decades before Nietzsche's work. Nietzsche argues in "Genealogy of Morals" that human rights exist as a means for the weak to constrain the strong; as such, they do not facilitate the emancipation of life, but instead deny it.


title: Antihumanism

text: The young Marx is sometimes considered a humanist, as he rejected the idea of human rights as a symptom of the very dehumanization they were intended to oppose. Given that capitalism forces individuals to behave in an egoistic manner, they are in constant conflict with one another, and are thus in need of rights to protect themselves. True emancipation, he asserted, could only come through the establishment of communism, which abolishes private property. According to many anti-humanists, such as Louis Althusser, mature Marx sees the idea of "humanity" as an unreal abstraction that masks conflicts between antagonistic classes; since human rights are abstract, the justice and equality they protect is also abstract, permitting extreme inequalities in reality.


title: Antihumanism

text: In the 20th century, the view of humans as rationally autonomous was challenged by Sigmund Freud, who believed humans to be largely driven by unconscious irrational desires.