The Resistible Rise of Arturo Ui, subtitled "A parable play", is a 1941 play by the German playwright Bertolt Brecht. It chronicles the rise of Arturo Ui, a fictional 1930s Chicago mobster, his attempts to control the cauliflower racket by ruthlessly disposing of the opposition; the play is a satirical allegory of the rise of Adolf Hitler and the Nazi Party in Germany prior to World War II. Fearing persecution and blacklisted from publication and production, Brecht – who in his poetry referred to Adolf Hitler as der Anstreicher – left Germany in February 1933, shortly after the appointment of Hitler as Chancellor by President Paul von Hindenburg on the instigation of former Chancellor Franz von Papen. After moving around – Prague, Zürich, Paris – Brecht ended up in Denmark for six years. While there, c. 1934, he worked on the antecedent to The Resistible Rise of Arturo Ui, a satire on Hitler called Ui, written in the style of a Renaissance historian. The result was a story about "Giacomo Ui", a machine politician in Padua, a work which Brecht never completed.

It was published with his collected short stories. Brecht left Denmark in 1939, moving first to Stockholm, the next year, to Helsinki, Finland, he wrote the current play there in only three weeks in 1941, during the time he was waiting for a visa to enter the United States. The play was not produced on the stage until 1958, not until 1961 in English. In spite of this, Brecht did not envision a version of the play in Germany, intending it all along for the American stage; the play is consciously a satirical allegory of Hitler's rise to power in Germany and the advent of the National Socialist state. All the characters and groups in the play had direct counterparts in real life, with Ui representing Hitler, his henchman Ernesto Roma representing Ernst Röhm, the head of the Nazi brownshirts. In addition, every scene in the play is based, albeit sometimes loosely, on a real event, for example the warehouse fire which represents the Reichstag fire, the Dock Aid Scandal which represents the Osthilfeskandal scandal.

The play is similar in some respects to the film The Great Dictator, which featured an absurd parody of Hitler by Charlie Chaplin, Brecht's favorite film actor. Arturo Ui is in keeping with Brecht's "epic" style of theatre, it opens with a prologue in the form of a direct address to the audience by an otherwise unidentified "Actor", who outlines all the major characters and explains the basis of the upcoming plot. This allows the audience to better focus on the message rather being concerned about what might happen next in the plot. Brecht describes in the play's stage directions the use of signs or projections, which are seen first on the stage curtain, appear after certain scenes, presenting the audience with relevant information about Hitler's rise to power, in order to clarify the parallels between the play and actual events; the play has frequent references to Shakespeare. To highlight Ui's evil and villainous rise to power, he is explicitly compared to Shakespeare's Richard III. Like Macbeth, Ui experiences a visitation from the ghost of one of his victims.

Hitler's practiced prowess at public speaking is referenced when Ui receives lessons from an actor in walking and orating, which includes his reciting Mark Antony's famous speech from Julius Caesar. Dogsborough → Paul von Hindenburg Arturo Ui → Adolf Hitler Giri → Hermann Göring Roma → Ernst Röhm Givola → Joseph Goebbels Dullfeet → Engelbert Dollfuß Caulifower Trust → Prussian Junkers Clark → Franz von Papen Vegetable dealers → Petty bourgeoisie Gangsters → Fascists Fish → Marinus van der Lubbe Equivalents for places and things cited in the text are: Chicago → Germany Cicero → Austria Dock Aid scandal → Eastern Aid scandal the Warehouse → the ReichstagSource: There are fewer alternative copies of the script than is usual with Brecht's works, since "most of the revisions, such as they were, been made directly on the first typescript", but he did refer to the play by a number of alternative names, among them The Rise of Arturo Ui, The Gangster Play We Know and That Well-Known Racket. At one point he referred to it as Arturo Ui, labelled it a "Dramatic Poem" and ascribed authorship to K. Keuner.

The Resistible Rise of Arturo Ui was intended by Brecht to be first performed in the United States, but he was unable to get a production mounted. Brecht brought the play to the attention of director Erwin Piscator in New York, suggesting Oskar Homolka to play Ui. Piscator and Brecht's frequent musical collaborator, Hanns Eisler, got H. R. Hay to translate the work, completed by September 1941, submitted to Louis Shaffer, the director of Labor Stage, who turned it down as "not advisable to produce" because the United States was still, at the time, a neutral country; the play lingered in the drawer until 1953, after Brecht had founded the Berliner Ensemble, had produced there his major works. He showed the play around to a larger circle of people than had seen it and this eventuall

Glandorf is a municipality in the district of Osnabrück, in Lower Saxony, Germany. It is situated close to the Teutoburg Forest, 24 km south of Osnabrück; the name Glandorf derives from Glanathorpe - which means settlement on the creek Glane - and was first mentioned in records in 1070. The municipality includes Glandorf and six local subdivisions which are Averfehrden, Schwege, Sudendorf and Laudiek. Glandorf's landmark is a windmill, constructed following the example of Dutch windmill design, it was built in 1840. Since 2000, civil weddings can be celebrated in the windmill; the oldest parts of the Roman Catholic Church St. Johannis date from the 13th century and were documentary mentioned the first time in 1275. In 1636 the church was burned down by Swedish troops during the Thirty Years' War and was rebuilt with the old material. Between 1817 and 1820 a complete modification of the building occurred. Another Roman Catholic church is St. Marien in Schwege, it was built 1863 due to the teacher Mathias Niehaus's initiative.

The Protestant church "Kripplein Christi" is a wooden church and was first built 1912 in Holsen-Ahle near by Bünde. In 1952 the church was bought by the Protestant community of Glandorf and was rebuilt on a new foundation. Glandorf, Ohio Lichtenberg, Mecklenburg-Vorpommern

Kasie S. Hunt is an American political correspondent, she is an NBC News Capitol Hill correspondent, covering Congress across all NBC News and MSNBC platforms. Hunt is the host of MSNBC's Kasie DC, which airs on MSNBC on Sundays at 7 p.m. ET Hunt grew up in Wayne, Pennsylvania, she is the daughter of Krista Hunt and sibling to younger sister Carly Hunt. Her father manages real estate design and construction for Penn Medicine, University of Pennsylvania Health System in Philadelphia, her mother is a yoga teacher in Easton, her sister is a former golfer for both the Georgetown Hoyas and Maryland Terrapins women's golf teams. Hunt graduated from Conestoga High School in 2003, she attended George Washington University, graduating magna cum laude with a degree in international affairs in 2006. She earned her master's in sociology from Cambridge. Hunt started her career in journalism as an intern in the political unit of NBC News, she was a health policy reporter for National Journal's CongressDaily, writing about the passage of the Affordable Care Act.

She wrote for Politico. She started working as a national political reporter for the Associated Press in August 2011 and covered Mitt Romney's 2012 presidential campaign. In January 2013, Hunt joined NBC News as an off-air reporter and producer, covering Congress and politics, she started appearing on MSNBC as a political reporter and in November 2014 became a political correspondent. She writes for msnbc.com and appears on MSNBC and Bloomberg shows, including Morning Joe, Hardball with Chris Matthews, With All Due Respect. In October 2017, Hunt began anchoring her own talk show on MSNBC, Kasie DC, which airs in two separate segments on Sundays at 7 p.m. and 8 p.m. ET Kasie Hunt married NBC News producer Matt Rivera on May 6, 2017. On March 13, 2019, she announced. On September 4, 2019, she gave birth to her first child, a boy named Mars. Appearances on C-SPAN

"Cold Contagious" is the fourth and final single from the band Bush's second studio album, Razorblade Suitcase. Along with "Bonedriven", "Cold Contagious" is the only Bush single from 1994-1999 not to be included on the band's 2005 greatest hits compilation, The Best of: 1994-1999. "Cold Contagious" features a heavy, dark drumbeat. The lyrics seem to be about a relationship accompanied by a desire for revenge. "Cold Contagious" is unusually long among Bush songs—at about six minutes, it is the longest track Bush released, except for the song "Distant Voices," on Razorblade Suitcase, "Alien" on Sixteen Stone, the same length musically but has about thirty seconds of silence at the end. However, "Distant Voices" contains two hidden tracks; the radio edit of "Cold Contagious" is much shorter. Directed by Mark Lebon in March and April 1997, the video was shot in West Palm Beach, Florida at the Days Inn Hotel, East Rutherford, New Jersey and in Madison Square Garden in New York. Dave Parsons' girlfriend is in the video.

While Razorblade Suitcase reached the top spot on the U. S. Billboard 200, its sound proved not to be as radio-friendly as that of Bush's debut album, Sixteen Stone. "Cold Contagious" was not a big hit, although it was more successful than the third single from the album, "Bonedriven," which failed to chart at all in the U. S. "Cold Contagious" peaked at No. 18 on the Mainstream Rock Tracks chart and No. 23 on the Modern Rock Tracks chart. AUS CD Single IND95548 "Cold Contagious" - 3:55 "Swallowed" - 5:50 "Synapse" - 6:29 "In a Lonely Place" - 6:00 "Cold Contagious" Official music video on YouTube Lyrics of this song at MetroLyrics

A mourning ring is a finger ring worn in memory of someone who has died. It bears the name and date of death of the person, an image of them, or a motto, they were paid for by the person commemorated, or their heirs, specified, along with the list of intended recipients, in wills. Stones mounted on the rings were black, where it could be afforded jet was the preferred option. Otherwise cheaper black materials such as black enamel or vulcanite were used. White enamel was used on occasion where the deceased was a child, it saw some use when the person being mourned had not married. In some cases a lock of hair of the deceased person would be incorporated into the ring; the use of hair in mourning rings was not as widespread as it might have been due to concerns that the hair of the deceased would be substituted with other hair. The use of mourning rings dates back to at least the 14th century, although it is only in the 17th century that they separated from more general Memento mori rings. By the mid-18th century jewelers had started to advertise the speed with which such rings could be made.

The style settled upon was a single small stone with details of the decedent recorded in enamel on the hoop. In the latter half of the 19th century the style shifted towards mass produced rings featuring a photograph mounted on the bezel before the use of mourning rings ceased towards the end of the century. Use of mourning rings resurfaced in the 1940s in the United States; the rings were mounted a small picture of the person being mourned. Mourning rings have sometimes been made to mark occasions other than a person's death. In 1793 one was made for William Skirving. Cesar Picton, d. 1836, bequeathing 16 rings Sir Anthony Browne Col. Nicholas Spencer William Shakespeare Princess Amelia of the United Kingdom King Richard II of the United Kingdom Jeremy Bentham d. 1832

Aria: Canticle of the Monomyth known as Aria Roleplaying, is a role-playing game published by Last Unicorn Games in 1994. The rules for this role-playing system are contained in a 500-page softcover book designed by Christian Scott Moore and Owen Seyler and edited by Kirsten Kaschock, with cover art by Michael William Kaluta. Aria is based on the concept of the'monomyth', the fundamental story, at the core of most myths and fairy tales. Unlike many other role-playing games which center on individual characters in a pre-set game world, Aria encourages players to create entire "player nations", using "Narrative Environments" and "Interactive Histories"; the book is divided into two halves: "Persona Creation Book", "Myth Creation Book". Using a step-by-step formula, the players determine the attributes of their player nations in the areas of Environment and Political, as well as geography, political framework, philosophical orientation, social status divisions. Player create a historical timeline that touches on the game world’s pivotal events and major personalities.

Once every player has created a player nation, the resultant interplay between the players results in an interactive history — the game campaign. Game time is divided into Historic Intervals equivalent to five years; each Interval begins with an event introduced by the referee. A phase of internal development follows, with players using their Determinants and sub-Determinants to resolve Critical Junctures that may occur as a result. A phase of External development follows, with interaction between players During an Interval, a player may decide on taking Actions, from a list of more than two dozen possibilities. A player may declare two Internal Actions during an Interval, along with a number of External Actions equal to half of his player nation's Scope rating. All of these will be resolved by the referee at the end of the Interval, using rolls of ten-sided dice by the player matched against the relevant Determinant, with a large number of optional modifiers. Tables included in the rules help the referee to resolve each Action.

If the players wish to play a more traditional game of single personalities within the game of player nations, they can create an individual by creating a personality type. Using a point-buy system based on the character's age, the player buys attributes and skills. Task resolution and combat use the same rules as for player nations. Unlike many other role-playing systems, the rules do not include pre-made spells. Instead, the player must decide on the purpose of the spell, invent their own spell and effects. In the February 1995 edition of Dragon, Rick Swan found the rules complex and time-consuming, but the premise of the game novel. Swan warned that "The system isn’t easy — here’s one of the formulas for the Civil War Action: X 0.1 = Percent of Total Forces Controlled By Ruling Agency." But he thought that the reward for the patiently diligent player was "a gaming experience of unprecedented sweep." Although Swan liked the concept of player nations, he found the single player character system to be "an obstacle course of ambiguous rules."

He called the design-your-own-spell magic system "ingenious", but allowed that developing magic spells would take lots of time: "If you have the patience, it's a fascinating way to spend a weekend. Or two." Swan gave Aria an average rating of 4 out of 6, liking the magic system and player nation system, but not player character creation. Calling the game "borderline brilliant", Swan concluded, "The Aria game is such a hodgepodge of breakthroughs and boo-boos, it’s hard to believe it all sprung from the minds of the same two guys, but I’m willing to overlook the missteps. It's sufficiently generic that its best ideas can expand any fantasy game, the art and production is beautiful, the research and thoroughness of the game is unparalleled."In the December 1996 edition of Arcane, Andrew Rilstone found the massive rulebook to be "little more than a mega-complex character generation system." Adding to the rule complexity, Rilstone found the language dense, commenting that this is "a rulebook to be read with dictionary in hand."

He was fascinated by the premise of the game where consecutive sessions, in game terms, take place weeks, years or centuries apart. But Rilstone found that the whole thing was bogged down in endless verbiage: "Did we need 250 brain-numbing words distinguishing between Fair and Very Fair complexion, pointing out that in a given society'curly and wavy hair' is uncommon?" Rilstone concluded by giving the book the lowest possible rating of only 1 out of 10 overall, saying "Verbose, badly explained, badly organised, over-complex, but containing one phenomenally good idea. Aria should have been a milestone in the history of roleplaying games, it has turned out to be a large and expensive doorstop instead. Aria is quite unplayable."In March 2000, a reviewer on RPG.net summarized their review of Aria by saying, "I love Aria, but it is not a game without faults. It has many. However, it has many virtues, should not be overlooked because of the poor quality of presentation." Sha