History.

Beginning as WWF's "Monday Night Raw," the program first aired on January 11, 1993 on the USA Network as a replacement for "Prime Time Wrestling", which aired on the network for eight years. The original "Raw" was sixty minutes in length and broke new ground in televised professional wrestling. Traditionally, wrestling shows were taped on sound stages with small audiences or at large arena shows. The "Raw" formula was considerably different from the taped weekend shows that aired at the time such as "Superstars" and "Wrestling Challenge". Instead of matches taped weeks in advance with studio voice overs and taped discussion, "Raw" was a show shot and aired to a live audience, with angles playing out as they happened.  "Raw" originated from the Grand Ballroom at the Manhattan Center, a small New York City theater, and aired live each week. The combination of an intimate venue and live action proved to be a successful improvement. However, the weekly live schedule proved to be a financial drain on the WWF. From Spring 1993 up until Spring 1997, "Raw" would tape several week's worth of episodes after a live episode had aired. The WWF taped several weeks worth of "Raw" from the Mid-Hudson Civic Center in Poughkeepsie, New York in April 1993, and again in June and October. The first episode produced outside of New York was taped in Bushkill, Pennsylvania in November 1993 and "Raw" left the Manhattan Center permanently as the show would be taken on the road throughout the United States and had in smaller venues.  On September 4, 1995, the WWF's chief competitor World Championship Wrestling began airing its new wrestling show, "Monday Nitro", live each week on TNT, which marked the start of the Monday Night Wars. "Raw" and "Nitro" went head-to-head for the first time on September 11, 1995. At the start of the ratings war in 1995 through to mid-1996, "Raw" and "Nitro" exchanged victories over each other in a closely contested rivalry. Beginning in mid-1996, however, due to the nWo angle, "Nitro" started a ratings win-streak that lasted for 84 consecutive weeks, ending on April 13, 1998. On February 3, 1997, "Raw" went to a two-hour format, to compete with the extra hour on "Nitro" (which had been expanded to two hours in the summer of 1996), and by March 10, it was renamed to "Raw Is War". It was also during the time "Raw" would be aired live more often. After WrestleMania XIV in March 1998, the WWF regained the lead in the Monday Night Wars with its new "WWF Attitude" brand. The April 13, 1998 episode of "Raw Is War", which was headlined by a match between Stone Cold Steve Austin and Vince McMahon, marked the first time that WCW had lost the head-to-head Monday night ratings battle in the 84 weeks since 1996.  On January 4, 1999, Mick Foley, who had wrestled for WCW during the early 1990s as Cactus Jack, won the WWF Championship as Mankind on "Raw Is War". On orders from Bischoff, "Nitro" announcer Tony Schiavone gave away this previously taped result on a live "Nitro" and then sarcastically added, "That's gonna put some butts in the seats", consequently resulting in over 600,000 viewers switching channels to "Raw Is War" to see the underdog capture the WWF Championship. This was also the night that "Nitro" aired a WCW World Heavyweight Championship match in which Kevin Nash laid down for Hollywood Hogan after Hogan poked him in the chest.  On June 28, 2000, Viacom won the landmark deal with the WWF to move all of its WWF programs stemming from the lawsuit action against WWF from USA Network. The new television contract and the subsequent purchase of competitor WCW led to many changes in WWF's programming content. "Raw Is War" premiered on TNN on September 25, 2000.  WCW's sharp decline in revenue and ratings led to Time Warner selling selected assets such as the WCW name, tapes, and contracts to the WWF in March 2001 for $3 million. The final episode of Nitro, which aired on March 26, 2001, began with Vince McMahon making a short statement about his recent purchase of WCW and ended with a simulcast with "Raw" on TNN and "Nitro" on TNT including an appearance by Vince's son Shane. The younger McMahon interrupted his father's gloating over the WCW purchase to explain that Shane was the one who actually owned WCW, setting up what became the WWF's "Invasion" storyline. Following the purchase of WCW and the September 11 attacks, the program was retitled as "Raw" on October 1, 2001, permanently retiring the "Raw Is War" moniker.  In March 2002, as a result of the overabundance of talent left over from the Invasion storyline, WWF instituted a process known as the "brand extension", under which "Raw" and "SmackDown" would be treated as two distinct divisions, each with their own rosters and championships. Shortly thereafter, the WWF was legally required to change the name of the company to World Wrestling Entertainment.  On March 10, 2005, Viacom and WWE decided not to go on with the agreement with Spike TV, effectively ending "Raw" and other WWE programs' tenure on the network when their deal expired in September 2005. On April 4, 2005, WWE announced a three-year deal with NBCUniversal to bring "Raw" back to its former home, the USA Network, with two yearly specials on NBC and a Spanish "Raw" on Telemundo. On the same week as "Raw"s return to the USA Network, Spike TV scheduled Ultimate Fighting Championship's live "Ultimate Fight Night" in "Raw"<nowiki>'</nowiki>s old timeslot in an attempt to go head-to-head with "Raw".  On the August 29, 2011 episode of "Raw", it was announced that performers from "Raw" and "SmackDown" were no longer exclusive to their respective brand, thus effectively dissolving the brand extension. On July 23, 2012, "Raw" aired its 1,000th episode, which also began its permanent three-hour format. On January 14, 2013, "Raw" celebrated its 20th year on the air. On May 25, 2016, WWE reintroduced the brand split, and a new set with red ring ropes, a brand new stage, used at SummerSlam. Furthermore, the broadcast table was moved to the entrance ramp similar to how it was in 2002–2005. On January 22, 2018, WWE celebrated the 25th anniversary of Raw with a simulcast show at the Barclays Center in Brooklyn and the home of the first Monday Night Raw, the Manhattan Center. On the February 19 episode of "Raw", six days before Elimination Chamber, seven participants of the men's Elimination Chamber match, Braun Strowman, Elias, Finn Bálor, John Cena, Roman Reigns, Seth Rollins and The Miz, were involved in a Gauntlet match that began with Reigns and Rollins. Strowman won the Gauntlet match by pinning The Miz in what was the longest match in WWE history, lasting nearly two hours.  On March 12, 2020, WWE announced that all of its live programs will be aired from the WWE Performance Center in Orlando, Florida without an audience until further notice beginning with the following day's episode of "SmackDown" due to the coronavirus pandemic that resulted in the suspension of many professional sports leagues. On the May 25 episode of "Raw," NXT trainees were added into live crowds at the Performance Center.

Production.

"Raw"s original set featured red, white, and blue ring-ropes, a blue ring-apron, blue steps, and a small stage made of neon tubes. Since March 10, 1997, broadcasts of "Raw" were split into two hours and given hourly names for television ratings purposes, with the first hour being referred to as "Raw Is War" and the second as "War Zone" in television listings, and by the show's on-screen graphics beginning with the June 9, 1997 episode. War Zone opened with simply the Raw intro repeated, punctuated with the War Zone logo, until the November 24th broadcast when it finally debuted its own distinct opening video, albeit simply a remixed Raw opening video. In 1995, the entrance way was changed to feature "Raw" in giant letters.  In 1997, WWF changed to red ring-ropes for "Raw" as well as "Raw Is War" being written along the ring due to their rivalry with WCW. They also updated the stage to feature a 70 foot tall large screen video wall known as the "TitanTron", which consisted a projection screen with several metal stage trusses and a video projector. The set also initially featured curtains on each side with truss beams and lighting later bearing the "WWF Attitude" banner on the sides. By 1999, the WWF added the "WWF.com: 'Download This!'" logo on the bottom of the TitanTron and added two vertical sides on the stage.  With "Raw" moving to TNN from USA in September 2000, the TNN network logo was added on top of the TitanTron. The Chyron graphics were added to the bottom in July 2001.  Beginning October 1, 2001, in direct response to the September 11 attacks, the first hour was referred to as "Raw" instead of "Raw Is War" and the second hour changed from the "War Zone" to the "Raw Zone" by the show's on-screen graphics; however, announcers would generally refer to the entire two-hour block as "Raw" on-air. "Raw" updated to a new, industrial-inspired, parallelogram-shaped TitanTron in 2002. When the "War" ended, they began advertising their website on the ring aprons instead. They occasionally used black ropes. Like the previous set, the TNN logo was relocated to the bottom side of the TitanTron which was then replaced by the Spike TV logo on August 11, 2003 upon network relaunch. During the July 25, 2005 broadcast of "Raw" in Cleveland, Ohio, a special stage design was built for the John Cena-Chris Jericho Battle of the Bands concert.  On October 3, 2005, as "Raw" returned to USA Network, the 2002 set was retained but the beams and lighting on the sides were modified. The Spike TV logo was removed from the bottom side of the TitanTron. No changes to the "Raw" set beyond October 9, 2006 when it unveiled the new logo and opening intro featuring "...To Be Loved" by Papa Roach as its theme song and scenes from New York City, the birthplace of "Raw", with the ending of the intro shows the rooftop of Madison Square Garden. However, the logo and intro was retained until November 9, 2009 even with the changeover to high-definition broadcast on January 21, 2008, replacing the previous set which the "Minitron" was destroyed by Triple H when Vince McMahon's face was shown.  From November 16, 2009 to July 23, 2012, the theme song for the "Raw" brand was "Burn It to the Ground" by Nickelback. Prior to this, the theme song for "Raw" was "...To Be Loved" by Papa Roach, which had been used since October 9, 2006 and "Across The Nation" by The Union Underground which was used from April 1, 2002 to October 2, 2006. The rap outro of "Thorn In Your Eye" featuring Scott Ian of Anthrax was the theme song from March 10, 1997 to March 25, 2002.  On May 17, 2012, WWE and USA Network announced that "Raw" would switch to a permanent three-hour format beginning with the 1,000th episode on July 23, 2012. Since then, all three hours of the broadcast have been known solely as "Raw", though they are still considered three separate programs for Nielsen ratings purposes (as indicated by the on-screen copyright notice shown near the end of each hour). In 2008, "Raw" went HD debuting a new stage. In 2010, WWE retired the red ropes for "Raw" after thirteen years for an all white scheme, and in 2012 became standard for all WWE programming. In 2012, "Raw" updated their HD set.  Starting in mid 2014, this set would also be featured in pay-per-views. From late September through the end of October 2012, the middle rope at all WWE programming was changed to pink due to WWE's alliance with the Susan G. Komen organization for Breast Cancer Awareness Month. This was repeated in 2013, from late September to early November, and it was repeated in 2014 from 29 September. WWE is one of many organizations who provide financial contributions as well as getting customers and employees to support the cause.  On August 18, 2014, "Raw" switched to a full 16:9 letterbox widescreen presentation, with a down-scaled version of the native HD feed on a 4:3 SD feed. In conjunction with this, "Raw" updated its graphics package, with the new WWE logo (first used with the WWE Network's launch in February) now on the lower-right corner of the screen, right next to the word, "Live". Also, the new WWE logo is seen on the ring's turnbuckle covers. The USA Network logo has also been moved to the lower-left hand corner of the screen. Also, "Raw"s theme song ("The Night") was modified. On re-runs on the WWE Network and on delayed broadcasts for most international markets, "Raw" is edited without the word "LIVE" and the hashtag.  On March 23, 2015, WWE added a small LED board to the left side of the ring on "Raw". This LED board was also used at WrestleMania 31. The LED board since is now on an on/off basis, featuring in some weeks and not others. On the 1,000th episode of "Raw", "The Night" by Kromestatik debuted as the theme for "Raw" while "Enemies" by Shinedown served as the secondary theme-song until August 18, 2014, when it was replaced with "Denial" by We Are Harlot.  On the September 14, 2015 season premiere of "Raw", the middle rope was colored gold. Throughout the month of October 2015, the program partnered with Susan G. Komen for the Cure to promote Breast Cancer Awareness Month, with various stage elements being made pink. On the November 16, 2015, episode of "Raw", WWE had a moment of silence for the victims of the terrorist attack in Paris, France on November 13, 2015. Another moment of silence was held months later in June for the victims of the Orlando nightclub shooting.  On July 25, 2016, the ropes returned to red, the announce table moved back to the top of the stage for the first time since 2005, and a new HD set and graphics were debuted. The new set was almost identical to the set used for SummerSlam 2012 and 2013. It received some negativity after the newly dubbed "New Era" was using an older set. The set was revamped just four weeks later with a more elaborate and distinctive design. The new set featured the absence of a traditional TitanTron which had been custom since 1997. In its place was a curved LED banner with several rows of rectangle LED lights behind it. The new set also introduced LED floor panels on the entrance ramp along with LED ring posts. On the January 29, 2018 episode of Raw, new graphics and an updated logo were introduced.  On September 30, 2019 for its season premiere (and coinciding with the premiere of "SmackDown" on Fox later that week), "Raw" introduced a new set (including the reinstatment of pyrotechnics, which had been dropped in 2017 due to budget issues), updated logo (cropped with a chevron to make it resemble the corner of a ring), and new theme music ("Legendary" by Skillet). It was also revealed that both shows will now be staffed by separate writing teams.

Name-related lawsuits.

The name for "Raw" was disputed in June 2009 when Muscle Flex Inc., a Los Angeles-based fitness company, had taken legal action against the WWE after a court ruled that some of WWE's trademarks related to "Raw" were similar enough to the "In the Raw" trademark that they caused confusion among Canadians. On June 18, 2008, the Canadian Intellectual Property Office then issued a final decision that found certain wares listed in the trademark application from WWE (No. 1,153,018) were confusingly similar and thus lacked distinctiveness from the Muscle Flex trademark, which Muscle Flex is in the process of acquiring. The WWE appealed the CIPO's ruling to the Federal Court of Canada, but failed to file the required documents by the deadline.  In August 2009, the court ruled in favor of Muscle Flex, Inc. that it was successful in defending its "In the Raw" trademark against the WWE. In a press release date issued on July 20, 2009, Muscle Flex Inc. disclosed that it was in possession of WWE "Raw"-labeled items that it believes directly infringe on its "In the Raw" trademark such as various CDs, VHS tapes, and a number of apparel items. According to the WWE's most recent reported financial quarter in 2009, combined sales of WWE's consumer products and digital media business segments produced $40 million in global revenues. In previous quarters, these numbers were even higher.  Similarly, in June 2017, the WWE issued a legal order to Raw Motors, an automobile repair company in Colwick, UK, over a logo that it claims infringes on one of its logos for "Raw" that was used from 2006 to 2012.

Special episodes.

Throughout its broadcast history, the show has aired episodes that have different themes. Some of them are yearly events such as the Slammy Awards. Others include tributes to various professional wrestlers who have recently died or retired from actively performing, as well as episodes commemorating various show milestones or anniversaries.

On-air personalities.

The show features various on-air personalities including the wrestlers themselves (both males and females), ring announcers, commentators, and on-screen authority figures. "Raw" also has had various recurring on-air segments hosted by members of the roster.

Broadcast.

In the United States, the show airs live on the USA Network. "Raw" also airs Wednesdays on Universo in Spanish. Occasionally, "Raw" is aired on same-day tape delay when WWE is on an overseas tour. "Raw" is also shown live on BT Sports in the United Kingdom and Ireland. "Raw" aires live in India at 5.30 am on Tuesdays on Sony Ten 1. Since October 6, 2014, "Raw" has been airing live throughout Latin America on Fox Sports. The show also airs live on Supersport in South Africa on Tuesdays at 02:00 am CAT. "Raw" had aired in Australia on Fox8 since 2003, usually on a 27-hour tape delay, but has started airing live as of February 4, 2014. Syfy in the United States started airing a 2-hour replay of "Raw" on May 20, 2016. On June 26, 2018, WWE and USA Network announced a five-year contract extension for "Raw". The new agreement for the live, weekly three-hour block will commence in October 2019.

Online streaming.

On September 24, 2012, Hulu Plus signed a multi-year deal with WWE to stream all of the company's TV shows and some of its web series which includes "Raw". Episodes of "Raw" are available for viewing the following day as a condensed 90-minute version is available, not the full version as shown the previous night on the USA Network.  As of December 9, 2016, all episodes of "Raw" are available on demand on the WWE Network. Recent episodes are available for on-demand viewing 30 days after the original air date.  After WrestleMania 32 in 2016, WWE began with airing the newest episodes of Raw and SmackDown on YouTube for countries that don't have WWE programming on traditional TV for free in less than 24 hours after the original broadcast (The links are blocked in countries where the shows are traditionally available). The 90-minute Hulu Plus version gets put on YouTube for international audiences.

Canada.

From 1995 to 2006, "Raw" was shown on The Sports Network until it moved to rival sports broadcaster The Score (now renamed Sportsnet 360) after it was announced that TSN would be carrying "Monday Night Football" for the 2006 season. This meant that Canadian viewers would have to watch via tape-delay, as The Score did not broadcast "Raw" live at that time. Around that time, The Score aired "Countdown to Raw" until May 2013 when "Raw" is shown live to match the United States airtime.  During its run on TSN, which aired live, occasionally had been censored live for extremely violent scenes, or when female wrestlers or characters were assaulted by male wrestlers (particularly one segment that featured the 3-Minute Warning assaulting Kitana Baker). These actions are supposed to be in order to meet Canadian broadcast standards, with repeat broadcasts often more heavily edited. This move had disappointed many wrestling fans over the years, and is unusual since the violence of wrestling scenes are not significantly different from other television programs aired on regular Canadian networks. In parallel, TNN/Spike TV also aired "Raw" live uncensored as it is carried through Canadian cable and satellite providers and USA Network remains not available for distribution in Canada.  All archived broadcasts of "Raw" are available on the WWE Network. Rogers Media secured the rights to Canadian WWE programming until 2024.

The Middle East.

"Raw" airs in the Arab world on MBC Action, on FM1 in Iran and on and in Israel. "Raw" further began airing on D-Smart in Turkey.

Europe.

"Raw" airs on ABXplore in Belgium and is translated into Dutch, French, and German. The show airs on Nova Sport in the Czech Republic and on AB1 in France.  "Raw" airs live on Sky Sport 1 and with German commentary on ProSieben MAXX in Germany, Austria, Switzerland, Luxembourg, and Liechtenstein on Wednesdays at 10 PM. The show airs every Saturday on Skai TV in Greece.  "Raw" airs live on Sky Sport Uno, Sky Sport Arena, with international version of one-hour shows airing on Cielo in Italy in Italian.  The show airs on Extreme Sports Channel in Poland. It airs on SIC Radical and on SIC K on Friday nights in Portugal.  "Raw" airs on Telekom Sport in Romania. The show airs on Prva Srpska Televizija in Serbia. It airs on Neox in Spain in Spanish.  It airs on BTV in Lithuania.  "Raw" airs on BT Sport in Great Britain and Ireland.  "Raw" airs on in Russia, in Russian.  In Spain, "Raw" airs every Saturday at 1 PM on Mega.

Asia and Pacific.

"Raw" airs on Sony Ten 1 and Sony Ten 1 HD in Nepal. It airs on Mola TV On-Demand in Indonesia.  "Raw" airs live on Sony Ten 1 HD and Sony Ten 1 in India. And airs exclusive in Pakistan and Sri Lanka.  "Raw" streams live on FOX+ app with an encore telecast on Fox Sports (Philippines) on the same day.  "Raw" airs live on SuperSport 2 HD in Singapore.  "Raw" airs both live and delayed on Fox8 and Thursday nights on 9Go! as a one-hour version in Australia.  "Raw" airs live on J Sports 4 in Japan.  "Raw" airs live on Sky 5 and Friday nights on Prime as a one-hour version in New Zealand.  "Raw" airs in China on various local networks within China and Videoland Television Network in Taiwan in both English and Thai.  "Raw" airs on ViuTVsix in Hong Kong, on Ten Sports in Pakistan, and on IB Sports in South Korea.

Latin America.

"Raw" airs live on Fox Sports in Mexico and across Central and South America. It also airs on La Red in Chile, Unitel in Bolivia, Canal Uno in Colombia, Teleamazonas in Ecuador, Andina de Televisión in Peru, in Costa Rica, Canal VTV in El Salvador, Canal 5 in Honduras, RPC Canal 4 in Panama and Imagen Televisión in Mexico.

South Africa.

Previously the rights to broadcast Raw, along with other WWE shows, were held by free-to-air broadcaster e.tv. Raw would play on Sundays in the evening, with a 7-day delay, edited to one hour and was the most watched program on the channel. However, in 2017 e.tv decided not to renew its broadcasting deal with WWE. The rights were later resold to SuperSport (the initial broadcasters of WWE programming).  In 2019 SuperSport, along with its parent company MultiChoice, signed a deal to broadcast the 24-hour WWE channel as a pop-up channel for five months on their DStv platform. Currently there are announcements made by DStv that the channel could be made permanent on the platform.

Jamaica.

WWE Raw airs live on Flow 1 and has a replay on Saturdays at 12 PM.

WWE Raw, also known as Monday Night Raw or simply Raw, is an American professional wrestling television program that currently airs live on Monday evenings on the USA Network from 8:00–11:00 PM EST in the United States. The show's name is also used to refer to the Raw brand, to which WWE employees are assigned to work and perform. The show debuted on January 11, 1993 and is currently considered to be one of two flagship shows, along with "Friday Night SmackDown". WWE Raw is the longest running weekly episodic television program.

WWE Raw (také stylizováno jako Monday Night Raw) je sportovní zábavní televizní pořad od WWE, který se ve Spojených státech vysílá na USA Network. Show ve Spojených státech debutovala 11. ledna 1993 na USA Network. Zde se vysílala do roku 2000 do té doby, než byla přesunuta na televizní kanál TNN, později Spike TV. V roce 2005 se přesunula opět na USA Network. Již od své první epizody v roce 1993 se Raw vysílá každý pondělní večer. Show "Raw" je díky své bohaté historii všeobecně vnímána jako nejlepší program od společnosti WWE, má vysoké ratingy a týdenní tříhodinové vysílání.


Career.

Early years.

Hurriganes was founded in 1971 in Pohjois-Haaga, Helsinki, where a similar rock band Jig-Saw played. Influenced by the name of the North American band Johnny And The Hurricanes, Remu Aaltonen devised the name for his own band. Hurriganes practiced in a garage in Ohjaajantie.

"Rock and Roll All Night Long" (1972–73).

Hurriganes' first album "Rock and Roll All Night Long" was released in 1973. It included songs such as "Say Mama" and "Keep On Knocking". The album's A-side was recorded in a concert in Klaukkala, as was the first song of the B-side, but the rest was recorded in the studio. The album became the first gold record album for the record label Love Records.

"Roadrunner" (1974).

Hurriganes' commercial high point was with the release of "Roadrunner" in 1974. The album included the band's most famous song "Get On", which won the International European Pop Jury competition. The album also included the songs "Roadrunner," "It Ain't What You Do", "I Will Stay" and "The Phone Rang". "Roadrunner" was recorded in Stockholm at Marcus Music Studios, and the album was also mastered in Stockholm. "Roadrunner" is still considered one of Finnish rock music's most important albums, and it is Finland's seventh-best-selling album of all time. It was Finland's best-selling album by a Finnish band from 1974 until 1985, when Dingo's "Kerjäläisten valtakunta" exceeded the volume of sales. The album's cover art (by Risto Vuorimies) was the only Finnish album cover in a 1977 book "Album Cover Album" (Dragons, World Book) which was compiled by Hipgnosis and Roger Dean. The cover's stylish motif was chosen by Hurriganes' bassist Cisse Häkkinen, who owned a light blue 1954 Cadillac Series 62 sedan. The cover shows Remu Aaltonen, Cisse Häkkinen and Albert Järvinen sitting on the back seat of the Cadillac. In 2007, "Roadrunner" was re-released as a SACD mixed to a 5.1 format.

"Crazy Days": Kallio returns (1975).

Järvinen left the band in the summer of 1975, and Ile Kallio returned to the band after a break of three years. After "Roadrunner", the band's popularity was at its highest, and not until the late 1970s did new wave and rockabilly genres succeed in prying Hurriganes from their spot as number one on the Finnish band scene, although in Hurriganes' early career Hullujussi also momentarily stole some acclaim. In the neighboring country of Sweden, the band was a popular live performer well into the 1980s, and broke the concert venue Folkpark's record in audience numbers several times. The same in 1975, when Hurriganes released the album "Crazy Days", which reached diamond disc status quickly, but never did beat the "Roadrunner" album in terms of sales. "Crazy Days" contained one major hit, originally released by Jim & The Beatmakers in 1964: "My Only One", which had long been on Hurriganes's concert repertoire, a song sung by Cisse in a bravura performance until the end. The album also covered the Lennon-McCartney composition "Bad to Me".

"Hot Wheels" (1976).

After "Crazy Days", "Hot Wheels"s sound was rawer and heavier than its predecessor. This album differs from its predecessors in that it contains only Remu's and Cisse's names in the writing credits of the band's own songs. Ile also took part in the songwriting but Remu deliberately left his name out of the credits. The album was recorded in Lahti by Pekka Nurmi at Microvox studio, which was a cheap, seedy, and not very classy basement studio. In Sweden, "Hot Wheels" was a real breakthrough and is considered at least equal in importance to "Roadrunner". Familiar songs from the album, such as the title track, "Hot Wheels", was heard in 1976-produced, low-budget film "Hot Guys, Hot Wheels". The film does not have any particular plot, but it portrays a boy and a girl who end up on a date at a Hurriganes concert. It also shows Remu, Cisse and Ile jamming and spending their free time, including playing football. The movie was directed by Jussi Itkonen, and it aptly describes life in the 1970s. Hurriganes members played themselves in the movie.

"Tsugu Way" and "Hanger" (1977–78).

Hurriganes recorded the album "Tsugu Way" (1977) in Love Records' brand new studio, and there were some technical problems, but the content was familiar Hurriganes with some covers, like the Beatles' "Hold Me Tight". The album was released in Sweden, Germany and the Netherlands with the name of "Use No Hooks". The album sold well enough to become a Gold Record easily, even though the record sales were generally down in Finland due to a recession.  In November 1977, Hurriganes' Swedish Sonet label arranged a small tour for the band in London. It was also agreed that next summer they would play 30 gigs in Europe as Status Quo's opening act. Hurriganes failed to conquer London, however, and also the Quo gigs were canceled when Remu and Cisse quit the tour and went back to Finland. The reason was apparently the fact that the band was unknown in England, and the tour arrangements and the reception reflected that. For example, they were not headlining their most important gigs. Remu states, "I fucked up to the whole system so we went away".  For the time being, Ile Kallio's last Hurriganes album was "Hanger", where the drummer Beaver Aittojärvi-Oja performed, and keyboardist Jim Pembroke. Remu's back problems prevented him from playing, and the short-lived five piece Hurriganes went on tour to Sweden, but the reception was a little contradictory. The drummer in the concerts was Tomi Parkkonen.

Kallio changed again to Järvinen (1979–1981).

After the band had failed to find success in Britain in 1977, Ile Kallio began to lose interest and eventually was replaced by Albert Järvinen in early 1979. Kallio's last recording with the band was the single "Shorai Shorai" which was not published until after Kallio's departure from the band.  Järvinen's second stint with the band lasted two albums – "Jailbird" (1979) and "10/80" (1980), the latter of which was a major critical and commercial success, and included the song "Bourbon Street". The album was recorded in Stockholm, ABBA's Polar studios, and it was produced by Pave Maijanen. The album's first track "Made in Sweden", which Järvinen and Aaltonen's earlier band Kalevala had already played, and the last song "Just For You" are unusual for Hurriganes instrumentals.

Louhivuori the new guitarist (1981–83).

Järvinen was dropped from the band in September 1981, due to alcohol-related unreliability. He was replaced by the renowned studio musician Janne Louhivuori. Louhivuori played on two Hurriganes albums – 1981's "Fortissimo", and the following year's "Rockin' Hurriganes". Both albums sold quite well, and Hurriganes continued to be a big concert draw.

Kallio's third stint (1983–84).

Louhivuori left the band in the summer of 1983, and his replacement was Ile Kallio, who played on the band's last studio recordings, the album "Seven Days, Seven Nights" (1983) and the mini-album "Hurrygames" (1984). The latter was accompanied by a video release with the same name. The band broke up soon after that.

The comeback in 1988.

Hurriganes reunited in 1988 with the lineup of Aaltonen, Häkkinen and Järvinen, and the band played a series of live shows in the summer. After only a few concerts, however, Järvinen was replaced once again by Janne Louhivuori, who played guitar on the remaining shows. The last concerts were recorded, and the live album "Live at Metropol" was released. The band broke up after the live album had been compiled.

Häkkinen, Järvinen in memoriam.

Bassist Cisse Häkkinen died of alcohol-related illnesses on Boxing Day in 1990. In March of the following year, guitarist Albert Järvinen died of heart failure in London. After their deaths, Remu Aaltonen has continued to play Hurriganes' music with many leading Finnish musicians.

Live In Stockholm (1996).

In 1996, the band released a live album "Live In Stockholm 1977". The concert had been recorded on a cassette tape which guitarist Ile Kallio found years later during a move. The album quickly became a gold album in Finland. It had been recorded in the band's Swedish breakthrough concert in theater Jarla. Two concerts were held that night, because the first one had sold out right away.

New Hurriganes since 1998.

Remu Aaltonen re-introduced the Hurriganes name in 1998 as Remu & Hurriganes. Old members (Ile Kallio, Janne Louhivuori) weren't part of the new line-up, and instead two new members joined the band. They were Harry Merilahti (bass and vocals), and his son, Rocka Merilahti (guitar). In 2001 the trio released an album called "30th Anniversary", which included new versions of old hits and one new song. The composition of the band changed many times, and its members included guitarist Jukka Orma, bassist Mikko Löytty, guitarist Nipa Niilola, guitarist Juho Pitkänen, and bassist Hike Kärppä, among others.  In 2007, the biopic "Ganes" was released. It was directed by JP Siili. Remu Aaltonen was involved in the making of the film.

Music and stage presence.

Hurriganes gained fame from the beginning of a wild and energetic stage presence, of a kind not previously experienced in Finland. The band's music was straightforward rock and roll. The band's repertoire included a number of versions of originality in 1950 – and the 1960s rock classics, including Little Richard's "Slippin' and Slidin'" and Bo Diddley's "Roadrunner". Stage presence, dress like a playing, everything came full force and enthusiasm. Remu Aaltonen, who replied Cisse Häkkinen style, and made him a 1950s rocker style, sitting in full. Hurriganes members of the popular clothing included: Beavers-brand jeans and denim jackets, leather jackets and boots.

Hurriganes impact on Finnish rock music.

Hurriganes is considered to be the first Finnish rock band who also gained commercial success overseas. Many of the later Finnish rock bands acknowledge Hurriganes as Finland's great pioneer in the genre. These include, for example, Hanoi Rocks. Hanoi Rocks guitarist Andy McCoy has said that the 1970s and 1980s had only two real Finnish rock bands: Hurriganes and Hanoi Rocks.

Hurriganes is a Finnish rock band that was formed in the early 1970s. They were very popular in Finland, Sweden and Estonia in the 1970s and early 1980s, as well as a popular live act in Sweden during this time. Their classic line-up consisted of Remu Aaltonen, Albert Järvinen, and Cisse Häkkinen. The misspelling of the name ("Hurriganes" with a "g") is intentional. Their style of music is very much of a nostalgic, pre-Beatles, roots rock'n'roll orientation. During their "classic" period, the band's output consisted largely of revved-up cover versions of well-known 1950s rock 'n' roll songs, in addition to their own original material. In this sense, Hurriganes can be viewed as Finland's answer to British pub rock performers of the 1970s like Dave Edmunds and Dr. Feelgood.

Hurriganes byla finská rocková skupina. Aktivní byla v letech 1971–1984, a pak znovu v roce 1988. Od roku 1998 vystupuje bubeník a zpěvák Henry „Remu“ Aaltonen v různých sestavách pod jménem Remu & Hurriganes. Nejoblíbenější byli Hurriganes v letech 1974–1980


Kostel svatého Benedikta z Nursie (Ringsted)

History.

During comprehensive restoration work at the beginning of the 20th century, the foundations of the former travertine church (1080) were revealed, indicating that the older nave was approximately the same length as today's.  The church was originally dedicated to St. Mary. In 1157, Saint Canute Lavard's bones were moved into a new chapel in the church with the approval of St. Canute's son, Valdemar the Great. Many miracles were said to have occurred there and the church immediately became a popular site for pilgrimages. With the funds raised from the pilgrims and thanks to Valdemar's royal patronage, the abbey church was expanded and, in 1170, was dedicated with great ceremony to Benedict of Nursia.  Valdemar had from the beginning designed the church for the Danish monarchy. He took advantage of the inaugural celebrations not only to have the relics of his father, St. Canute, enshrined but, also a devil statue erected in his honor and above all, to have his seven-year-old son Canute crowned and appointed by the archbishop in order to ensure the succession. The church formed the north wing of a large monastery, probably built at the same time as the church. The architectural style indicates Lombard influence, possibly because the Benedictines brought Lombard builders to Denmark.  The structure is cross-shaped with a central tower, typical of Romanesque architecture. There were, however, some later modifications in the Gothic style such as the vaults, replacing the original flat ceiling, and the pointed arches in the tower.  For centuries, the church served as the monastery church; it was only after the Reformation that in 1571 it became a normal parish church.  A fire in 1806 destroyed the monastery and damaged the church. As a result, the western wall was pulled down and replaced with an Empire style facade. The brickwork of the church's outer walls was covered with cement and limewashed.  Large-scale restoration work was carried out between 1899 and 1910 by the Danish architect H.B. Storck who set out to restore the church to its former Romanesque style. It was the first time such extensive restoration work had been carried out in Denmark. The church took on its old appearance with new Romanesque windows in the nave. A pyramid-shaped spire was added to the tower. The cement was removed from the outer walls revealing the church's original red brickwork.

Royal burial site.

As the church houses the tomb of Valdemar the Great, it is of great historical significance to Denmark.  Since St. Canute's relics were enshrined in a chapel behind the high altar, the monarchs of Valdemar's line were buried in front of it. Indeed, from 1182 to 1341 all the Danish kings and queens were buried in St. Bendt's. Apart from Valdemar the Great, they included Canute VI, Valdemar II, Eric VI and Eric IV. It is second only to Roskilde Cathedral for the number of royal Danish tombs it contains. As indicated on the plaque (pictured), the most important (with the year of death) are:

Decoration and furnishings.

The rather poorly restored wall paintings or kalkmalerier are significant in that they provide an idea of the violent struggles that once took place. Jacob Kornerup uncovered murals in the chancel in 1868. In 1889, he restored them, or possibly repainted them, as they are indeed in very poor condition. Others were uncovered during the 1900–09 repairs and restored by Mads Henriksen. They depict various monarchs, some with Latin inscriptions. There are also images of the Virgin Mary and of Christ.  Of particular note are the frescos of Erik IV, also known as Erik Ploughpenny for the unpopular taxes he imposed on ploughs. They were painted around 1300 in an unsuccessful attempt to have the assassinated king canonized. To the left of a painting of Queen Agnes sitting on her throne is a picture of the king's murderers stabbing him with a spear while, on the right, we see fishermen retrieving the corpse from the sea.  The oak choir stalls from 1420 are similar to those in Roskilde Cathedral. The sandstone font (c. 1150) is of Gothlandic design and believed to be one of Sighraf's earlier works.  The altarpiece (1699) presents a painting of the Last Supper flanked by panels with cherubim, John the Baptist and Moses. The pulpit (1609) presents the four elements: earth, fire, air and water.

St. Bendt's is a church in Ringsted, Denmark, which was originally part of a Benedictine monastery that burnt down in the 18th century. Built in the Romanesque style, it is the oldest brick church in Scandinavia, dating back to about 1170 when it replaced a travertine church from about 1080. It is considered to be one of Denmark's architecturally finest churches. Furthermore, it is of special historical interest as it is first Royal church in Denmark and it houses the tombs of many of Denmark's earlier monarchs and noblemen.

Kostel sv. Benedikta, dánsky "Sankt Bendts Kirke" je evangelicko-luteránský kostel v Ringstedu na dánském ostrově Zéland, zasvěcený svatému Benediktovi z Nursie. Původně románská bazilika vystavěná kolem roku 1170 jako opatský kostel benediktinského opatství Ringsted bylo v letech 1182 až 1341 pohřebištěm dánských králů a královen. Klášter v 19. století shořel. Kostel patří mezi historicky i architektonicky nejvýznamnější duchovní stavby Dánského království a zároveň je nejstarším dochovaným kostelem ve Skandinávii postaveným z režného zdiva.


Plot.

The story takes place in the 1980s, primarily at Black Mirror, the ancestral manor of the Gordon family located in Suffolk, England. The protagonist, Samuel Gordon, is forced to return to the Black Mirror manor after 12 years absence upon hearing of the death of his grandfather, William Gordon. Despite the mysterious circumstances surrounding William's death, it is considered a suicide by everyone except for Samuel.  Upon his arrival in Black Mirror, Samuel begins his investigation of his grandfather's death. Samuel's investigation soon reveals that his grandfather had interests in the arcane, and up until his death had spent nearly every waking hour working to uncover the mystery of the Gordon family's curse. From his grandfather's writings and other sources, Samuel discovers that centuries ago, in the 1200s, the Gordon line began with two brothers, Marcus and Mordred Gordon. The eldest, Mordred, was a monster of a man, opening a dark portal known as the Black Mirror deep under where the manor now stands. The younger, Marcus, fought his brother, killing him and containing - but not closing - the Black Mirror. In his dying breath the elder cursed the younger, stating that he and his descendants would be forever cursed until five souls were sacrificed and his evil was unleashed once more. William's notes also speak of five sacred keys required to shut the portal for good, entrusted to different members of the Gordon family. Samuel then begins his quest to seek out the five sacred keys and close the Black Mirror permanently.  As the story progresses, further strange and unexpected deaths occur to individuals around Black Mirror, each one accompanied by a strange blood-red sigil. Samuel travels the land around Black Mirror, visiting a local town, chapel, and sanatorium, and also at one point travels to his family's second manor in Wales to obtain a key there. At long last Samuel obtains the five keys, but moments later also discovers the horrifying truth: he is the killer responsible for all the deaths, ending the lives of the victims in his sleep; this is the nature of the Gordon family curse. Samuel enters the catacombs beneath the mansion, enters the Black Mirror, and using the five keys seals the portal. After this, unable to live with the atrocities he has committed, Samuel jumps from the top of the mansion, falling onto the same spiked fence which killed his grandfather.  The game is divided into six chapters:

Development.

The game's development started in early 2000 with a development team of 5 people. The release date was initially late 2002, but after slight delays, it was released in March 2003.

Reception.

Sales.

A few weeks after "The Black Mirror"s initial release in the Czech Republic, Marcel Speta of Future Games reported that it was selling adequately and according to company forecasts. GMX Media president Eugene Perry remarked in March 2004 that the game had "been very successful in every territory", and Future Games saw it as a "solid" seller in the United States. Its global sales left the developer "extremely satisfied" by that May, according to Future's Martin Malík. At the time, it had just launched in Germany, and the company was hopeful regarding its performance in the region. It claimed position #1 on Amazon.de's sales rankings upon release, although Carsten Fichtelmann of German publisher DTP Entertainment noted that certain brick and mortar stores had ordered "very small" shipments, a decision he considered to be a mistake.  "The Black Mirror" ultimately surpassed DTP's sales forecasts and became a hit in Germany. 4players reported that it was "by far" Germany's most successful adventure title during 2004's first six months, and that its sales proved the adventure genre's health in the country. That September, DTP reiterated that it was performing "extremely well in the German-speaking territories", and that strong sales persisted "many months after" its initial launch. He noted that it was catching up to the sales of DTP's most popular adventure release, "", which had sold 60,000 units in Germany and had earlier helped to revive the country's adventure game industry. "The Black Mirror" maintained its status as Germany's top-selling adventure of 2004 through the end of the year; Chris Kellner of DTP believed that the game's German sales surpassed is commercial performance anywhere else. Alongside "" and "The Moment of Silence", "The Black Mirror" contributed to DTP's large-scale growth during 2004.  "The Black Mirror" went on to sell above 100,000 units in Germany alone. According to Future Games, global sales surpassed 500,000 units by late 2008.

Critical reviews.

According to "Gameswelt", "The Black Mirror" received harsh reviews from critics in the United States. While most critics praised its dark atmosphere - created mostly by meticulously drawn backgrounds, music, ambiance and realistic animation and sound effects - the quality of the English voice-overs was unsatisfying to many. Other points of criticism include the game's rigid linear structure, pixel hunting elements, plot holes and inconsistencies (acts later revealed to have been committed by certain characters were not possible given their location at the time) and most especially the game's ending.  "4Players" named "The Black Mirror" 2004's best adventure game. In 2011, Adventure Gamers named "Black Mirror" the 83rd-best adventure game ever released.

Legacy.

Sequels.

German-based Cranberry Production developed a sequel, "Black Mirror II", in 2009. It takes place in the 1990s, twelve years after the original game. When solitary Darren Michaels befriends the beautiful Angelina Morgan, he has no idea what the fates hold in store for him. The alluring Angelina has also attracted the eye of several others; and when she suddenly disappears, Darren finds himself questioning what has happened to her while he is haunted by a series of torturous and ever-intensifying nightmares. Darren's search for his missing friend and his own sanity take him on a chilling expedition from his small New England town to Willow Creek, England - and the reigning evil of Black Mirror Castle.  Darren's journey will immerse him in the dark secrets and turbulent history of the castle's ill-fated Gordon Family. Legend has it that the Gordons were haunted by an ancient curse that ultimately led to their demise more than a decade earlier. Will Darren be able to overcome these demons and find Angelina? Will Darren's search lead him to redemption or the hell of insanity? Or will he become the curse's next victim?  A second and final sequel by Cranberry Production, "Black Mirror III", was released in 2011. The story connects with the end of Black Mirror 2, and promises a deep, mysterious story, including two playable characters.

Reboot.

KING Art Games and THQ Nordic are releasing Black Mirror; a modern re-imagining of the acclaimed Gothic-horror adventure series. New protagonist David Gordon never knew his estranged father particularly well. Still it comes as a shock when he is summoned to his family's ancestral home in the Scottish highlands, after his father has taken his own life there. David does not know much about his father's final weeks, but the circumstances of his death seem more than peculiar. Settling the heritage is merely an excuse for David to find out more about the castle his father grew up in, meeting the family he never knew and for shedding light on the mysteries surrounding his father's death. Scotland, 1926. Following the suicide of his father, David Gordon visits his ancestral home for the first time in his life. A life that is soon threatened by the dark secrets that claimed the sanity of many Gordons before him. Tormented by nightmares and waking dreams for all his life, David fears that it might be his destiny to follow in his father's footsteps, down a path that leads to madness, and death. Is there really a Curse that has been haunting his family, like his father believed? It is up to David to uncover the horrible truths, buried under generations of silence and fathoms of stone. Black Mirror Castle demands an offering...

The Black Mirror is a third-person point-and-click horror adventure game developed in 2003 by Czech company Future Games. Its original name is "Posel Smrti" (). The game features 150 locations and 5 hours of spoken dialogue. "The Black Mirror" became a commercial success, with 500,000 units sold worldwide by 2008. It was particularly successful in Germany, under publisher DTP Entertainment. Two sequels, "" and "", were released. Additionally, a reboot titled "Black Mirror" was released on November 28, 2017.

Posel smrti je česká adventura z roku 2003. Později vyšel druhý a třetí díl (za kterými však stojí jiné studio).


Early years.

Magnani's parentage and birthplace are uncertain. Some sources suggest she was born in Rome, others in Egypt. Her mother was Marina Magnani. The film director, Franco Zeffirelli, who claimed to know Magnani well, states in his autobiography that she was born in Alexandria, Egypt, to an Italian-Jewish mother and Egyptian father, and that "only later did she become Roman when her grandmother brought her over and raised her in one of the Roman slum districts." Magnani herself stated that her mother was married in Egypt but returned to Rome before giving birth to her at Porta Pia, and did not know how the rumour of her Egyptian birth got started. She was enrolled in a French convent school in Rome where she learned to speak French and play the piano. She also developed a passion for acting from watching the nuns stage their Christmas plays. This period of formal education lasted until the age of 14.  She was a "plain, frail child with a forlornness of spirit". Her grandparents compensated by pampering her with food and clothes. Yet while growing up, she is said to have felt more at ease around "more earthly" companions, often befriending the "toughest kid on the block". This trait carried over into her adult life when she proclaimed, "I hate respectability. Give me the life of the streets, of common people."  At age 17, she went on to study at the Eleonora Duse Royal Academy of Dramatic Art in Rome for two years. To support herself, Magnani sang in nightclubs and cabarets; leading to her being dubbed "the Italian Édith Piaf". However, an actor friend Micky Knox, writes that she "never studied acting formally" and started her career in Italian music halls singing traditional Roman Folk songs. "She was instinctive" he writes. "She had the ability to call up emotions at will, to move an audience, to convince them that life on the stage was as real and natural as life in their own kitchen."  She was considered an "outstanding theatre actress" in "Anna Christie" and "The Petrified Forest" and had a successful career in variety shows.  In 1933 she was acting in experimental plays in Rome when she was discovered by Italian filmmaker Goffredo Alessandrini. He had been one of the early Italian filmmakers to make use of sound. The two married the same year, and he subsequently directed her in her first major film role in "The Blind Woman of Sorrento" ("La Cieca di Sorrento") in 1934. In 1941, Magnani starred in "Teresa Venerdì" ("Friday Theresa") with the writer and director Vittorio De Sica. He called this Magnani's "first true film". In it, she plays Loletta Prima, the girlfriend of De Sica’s character, Pietro Vignali. De Sica described Magnani's laugh as "loud, overwhelming, and tragic".

Acting career.

During her career Magnani worked alongside a number of the most pre-eminent directors and screenwriters, including Roberto Rossellini, Pier Paolo Pasolini, Luchino Visconti, Federico Fellini, Jean Renoir, Sidney Lumet, and Tennessee Williams.

"Rome, Open City" (1945).

Her film career had spread over almost 20 years before she gained international renown as Pina in Roberto Rossellini's neorealist milestone "Roma, città aperta" ("Rome, Open City", 1945). Her harrowing death scene remains one of cinema's most devastating moments. The film was about Italy's final days under German occupation during World War II where Magnani gave a "brilliant performance" as a woman who dies fighting to protect her husband, an underground fighter against the Nazis.

"L'Amore: The Human Voice and The Miracle" (1948).

Other collaborations with Rossellini include "L'Amore", a two part film from 1948 which includes "The Miracle" and "The Human Voice" ("Il miracolo", and "Una voce umana"). In the former, Magnani, playing a peasant outcast who believes the baby she's carrying is Christ, plumbs both the sorrow and the righteousness of being alone in the world. The latter film, based on Jean Cocteau's play about a woman desperately trying to salvage a relationship over the telephone, is remarkable for the ways in which Magnani's powerful moments of silence segue into cries of despair.

"Volcano" (1950).

After "The Miracle", Rossellini promised to direct Magnani in a film he was preparing which he told her would be "the crowning vehicle of her career". However, when the screenplay was completed, he instead gave the role for "Stromboli" to the Swedish actress, Ingrid Bergman. The two subsequently began a love affair; and this resulted in Magnani's permanent breakup with Rossellini.  As a result, Magnani took on the starring role of "Volcano", which was said to have been produced to invite comparison: Both films were shot in similar locales of Aeolian Islands, only 40 kilometres apart; both actresses played independent-minded roles in a neorealist fashion; and both films were shot simultaneously. "Life" magazine wrote "...in an atmosphere crackling with rivalry...Reporters were accredited, like war correspondents, to one or the other of the embattled camps...Partisanship infected the Via Veneto (boulevard in Rome), where Magnaniacs and Bergmaniacs clashed frequently." However, Magnani still considered Rossellini the "greatest director she ever acted for".

"Bellissima" (1951).

In Luchino Visconti's "Bellissima" (1951) she plays Maddalena, a blustery, obstinate stage mother who drags her daughter to Cinecittà for the 'Prettiest Girl in Rome' contest, with dreams that her plain daughter will be a star. Her emotions in the film went from those of rage and humiliation to maternal love. The film was made during the "grim period" of Italy's post-World War II recovery.

"The Golden Coach" (1953).

Magnani then went on to star as Camille (stage name: Columbine) in Jean Renoir's film "Le Carrosse d'or" (in English: "The Golden Coach") in 1953. Here she played a woman torn with desire for three men - a soldier, a bullfighter, and a viceroy. Renoir called her "the greatest actress I have ever worked with".

"The Rose Tattoo" (1955).

She played the widowed mother of a teenage daughter in Daniel Mann's 1955 film, "The Rose Tattoo", based on the play by Tennessee Williams. It co-starred Burt Lancaster, and was Magnani's first English speaking role in a mainstream Hollywood movie, winning her the Academy Award for Best Actress. Lancaster, who played the role of a "lusty truck driver", said that "if she had not found acting as an outlet for her enormous vitality, she would have become a great criminal".  Film historian John DiLeo has written that Magnani's acting in the film "displays why she is inarguably one of the half dozen greatest screen actresses of all time", and added:"Whenever Magnani laughs or cries (which is often), it's as if you've never seen anyone laugh or cry before: has laughter ever been so burstingly joyful or tears so shatteringly sad?  Tennessee Williams wrote the screenplay and based the character of Serafina on Magnani as Williams was a great admirer of her acting abilities, and he even stipulated that the movie "must star what "Time" described as "the most explosive emotional actress of her generation, Anna Magnani." In his "Memoirs", Williams described why he insisted on Magnani playing this role:"Anna Magnani was magnificent as Serafina in the movie version of "Tattoo"...She was as unconventional a woman as I have known in or out of my professional world, and if you understand me at all, you must know that in this statement I am making my personal estimate of her honesty, which I feel was complete. She never exhibited any lack of self-assurance, any timidity in her relations with that society outside of whose conventions she quite publicly existed...[s]he looked absolutely straight into the eyes of whomever she confronted and during that golden time in which we were dear friends, I never heard a false word from her mouth."  It originally was staged on Broadway with Maureen Stapleton as Magnani's English was too limited at the time for her to star. Magnani won other Best Actress awards for her role, including the BAFTA Film Award, Golden Globes Award, National Board of Review, USA, and the New York Film Critics Circle Awards. When her name was announced as the Oscar winner, an American journalist called her in Rome to tell her the news; his challenge was convincing her he wasn't joking.

"The Fugitive Kind" (1960).

Magnani worked with Tennessee Williams again for the 1960 film "The Fugitive Kind" (originally titled "Orpheus Descending") directed by Sidney Lumet, in which she played Lady Torrance and starred with Marlon Brando. The original screenplay "Orpheus Descending" was another play inspired by Magnani, although she similarly did not feature in the Broadway play. In the film, she played a woman "hardened by life's cruelties and a grief that will not fade." It also co-starred a young Joanne Woodward in one of her early roles. In an article he wrote for "Life" magazine, Williams discussed why he chose her for the part:"Anna and I had both cherished the dream that her appearance in the part I created for her in "The Fugitive Kind" would be her greatest triumph to date...She is simply a rare being who seems to have about her a little lightning-shot cloud all her own...In a crowded room, she can sit perfectly motionless and silent and still you feel the atmospheric tension of her presence, its quiver and hum in the air like a live wire exposed, and a mood of Anna's is like the presence of royalty." "The Wild, Wild Women" (Nella Citta' L'Inferno, 1958) paired Magnani, as an unrepentant streetwalker, with Giulietta Masina in a women-in-prison film.

"Mamma Roma" (1962).

In Pier Paolo Pasolini's "Mamma Roma "(1962), Magnani is both the mother and the whore, playing an irrepressible prostitute determined to give her teenage son a respectable middle-class life. "Mamma Roma", while one of Magnani's critically acclaimed films, was not released in the United States until 1995, deemed too controversial 30 years earlier. By now, she was frustrated at being typecast in the roles of poor women. Magnani in 1963 commented "I’m bored stiff with these everlasting parts as a hysterical, loud, working-class woman".

"The Secret of Santa Vittoria" (1969).

In one of her last film roles, "The Secret of Santa Vittoria" (1969), she co-starred with Anthony Quinn, and they played husband and wife in what "Life" magazine called "perhaps the most memorable fight since Jimmy Cagney smashed Mae Clarke in the face with a half a grapefruit." Magnani and Quinn did feud in private outside view of the cameras, however, and their animosity spilled over into their scenes:"By the time the movie makers were ready to shoot the fight scene, the stars were ready too. Magnani not only went for Quinn with the pasta and with a rolling pin, but with her foot; she kicked so hard she broke a bone in her right foot. She also bit him in the neck. 'That's not in the script', Quinn protested. Magnani snarled, 'I'm supposed to win this fight, remember?"

"Fellini's Roma" (1972).

She later played herself (within a dramatic context) in Federico Fellini's "Roma" (1972). Towards the end of her career, Magnani was quoted as having said "The day has gone when I deluded myself that making movies was art. Movies today are made up of...intellectuals who always make out that they’re teaching something".

Acting style.

According to film critic Robin Wood Magnani's "persona as a great actress is built, not on transformation, but on emotional authenticity... [she] doesn't portray characters but expresses 'genuine' emotions." Her style is notable by not displaying the more obvious attributes of the female star, with neither her face or physical makeup being considered "beautiful". However, she possesses a "remarkably expressive face," and for American audiences, at least, she represents "what Hollywood had consistently failed to produce:'reality'". She was the atypical star, the "nonglamorous human being", as her genuine style of acting became a "rejection of glamour".  Her most distinguished work in Hollywood is in "Wild Is the Wind", according to Wood. Directed by George Cukor, "the American cinema's greatest director of actresses," he was able to draw out the "individual essence" of Magnani's "sensitive and inward performance."

Personal life.

During Benito Mussolini's rule, Magnani was known to make rude jokes about the Italian Fascist Party. She married Goffredo Alessandrini, her first film director, in 1935, two years after he discovered her on stage. After they married, she retired from full-time acting to "devote herself exclusively to her husband", although she continued to play smaller film parts. They separated in 1942.  Magnani had a love affair with the actor Massimo Serato, by whom she had her only child, a son named Luca, who was born on October 29, 1942 in Rome, after her separation from Alessandrini. Magnani's life was struck by tragedy when Luca came down with crippling polio at only 18 months of age. He never regained use of his legs. As a result, she spent most of her early earnings for specialists and hospitals. After once seeing a legless war veteran drag himself along the sidewalk, she said "I realize now that it's worse when they grow up", and resolved to earn enough to "shield him forever from want". In 1945, she fell in love with director Roberto Rossellini while working on "Roma, Città Aperta" aka "Rome, Open City" (1945). "I thought at last I had found the ideal man... [He] had lost a son of his own and I felt we understood each other. Above all, we had the same artistic conceptions." Rossellini had become violent, volatile and possessive, and they argued constantly about films or out of jealousy. "In fits of rage they threw crockery at each other." As artists, however, they complemented each other well while working on neorealist films. The two finally split apart when Rossellini fell in love with and married Ingrid Bergman.  Magnani was mystically inclined and consulted astrologers, as well as believing in numerology. She also claimed to be clairvoyant. She ate and drank very little and could subsist for long periods on nothing more than black coffee and cigarettes. However, these habits often affected her sleep: "My nights are appalling," she said. "I wake up in a state of nerves and it takes me hours to get back in touch with reality." Perhaps her strangest quirk was her love of defleaing street kittens with her thumbnails.

Death.

Magnani died at the age of 65 in Rome from pancreatic cancer in 1973. Huge crowds gathered for the funeral. She was provisionally laid to rest in the family mausoleum of Roberto Rossellini; but then subsequently interred in the Cimitero Comunale of San Felice Circeo in southern Lazio.

Anna Maria Magnani (; 7 March 1908 – 26 September 1973) was an Italian stage and film actress. Widely regarded as one of the greatest actresses of Italian and World cinema, she was known for her explosive acting and earthy, real life portrayals of characters.

Anna Magnani (7. března 1908 – 26. září 1973) byla italská herečka. Kromě řady jiných ocenění získala v roce 1955 Oskara za hlavní roli ve filmu "The Rose Tattoo".


Rail Fence cipher.

The Rail Fence cipher is a form of transposition cipher that gets its name from the way in which it is encoded. In the rail fence cipher, the plaintext is written downwards and diagonally on successive "rails" of an imaginary fence, then moving up when we get to the bottom. The message is then read off in rows. For example, using three "rails" and a message of 'WE ARE DISCOVERED FLEE AT ONCE', the cipherer writes out:  Then reads off:

Scytale.

The rail fence cipher follows a pattern similar to that of the scytale, a mechanical system of producing a transposition cipher used by the ancient Greeks. The system consisted of a cylinder and a ribbon that was wrapped around the cylinder. The message to be encrypted was written on the coiled ribbon. The letters of the original message would be rearranged when the ribbon was uncoiled from the cylinder. However, the message was easily decrypted when the ribbon was recoiled on a cylinder of the same diameter as the encrypting cylinder.. Using the same example as before, if the cylinder has a radius such that only three letters can fit around its' circumference, the cipherer writes out:  In this example, the cylinder is running horizontally and the ribbon is wrapped around vertically. Hence, the cipherer then reads off:

Route cipher.

In a route cipher, the plaintext is first written out in a grid of given dimensions, then read off in a pattern given in the key. For example, using the same plaintext that we used for rail fence: The key might specify "spiral inwards, clockwise, starting from the top right". That would give a cipher text of:  Route ciphers have many more keys than a rail fence. In fact, for messages of reasonable length, the number of possible keys is potentially too great to be enumerated even by modern machinery. However, not all keys are equally good. Badly chosen routes will leave excessive chunks of plaintext, or text simply reversed, and this will give cryptanalysts a clue as to the routes.  A variation of the route cipher was the Union Route Cipher, used by Union forces during the American Civil War. This worked much like an ordinary route cipher, but transposed whole words instead of individual letters. Because this would leave certain highly sensitive words exposed, such words would first be concealed by code. The cipher clerk may also add entire null words, which were often chosen to make the ciphertext humorous.

Columnar transposition.

In a columnar transposition, the message is written out in rows of a fixed length, and then read out again column by column, and the columns are chosen in some scrambled order. Both the width of the rows and the permutation of the columns are usually defined by a keyword. For example, the keyword ZEBRAS is of length 6 (so the rows are of length 6), and the permutation is defined by the alphabetical order of the letters in the keyword. In this case, the order would be "6 3 2 4 1 5".  In a regular columnar transposition cipher, any spare spaces are filled with nulls; in an irregular columnar transposition cipher, the spaces are left blank. Finally, the message is read off in columns, in the order specified by the keyword. For example, suppose we use the keyword ZEBRAS and the message WE ARE DISCOVERED. FLEE AT ONCE. In a regular columnar transposition, we write this into the grid as follows: providing five nulls (QKJEU), these letters can be randomly selected as they just fill out the incomplete columns and are not part of the message. The ciphertext is then read off as:  In the irregular case, the columns are not completed by nulls: This results in the following ciphertext:  To decipher it, the recipient has to work out the column lengths by dividing the message length by the key length. Then he can write the message out in columns again, then re-order the columns by reforming the key word.  In a variation, the message is blocked into segments that are the key length long and to each segment the same permutation (given by the key) is applied. This is equivalent to a columnar transposition where the read-out is by rows instead of columns.  Columnar transposition continued to be used for serious purposes as a component of more complex ciphers at least into the 1950s.

Double transposition.

A single columnar transposition could be attacked by guessing possible column lengths, writing the message out in its columns (but in the wrong order, as the key is not yet known), and then looking for possible anagrams. Thus to make it stronger, a double transposition was often used. This is simply a columnar transposition applied twice. The same key can be used for both transpositions, or two different keys can be used.  As an example, we can take the result of the irregular columnar transposition in the previous section, and perform a second encryption with a different keyword, STRIPE, which gives the permutation "564231":  As before, this is read off columnwise to give the ciphertext:  If multiple messages of exactly the same length are encrypted using the same keys, they can be anagrammed simultaneously. This can lead to both recovery of the messages, and to recovery of the keys (so that every other message sent with those keys can be read).  During World War I, the German military used a double columnar transposition cipher, changing the keys infrequently. The system was regularly solved by the French, naming it Übchi, who were typically able to quickly find the keys once they'd intercepted a number of messages of the same length, which generally took only a few days. However, the French success became widely known and, after a publication in "Le Matin", the Germans changed to a new system on 18 November 1914.  During World War II, the double transposition cipher was used by Dutch Resistance groups, the French Maquis and the British Special Operations Executive (SOE), which was in charge of managing underground activities in Europe. It was also used by agents of the American Office of Strategic Services and as an emergency cipher for the German Army and Navy.  Until the invention of the VIC cipher, double transposition was generally regarded as the most complicated cipher that an agent could operate reliably under difficult field conditions.

Cryptanalysis.

The double transposition cipher can be treated as a single transposition with a key as long as the product of the lengths of the two keys.  In late 2013, a double transposition challenge, regarded by its author as undecipherable, was solved by George Lasry using a divide-and-conquer approach where each transposition was attacked individually.

Myszkowski transposition.

A variant form of columnar transposition, proposed by Émile Victor Théodore Myszkowski in 1902, requires a keyword with recurrent letters. In usual practice, subsequent occurrences of a keyword letter are treated as if the next letter in alphabetical order, "e.g.," the keyword TOMATO yields a numeric keystring of "532164."  In Myszkowski transposition, recurrent keyword letters are numbered identically, TOMATO yielding a keystring of "432143."  Plaintext columns with unique numbers are transcribed downward; those with recurring numbers are transcribed left to right:

Disrupted transposition.

The disrupted transposition cipher is a further complication to the normal transposition technique. Instead of filling the matrix row by row, the rows are all filled in irregular fashion. This results in a very complex transposition of the characters. First, we determine the exact number of rows and columns to fill. Next we fill a row until we reach the first alphabet sequence from the keyword sequence. If the first digit is at the 8th place, we will only fill that row up to that position. We continue the next row until the second position and so on based on the given example. If we have reached the end position of the last line we continue by filling the remaining empty places at each line. In our example the difference between the two areas is visible by the lower and upper case  characters.  The plain text:  “We confirm the delivery of the documents later”  We use the key BIRTHDAY  On the matrix1: after filling the first area  On the matrix2: we see the same matrix  filled completely:  Matrix1:  Matrix2:  Once the matrix is filled we read it off by the columns,  according to the keyword sequence.  The Cipher Text:  ILWRMLYFEUFESNDRTEETIOTDMCRHVHOEOEECNTA

Grilles.

Another form of transposition cipher uses "grilles", or physical masks with cut-outs. This can produce a highly irregular transposition over the period specified by the size of the grille, but requires the correspondents to keep a physical key secret. Grilles were first proposed in 1550, and were still in military use for the first few months of World War One.

Detection and cryptanalysis.

Since transposition does not affect the frequency of individual symbols, simple transposition can be easily detected by the cryptanalyst by doing a frequency count. If the ciphertext exhibits a frequency distribution very similar to plaintext, it is most likely a transposition. This can then often be attacked by anagramming—sliding pieces of ciphertext around, then looking for sections that look like anagrams of English words, and solving the anagrams. Once such anagrams have been found, they reveal information about the transposition pattern, and can consequently be extended.  Simpler transpositions also often suffer from the property that keys very close to the correct key will reveal long sections of legible plaintext interspersed by gibberish. Consequently, such ciphers may be vulnerable to optimum seeking algorithms such as genetic algorithms.  A detailed description of the cryptanalysis of a German transposition cipher can be found in chapter 7 of Herbert Yardley's "The American Black Chamber."

Combinations.

Transposition is often combined with other techniques such as evaluation methods. For example, a simple substitution cipher combined with a columnar transposition avoids the weakness of both. Replacing high frequency ciphertext symbols with high frequency plaintext letters does not reveal chunks of plaintext because of the transposition. Anagramming the transposition does not work because of the substitution. The technique is particularly powerful if combined with fractionation (see below). A disadvantage is that such ciphers are considerably more laborious and error prone than simpler ciphers.

Fractionation.

Transposition is particularly effective when employed with fractionation – that is, a preliminary stage that divides each plaintext symbol into several ciphertext symbols. For example, the plaintext alphabet could be written out in a grid, and every letter in the message replaced by its co-ordinates (see Polybius square and Straddling checkerboard). Another method of fractionation is to simply convert the message to Morse code, with a symbol for spaces as well as dots and dashes.  When such a fractionated message is transposed, the components of individual letters become widely separated in the message, thus achieving Claude E. Shannon's diffusion. Examples of ciphers that combine fractionation and transposition include the bifid cipher, the trifid cipher, the ADFGVX cipher and the VIC cipher.  Another choice would be to replace each letter with its binary representation, transpose that, and then convert the new binary string into the corresponding ASCII characters. Looping the scrambling process on the binary string multiple times before changing it into ASCII characters would likely make it harder to break. Many modern block ciphers use more complex forms of transposition related to this simple idea.

In cryptography, a transposition cipher is a method of encryption by which the positions held by units of plaintext (which are commonly characters or groups of characters) are shifted according to a regular system, so that the ciphertext constitutes a permutation of the plaintext. That is, the order of the units is changed (the plaintext is reordered). Mathematically a bijective function is used on the characters' positions to encrypt and an inverse function to decrypt.

Transpoziční šifra je základní kryptografická operace, její princip je v záměně pořadí písmen otevřeného textu. Tato operace musí být vykonána podle určitých pravidel, aby bylo možné text zpětně dešifrovat. Mezi jednoduché transpoziční šifry patří například psaní textu opačně.


Life.

She was born as a Princess of Oettingen-Oettingen and Oettingen-Spielberg, daughter of Prince Johann Aloys of Oettingen-Spielberg and Princess Therese of Schleswig-Holstein-Sonderburg-Wiesenburg.  She was raised and educated in a French convent in Strasbourg. When she was fifteen, she inherited wast estates from her aunt in Bohemia, and she and her sister Maria Leopoldine (1741–1795) were introduced at the imperial court in Vienna and appointed maid of honour to the empress Maria Theresa of Austria, during which service they became acquainted with the imperial family.  On 30 March 1761, in Vienna, she married Prince Karl Borromäus of Liechtenstein. She and her spouse were the ancestors of a line of the Princely Family of Liechtenstein. Eleonore spent her summers in her estates in Moravia and her winters in Vienna. She had a love affair with the Irish general Charles O'Donnell, which attracted attention, but he died in 1771.

Salon of the Five Princesses.

From 1768 onward, she held a discussion circle with a group of people including Emperor Joseph II, and through him became influential upon the affairs of state.  Joseph II was reportedly in love with Eleonore of Liechtenstein and attempted to convince her to be his mistress in 1771–1772, but she declined, and they became lifelong friends.  For two decades, her salon circle of five princesses exerted influence upon the affairs of state through their connection with Joseph II: their circle consisted of Princess Eleonore of Liechtenstein, Princess Maria Josepha von Clary und Aldringen (1728–1801), Princess Maria Sidonia Kinsky von Wchinitz und Tettau (1729–1815), and Princess Leopoldine of Liechtenstein (1733–1809); field marshal Count Franz Moritz von Lacy (1725–1801) and the chief treasury Prince Franz Xaver Wolfgang von Orsini-Rosenberg (1723–1796) also frequently attended their discussion circle. They met once and, from 1780, four times a week to discuss politics. Eleonore's relation to Joseph was not in lack of tension, and she did disagree with his church politics, and criticized him on his restlessness.  The salon of the five princesses lost their influence as state advisers upon Joseph's death in 1790. During the Second Congress of Rastatt (1797–1799), she opposed the pro-French policy of chancellor Johann Amadeus von Thugut. She was also adverse to State Chancellor Klemens von Metternich, and she is pointed out to be behind his deposition as Dresden ambassador. She also opposed him arranging the marriage between Marie-Louise of Austria and emperor Napoleon in 1810.  Eleonore of Liechtenstein has left letters which gives an important image of contemporary life in the Austrian court life.

Issue.

She had seven children:

Maria Eleonore of Liechtenstein née Oettingen-Oettingen and Oettingen-Spielberg (Oettingen, 7 July 1745 – Vienna, 26 November 1812) was a princess of Liechtenstein by marriage to Prince Karl Borromäus of Liechtenstein, and a politically influential Austrian salonist. Between 1768 and 1790, she acted as the political adviser of Emperor Joseph II through her salon or discussion circle.

Marie Eleonora z Lichtenštejna, roz. hraběnka z Oettingen-Spielbergu (7. července 1745 – 26. listopadu 1812, Vídeň) byla česká šlechtična německého původu, manželka knížete Karla Boromejského z Lichtenštejna.


Neighbouring municipalities.

Adjacent municipalities and villages are: Breitenwang, Ehenbichl, Lechaschau and Pflach.

History.

Reutte is located on the Via Claudia Augusta, a Roman road leading from Italy to Germany. The Tyrolean Salt Road from Hall in Tirol to Lake Constance crossed the entire district of Außerfern.  Reutte was declared a market town by Sigmund in 1489. This was confirmed later by Maximilian I who also added some further rights. The people of Reutte commemorate this with an annual festival on the first Saturday in August.  From 1692 the painter Paul Zeiller had a workshop in Reutte that later became an art school. His son Johann Jakob Zeiller and cousin Franz Anton Zeiller both received their first lessons there.  During the period when Austria belonged to Germany (1938 – 1945) there was an outpost of Dachau concentration camp near Reutte, called “Plansee Breitenwald”. In April 1945, American troops of the 44th Infantry Division reached Reutte. The American soldiers had been told to expect heavy attacks but in fact there was no special resistance by Axis forces at all. Reutte was the place where German engineers from Peenemünde surrendered to the United States Army on 3 May 1945, among them Wernher von Braun; all of them were later sent to Fort Bliss in the United States in order to work on the manufacturing of ballistic missiles and rockets, the most famous of which was the Saturn V in the sixties.  As Reutte is connected with other major parts of the Tyrol only by the Fern Pass, international transport and economic connections to the EU, especially to Germany, are becoming increasingly important.

Coat of arms.

The coat of arms of Reutte shows three fir trees on three hills, representing the abundance of available timber in the region. (The name "Reutte" has its origin in "roden" or "reuten" meaning glade). The background of red and white stripes stands for the state and the republic.

Tourism.

Reutte is linked to Garmisch-Partenkirchen and Kempten, Allgäu by train services operated by Deutsche Bahn. Reutte is a popular holiday resort and its proximity to the famous Bavarian Castles and the Ehrenberg ruins make Reutte a cultural destination as well as a skiing destination.

Reutte (Swabian: "Raete") is a market town in the Austrian state of Tyrol. It is the administrative center of the Reutte district ("Districts of Austria"). Reutte is located on the Lech, and has a population of 6704 (as of 2018).

Reutte je okresní městys v Rakousku ve spolkové zemi Tyrolsko v okrese Reutte. Této oblasti se říká „Brána do Tyrolska“, je hojně navštěvovaná pro svá lyžařská střediska i zříceniny nedalekých hradů. Žije zde obyvatel.


Career.

Boucher's first job was photo lab and engraving chief for the "Atlantic City Tribune" (1949–1951), then at Fred Hess & Son Photographers, Atlantic City, New Jersey (from February 1951 to September 1952), afterwards at NJ Garden State Parkway Chief of Photography (September 1952 to April 1958). Also wrote a weekly column on conservation and preservation for the Tribune and then the Atlantic City Press for two years. He produced and presented a one-hour radio program dealing with conservation and preservation from 1952 to 1953 on WFPG, Atlantic City, New Jersey. He then left the Parkway to work for the National Park Service.  He was first assigned to work jointly with the Washington Branch of Still and Motion Pictures under Ralph Anderson, chief of the branch, and with HABS, Historic Structures at the NPS Eastern Office of Design and Construction in Philadelphia. From 1958 to 1962, Boucher documented one of the most significant periods in National Park Service history: Mission 66, a design and construction program intended to revitalize the national parks through a massive, 10-year program of capital investment. In 1963, he became Chief Photographer of the Historic American Buildings Survey. From 1971 to 1978, Boucher also performed all photography work for the Historic American Engineering Record. He died on September 2, 2012, at age 80.  Boucher stated "My whole philosophy is, I regard the building I'm doing as the most important one in my life, even if it's a single-seat log outhouse."

Career highlights.

Boucher worked 18 hours non-stop photographing a hurricane that ravaged Atlantic City in November 1950, holding his 4x5 large format speed graphic and camera bag over his head in water up to his armpits. While reconnoitering camera vantage points to document Fortress El Morro in Old San Juan in 1967, Puerto Rico. Boucher and his wife Peggy were passengers aboard a sailing catamaran that was struck and cut in two by a submarine entering the San Juan harbor. During the 1990s he produced over 500 large format images of the White House for the Historic American Buildings Survey, some days producing only a single image. A proud possession is a book published by the White House centering on the family living quarters illustrated by his work. His copy was personally autographed to him by the President and the First Lady.  The assignment of which he was most proud was a three-week stint photographically documenting the leprosy settlement "Kalaupapa," on the Hawaiian island of Molokai, living among the 85 victims still in residence there at the time. "I vividly remember studying the story of the Belgian Priest Fr. Damien and his labors for 16 years among the lepers while in grade school. I never dreamed I would be able to go there."  Boucher completed the National Trust of England's "Attingham School" in 1969, an intensive summer study program dealing with the historic country houses of England, and architecture from Roman times to the Regency Period. About 1973 he was one of 36 selected to participate in the European Traveling Summer School for Historic Architecture and Preservation. It was a seven-week study tour through England, France, the Netherlands and Belgium.  American Preservation Magazine published a series of articles in which he wrote and showed photographs of historic cities in the Soviet Union, Belgium, Hungary and Italy. He conceived and oversaw the preservation of Atlantic City's 1857 Absecon Lighthouse in 1964; the ca 1820s Weymouth Furnace. Earlier, and at age 21 in 1952, Boucher was the instigator and one of two key people from the preservation/conservation field responsible for the preservation of New Jersey Wharton Forest, home to three major historic iron furnace villages that served the American Revolution, twenty four species of wild orchids, the habitat of the rare "Pine Barrens Tree Frog," and a canoeing and hunting retreat.  In 1952 he personally guided Mike Hudoba, noted outdoors writer on a several day canoe trip through the Wharton Forest rivers. He once spoke of a three-week canoe trip to fish for trout in Canadian wilderness a few hundred miles from the Arctic Circle. Navigating the Bersimus River, they were attempting to reach Lake Boucher but were unable to portage around rapids.

Legacy.

With more than five decades of public service, he was the creator of tens of thousands of public domain photographs. In 1986 he received the Department of the Interior's Meritorious Service Award. Other awards include The Medal for Architectural Photography by the American Institute of Architects, Awards of Merit and also Commendation from the American Association for State and Local History and a Resolution of Commendation from New Jersey State Senate, as well as others.  He lectured extensively, including appearances at Columbia University, The College of William & Mary, Cornell University, Ball State University, University of Florida, University of Texas at Austin, Franklin Pierce University, history and preservation organizations and other schools across the nation. For some 15 years he annually produced and taught architectural documentation photography of historic structures to the Preservation Institute of Nantucket, the nine-week summer preservation program of the University of Florida's School of Architecture.  Major exhibits of his work include two at the Library of Congress, one at the American Institute of Architects, the Atheneum of Philadelphia, Buffalo History Museum in New York, as well as in Puerto Rico, Columbia and SC. Well over an estimated 50,000 of his HABS/HAER photographs are in the collections of the Library of Congress, most of which are available at no cost online, or for nominal reproduction costs in hardcopy. He never accepted private commissions or sold copies of his work.

Jack E. Boucher (September 4, 1931 – September 2, 2012) was an American photographer for the National Park Service for more than 40 years beginning in 1958. He served as the Chief Photographer for the Historic American Buildings Survey (HABS). In 1966 he left the Park Service for two years to supervise New Jersey's State Historic Preservation program, including the State's roadside marker program, 18 historic museum houses, several lighthouses, and two historic villages. Offered his old job back by the Park Service/HABS in 1970, he left New Jersey to return to NPS/HABS and the highly specialized job of large format photographic architectural documentation. His work took him to 49 States, the Virgin Islands and Puerto Rico. April 2008 was the fiftieth anniversary of his employment with the National Park Service's "HABS" program. He traveled with 900 pounds of photographic equipment.

Jack E. Boucher (4. září 1931 – 2. září 2012) byl americký fotograf architektury. V roce 1958 začal pracovat pro National Park Service a pokračoval až do roku 2006, později se stal šéfem fotografického oddělení na Historic American Buildings Survey (HABS). Od roku 1966 opustil na dva roky Park Service aby pracoval pro program New Jersey's State Historic Preservation. Po čase se v roce 1970 opět vrátil do Park Service/HABS a opustil New Jersey. Věnoval se vysoce specializované práci fotografické dokumentace architektury na velký formát. Jeho práce ho zavedla do 49 států, na Panenské ostrovy i Portoriko. Cestoval s 900 kilogramy fotografického vybavení. V dubnu 2008 to již bylo padesáté výročí jeho zaměstnání v programu HABS společnosti National Park Service.


Biography.

De Filippo was born in Naples from the affair between playwright and actor Eduardo Scarpetta and theatre seamstress and costumier Luisa De Filippo. He was the second of three children born from the couple, the other two being Annunziata "Titina" and Giuseppe "Peppino". His father was actually married since 1876 to Rosa De Filippo, Luisa's paternal aunt. His father Eduardo had several other illegitimate children from various affairs (including actors Ernesto Murolo, Eduardo Passarelli and Pasquale De Filippo). He began acting at the age of five and in 1932 formed a theater company with his brother Peppino and sister Titina, called "compagnia del Teatro Umoristico I De Filippo". Peppino left the troupe in 1944 and Titina departed by the early 1950s. After the war, in 1948 he bought the S. Ferdinando theatre in Naples, inaugurated in 1954. De Filippo starred in De Sica's "L'oro di Napoli" with Totò and Sophia Loren in 1954. In 1973, Franco Zeffirelli's production of De Filippo's 1959 play "Sabato, domenica e lunedi" (translated as "Saturday, Sunday, Monday"), starring Joan Plowright, Frank Finlay and Laurence Olivier, was presented at London's National Theatre and won the London drama critics' award.  He was married three times. His first wife was Dorothy Pennington. From his second wife, the actress Thea Prandi, he had two children: Luisa "Luisella" and Luca. The couple divorced in 1959. His daughter Luisella died aged 10 in 1960, shortly before her mother's death in 1961. His third wife was writer and playwright Isabella Quarantotti. The actress Angelica Ippolito is his step-daughter, born to Isabella Quarantotti and her first husband, the scientist Felice Ippolito.  De Filippo died in 1984 in Rome. His artistic legacy was inherited by his son Luca.

Eduardo De Filippo (; 24 May 1900 – 31 October 1984), also known simply as Eduardo was an Italian actor, playwright, screenwriter, author and poet, best known for his Neapolitan works "Filumena Marturano" and "Napoli Milionaria". Considered one of the most important italian artists of the 20th century, Eduardo was the author of many theatrical dramas staged and directed by himself first and later awarded and played outside Italy. For his artistic merits and contributions to Italian culture, he was named "senatore a vita" by the Italian Presidente della Repubblica Sandro Pertini.

Eduardo De Filippo (24. května 1900 – 31. října 1984) byl italský dramatik, herec, scenárista a básník. Některé své práce psal v neapolském dialektu, přeložil do tohoto jazyka i některé Shakespearovy práce, čímž významně přispěl k jeho záchraně a rozvoji. Jeho otcem byl italský herec a dramatik Eduardo Scarpetta. Největší herecký úspěch prožil po boku Totòa a Sofie Lorenové v De Sicově filmu "L'oro di Napoli" (1954). Roku 1981 byl zvolen doživotním senátorem.