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Zahra Kazemi

Zahra "Ziba" Kazemi-Ahmadabadi (1948 – 11 July 2003) was an Iranian-Canadian freelance photojournalist. She gained notoriety for her arrest in Iran and the circumstances in which she was held by Iranian authorities, in whose custody she was killed. Kazemi's autopsy report revealed that she had been raped and tortured by Iranian officials while she was at Evin Prison, located within the capital city of Tehran.

Although Iranian authorities insist that her death was accidental and that she died of a stroke while being interrogated, Shahram Azam, a former military staff physician who used his purported knowledge of Kazemi's case for seeking asylum in Canada in 2004, has stated that he examined Kazemi's body and observed that she showed obvious signs of torture, including a skull fracture, nasal fracture, signs of rape, and severe abdominal bruising.

Her death was the first time that an Iranian death in government custody attracted major international attention. Because of her dual citizenship and the circumstances of her death, she has since become an international cause célèbre. In November 2003, Canadian Journalists for Free Expression honoured Kazemi with the Tara Singh Hayer Memorial Award in recognition of her courage in defending the right to freedom of expression.

Life and death
Kazemi was born in Shiraz, Iran, and moved to France in 1974 to study literature and cinema at the University of Paris. With her son, Stephan Hachemi, she immigrated to Canada in 1993 and settled in Montreal, Quebec, where she later gained Canadian citizenship and became a dual citizen. She worked in Africa, Latin America, and the Caribbean and then more frequently in various Middle Eastern countries, including the Palestinian territories, Iraq, and Afghanistan. She visited the latter two countries both before and during the American occupation. Immediately before her traveling to Iran, Kazemi revisited Iraq, documenting the U.S. occupation. Recurrent themes in her work were the documentation of poverty, destitution, forced exile and oppression, and also the strength of women in these situations.

Arrest
Traveling back to her birth country using her Iranian passport, Kazemi was allowed into Iran to take photographs of the possible demonstrations that were expected to take place in Tehran in July 2003. The demonstrations took place and were effectively crushed after the sixth day by a massive deployment of security forces and paramilitary vigilantes, or "plainclothesmen." Following the clampdown, an estimated 4000 students "had gone missing" and were thought to have been arrested for protesting and taken to Evin prison, Tehran's political prisoner detention facility. As was customary after such events, family members of the missing gathered outside of Evin prison in the north of Tehran in hopes of learning what had happened to their children. On 23 June 2003, Kazemi drove to the prison to take pictures of these family members, possessing a government-issued press card that she thought made it permissible for her to work around Tehran, including at Evin.

According to Shirin Ebadi, an Iranian lawyer and former judge who won the Nobel Peace Prize in 2003 and later became the main representative of Kazemi's family at the trial over Kazemi's death, a prison staff member saw Kazemi taking photographs and demanded that she give him her camera, as photography is prohibited in front of the prison. "Worried that officials might harass the families whose photos she had already taken, she flashed her press card and exposed the film to the light. The guard angrily yelled at her, ‘I didn't ask you to expose your film, I told you to give me your camera’ ‘You can have the camera,’ she retorted, ‘but the film belongs to me.’ She was detained and interrogated over the next three days by police officers, prosecutors, and intelligence officials."

The Evin prison staff, whom the Kazemi family's lawyers consider a party in the beatings that led to Kazemi's death, say that she had been in a sensitive area, photographing parts of the prison. Several days after her arrest, hardline newspapers ran stories "calling her a spy who had entered the country undercover as a journalist."

Kazemi insisted that she did not photograph any part of the prison, only the street and the demonstrators, who were family members of activist students jailed in prison.

Death
On 11 July 2003, nineteen days after she was arrested, Kazemi died in Iranian custody in Baghiyyatollah al-Azam Military Hospital. Two days later, Iran's official IRNA news agency reported that Kazemi had suffered a stroke while she was being interrogated and died in hospital. This account changed to one that Kazemi had died after falling and hitting her head. On 16 July 2003, Iran's vice-president, Mohammad Ali Abtahi, "conceded that Kazemi died as a result of being beaten". Mohammad Ali Abtahi (Vice President of Legal Affairs) and Masoud Pezeshkian (Minister of Health and Medical Education) admitted that she died of a fractured skull as a result of being hit in the head. Abtahi claims that he was under a lot of pressure to take back the acknowledgment, but he resisted it.

Shirin Ebadi reports that security officials searched the house of an unnamed friend that Kazemi had been staying at and "kept asking" her friend about Kazemi's "‘medical condition’ and what medicines she took daily." Officials also kept Kazemi's elderly, frail mother, who had journeyed from Shiraz to see her only child, from seeing Kazemi until they had questioned her about the medicines they insisted her daughter must be using. Kazemi's friend told Ebadi that she later realized this meant Kazemi was dead, and the officials "wanted to claim that Ziba had a preexisting condition that had simply worsened in prison."

The story did not become a major controversy until almost two years later, when Shahram Azam, a former staff physician in Iran's Defence Ministry, released a statement saying that he examined Kazemi in hospital four days after her arrest and found obvious signs of torture, including:
 * Evidence of a very brutal rape
 * A skull fracture, two broken fingers, missing fingernails, a crushed big toe, and a broken nose.
 * Severe abdominal bruising, swelling behind the head, and a bruised shoulder.
 * Deep scratches on the neck and evidence of flogging on the legs.

One of the two Iranian intelligence agents charged with her death was acquitted in September 2003. The other agent, Mohammed Reza Aghdam-Ahmadi (محمدرضا اقدم احمدی), was charged with "semi-intentional murder" and his trial opened in Tehran in October 2003. In the same month, the Iranian parliament condemned Saeed Mortazavi, a Tehran prosecutor, for announcing that Kazemi had died of a stroke. On 25 July 2004, Aghdam-Ahmadi was acquitted.

Murder trial
Shirin Ebadi was the main representative of Kazemi's family at the trial, and represented them at the second and third sessions of Aghdam-Ahmadi's trial, which took place on 17–18 July 2004. In the court, Kazemi's mother mentioned that she wanted the real murderer to be prosecuted. She also mentioned that she saw Kazemi's body before the burial, upon which there were signs of torture.

Ebadi and the other lawyers of the family insisted in the court that they know that Kazemi was not killed by Aghdam-Ahmadi, and they need witnesses to be brought to the court to find the real murderer, who they guessed may be Mohammad Bakhshi, a high officer of the Evin prison. The list of witnesses they requested included Saeed Mortazavi, the general prosecutor of Tehran, Mohsen Armin, reformist member of the previous parliament, Jamileh Kadivar, and Mohsen Mirdamadi, Minister of Intelligence Ali Younesi, the Vice President of Legal Affairs Mohammad Ali Abtahi, Minister of Culture and Islamic Guidance Ahmad Masjedjamei, the five judges who were present during Kazemi's interrogation, a few employees of the Evin prison, the president of the Baghiyyatollah hospital, and all of the medical staff who had signed her file. Judge Farahani denied all of the requests. The lawyers also quoted the official report of death that various parts of Kazemi's body had been damaged and her clothes were torn and bloody, which proves that she had been tortured.

On 14 July 2004, the Iranian government rejected requests for Canadian government observers to attend the trial, despite promises and assurances by the Iranian Foreign Minister Kamal Kharrazi and judiciary officials to the Canadian Minister of Foreign Affairs Bill Graham. The same day, Graham recalled the ambassador at Tehran, Philip MacKinnon. MacKinnon, together with the Dutch ambassador (representing the European Union) and diplomats from the British and French embassies, were later allowed to attend the 17 July trial, though not the 18 July one. Judge Farahani was quoted on 18 July as saying that "(he) made a mistake yesterday. The bar is to show the world that Iran won't bow under pressure." Hamid Reza Assefi, the spokesman for the Iranian Ministry of Foreign Affairs, said "We hadn't permitted an observer from the beginning. But you should ask the reason for the ban from the court, there may have been a shortage of seats." Assefi also said that since Iran does not recognize dual nationality and Kazemi was an Iranian citizen who entered the country under an Iranian passport, never having requested her citizenship to be removed, that the case was clearly an internal affair.

The trial sessions ended on 18 July, with the lawyers of the Kazemi family insisting that the time had not been enough for proofs to be given, witnesses to be brought to court, and the murderer to be identified. They also mentioned that the court didn't pay attention to their evidence. They refused to sign the session notes. The Canadian Foreign Affairs Minister, Bill Graham, defined these events as "flagrant denial of due process".

On 24 July 2003, Judge Farahani issued his judgment, clearing Aghdam-Ahmadi of the charges. He also mentioned that since the murderer has not been found, according to the Islamic sources the blood money should be paid by the government to the family. The lawyers of Kazemi's family announced that they will appeal the case, asking for a criminal court to be established to reconsider the whole case, or completing the numerous incompletenesses of the file. They also mentioned that if the family asks, they will bring the case to the international authorities, mentioning Iran's 1954 signatory to the Universal Declaration of Human Rights. The end of July saw Iran's judiciary adding "accidental fall" and "hunger strike" to the list of alleged causes for Kazemi's death. They claimed that Kazemi had gone on a hunger strike voluntarily, developed low blood pressure that made her dizzy, fell, and hit her head. Detractors point out that this story does not explain her broken bones, genital injuries or skin lacerations.

Timeline of events following Kazemi's death

 * 13 July 2003 – IRNA, Iran's official news agency, reports that Kazemi "suffered a stroke when she was subject to interrogation and died in hospital." The same day, under pressure from Canada, Iran's president, Mohammad Khatami, orders an assembly of five ministers to investigate her death.
 * 16 July 2003 – Kazemi's son, Stephan Hachemi, says he believes his mother has in fact been buried in Iran and is demanding the body be returned to Canada.
 * 20 July 2003 – IRNA reports that Kazemi died from a fractured skull caused by "a physical attack."
 * 21 July 2003 – Prosecutor General Saeed Mortazavi is appointed by Iran to head an independent investigative group to look into Kazemi's death. This appointment is immediately fiercely attacked by pro-reformist Iranian MPs, as Mortazavi had himself been accused of failing to prevent Kazemi's death, and was widely believed to be behind a recent wave of arrests of writers and journalists. Given this controversy, the investigation appeared unlikely to mollify Canada, which was growing increasingly impatient with Iran's unwillingness to "clearly demonstrate that officials are not allowed to act with impunity" (Foreign Minister Bill Graham, news conference).
 * 23 July 2003 – Kazemi's body is buried in her hometown of Shiraz in Iran, supposedly according to the wishes of her mother (Ezzat Kazemi) and relatives in Iran, but contrary to the wishes of her son (Stephan Hachemi, who resides in Montreal), and Canadian officials. Canada recalls its ambassador to Iran, and discusses the possibility of sanctions against Iran. (Her mother later said that she had been put under pressure to approve of an Iranian burial.)
 * 25 July 2003 – The Iranian Foreign Minister echoes the words of Canadian officials almost word for word while addressing Ottawa, in reference to the death of an 18-year-old Iranian citizen (Keyvan Tabesh) in Port Moody, British Columbia, Canada, by plainclothes police officers. The shooting occurred around the same time as Ms. Kazemi's death. He demands that Canadian officials "clearly demonstrate that officials in Canada are not allowed to act with impunity, ... [and] The Islamic republic will seek through diplomatic channels clear and convincing explanations of this crime." A Port Moody police investigation later finds that the use of force in the incident was consistent with police guidelines.
 * 26 July 2003 – Iran announces that it has arrested five members of its security services in connection with the investigation, and gives no further details.
 * 30 July 2003 – Iran's vice-president, Mohammad Ali Abtahi says that Kazemi was probably murdered by government agents.
 * 25 August 2003 – Two Iranian intelligence agents who had interrogated Kazemi are charged with complicity in her death. The Teheran prosecutor's office releases a statement reading in part, "The charges leveled against the interrogators, who are said to be members of the Intelligence Ministry, are announced as complicity in semi-intentional murder."
 * 26 July 2004 – Kazemi's mother told the court that her daughter had been tortured, and said she was pressured into burying her daughter at her birthplace in southern Iran under duress to deny Canada the opportunity to carry out its own autopsy.
 * 31 March 2005 – Dr. Shahram Azam, the Iranian doctor who examined Kazemi just prior to her death, said he was shocked by the extent of her injuries, and felt she had been tortured. He reported injuries consistent with torture, such as flogging wounds on the back and missing fingernails. A female nurse told him of "brutal" genital injuries. Azam did not give her a vaginal examination himself as it is considered inappropriate in Iran for a male physician to examine a woman in this manner. Azam fled the country, seeking political asylum in Canada to tell his story.

Aftermath
In June 2005, an exhibition at the municipal Côte-Saint-Luc Library in Montreal of photos taken by Zahra Kazemi during her travels in Middle East was shut down following accusations by Jewish patrons of alleged "pro-Palestinian bias" for including five of her photographs on display that depicted scenes inside Palestinian refugee camps. Gallery officials proceeded to remove the five photographs while leaving the rest of the exhibition. In response, Kazemi's son, Stephen Hachemi, called the removal of the Palestinian photographs "a violation of my mother's spirit" and demanded that the library either display the entire collection or nothing at all. Eventually, the library closed the entire exhibition.

Côte Saint-Luc Mayor Robert Libman told CBC news "It's a very complicated conflict, and to create an impression where the Palestinian cause is being martyred by oppression by the Israeli government, we don't consider that to be a fair portrait, in the future, such politically charged work won't be displayed at the library". Critics of the decision to take down the exhibition denounced it as "censorship". Naomi Klein and Aaron Maté wrote that it is "part of a disturbing pattern to silence opposition to the expansionist Israeli occupation of the Occupied Territories". According to the caption that accompanied the photo exhibition, she "illustrated the daily life of Palestinians and the problems they faced as they sought to preserve their land and their identity" in the face of "exodus, poverty, humiliation, suffering, and the ravages of war".

Her life was one of the inspirations for the popular webcomic, Zahra's Paradise.

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Inner Sanctum Mystery

Inner Sanctum Mystery, also known as Inner Sanctum, is a popular old-time radio program that aired from January 7, 1941, to October 5, 1952. It was created by producer Himan Brown and was based on the imprint given to the mystery novels of Simon & Schuster. In all, 526 episodes were broadcast.
 * See also

Simon & Schuster series
In 1930, the first title was published in Simon & Schuster's "Inner Sanctum" mystery series: I Am Jonathan Scrivener by Claude Houghton. Although the imprint "Inner Sanctum" also included serious drama (published with blue covers) and romance (published with red covers), for the most part it was associated with mysteries (published in green covers). Lee Wright was the editor of the series, and over the years she introduced such authors as Craig Rice, Gypsy Rose Lee, Patrick Quentin, Thomas Sterling and Anthony Boucher.

Horror hosts
On January 7, 1941, the Inner Sanctum radio program premiered, the name licensed by Simon & Schuster on condition that at the end of each broadcast the announcer would promote the latest book title published in the series. The anthology series featured stories of mystery, terror and suspense, and its tongue-in-cheek introductions were in sharp contrast to shows like Suspense and The Whistler. The early 1940s programs opened with Raymond Edward Johnson introducing himself as "Your host, Raymond" in a mockingly sardonic voice. A spooky melodramatic organ score (played by Lew White) punctuated Raymond's many morbid jokes and playful puns. Raymond's closing was an elongated "Pleasant dreeeeaams, hmmmmm?" His tongue-in-cheek style and ghoulish relish of his own tales became the standard for many such horror narrators to follow, such as Maurice Tarplin (on The Mysterious Traveler).

When Johnson left the series in May 1945 to serve in the Army, he was replaced by Paul McGrath, who did not keep the "Raymond" name and was known only as "Your Host" or "Mr. Host". (Berry Kroeger had substituted earlier for a total of four episodes.) McGrath was a Broadway actor who turned to radio for a regular income. Beginning in 1945, Lipton Tea sponsored the series, pairing first Raymond and then McGrath with cheery commercial spokeswoman Mary Bennett (aka the "Tea Lady"), whose blithesome pitches for Lipton Tea contrasted sharply with the macabre themes of the stories. She primly chided the host for his trademark dark humor and creepy manner.

The creaking door
The program's familiar and famed audio trademark was the eerie creaking door which opened and closed the broadcasts. Himan Brown got the idea from a door in the basement that "squeaked like Hell." The door sound was actually made by a rusty desk chair. The program did originally intend to use a door, but on its first use, the door did not creak. Undaunted, Brown grabbed a nearby chair, sat in it and turned, causing a hair-raising squeak. The chair was used from then on as the sound prop. On at least one memorable occasion, a staffer innocently repaired and oiled the chair, thus forcing the sound man to mimic the squeak orally.

Guest stars
The stories were effective little chillers, mixing horror and humor in equal doses. Memorable episodes included "Terror by Night" (September 18, 1945) and an adaptation of "The Tell-Tale Heart" (August 3, 1941). The latter starred Boris Karloff, who was heard regularly in the first season, starring in more than 15 episodes and returning sporadically thereafter.

Other established film stars who appeared on the program in the early years included Bela Lugosi, Mary Astor, Helen Hayes, Peter Lorre, Paul Lukas, Claude Rains, Frank Sinatra, and Orson Welles. Most of the lead and supporting players were stalwarts of New York radio. These included Santos Ortega, Larry Haines, Ted Osborne, Luis van Rooten, Stefan Schnabel, Ralph Bell, Mercedes McCambridge, Berry Kroeger, Arnold Moss, Leon Janney, Myron McCormick, and Mason Adams. Players like Richard Widmark, Everett Sloane, Burgess Meredith, Agnes Moorehead, Ken Lynch, and Anne Seymour also found fame or notability in film or television.

Of more than 500 programs broadcast, only about 200 remain in circulation.

Example program opening
Sound effect: A door with squeaky hinges is slowly opened. Organ begins to play.

Raymond: Good evening, friends of the Inner Sanctum. This is Raymond, your host. I'm glad you came tonight, because we have a very special guest of horror with us. I'd like you to meet the late Johnny Gravestone, the most celebrated member of the Inner Sanctum Ghost Society. He's the best haunter of them all. Johnny's the tall figure in the white sheet wearing the blue ribbon. He's haunted everything from a palace to a telephone booth. And uh, if you're very nice to him, he'll be glad to consider giving your house the once-over. Who knows? He might even haunt you! Ha-ha-ha-ha!

(Commercial)

Raymond: Well, we're about to begin our story. Oh, I forgot to warn you about the Trembliens. They're those pesky, invisible cousins of the gremlins. They uh, sidle up to [sic] you, give quick little shoves, and give the false impression that you're trembling. If you're being troubled by a Tremblien, just grab him by his invisible little horns and stick him into the nearest pin cushion.

Films
In June 1943, Universal purchased the screen rights to the series from Simon and Schuster, Inc. The Inner Sanctum Mysteries feature a "stream of consciousness" voiceover which Edward Dein stated he incorporated into his script at Lon Chaney Jr.'s insistence. With the exception of Pillow of Death, each film is prefaced with a sequence featuring the bobbing head of actor David Hoffman staring out of a crystal ball, giving warnings to the audience about how each audience member is capable of murder.

Lon Chaney Jr. was hopeful for the series, craving diversity in his roles after Universal had placed him in various monster roles in their horror films. Pivar planned to produce two Inner Sanctum mystery films a year with each film featuring Chaney and Gale Sondergaard in the lead roles. Sondergaard was dropped from the lead role shortly before the filming of Calling Dr. Death.

The films in the series are Calling Dr. Death (1943), Weird Woman (1944), Dead Man's Eyes (1944), The Frozen Ghost (1945), Strange Confession (1945) and ''Pillow of Death (1945).

From retrospective reviews, Kim Newman described the film series as "straddling whodunnit and horror" and that "the films vary in quality but mostly deliver as strange entertainment." Newman found that Weird Woman was the standout film in the Inner Sanctum series, being the sole entry in the series to have supernatural elements. The authors of the book Universal Horrors declared the series "feeble melodramas with little to recommend them beyond their camp qualities and the morose spectacle of seeing a badly miscast Chaney struggle his way through acting assignments that were painfully beyond his depth." They concluded that the series was "generally regarded by buffs and film historians as a missed cinematic opportunity."

Television
The 1954 syndicated television series featured Paul McGrath as the off-camera host/narrator. The TV shows were produced at the Himan Brown Production Center (now Chelsea Studios) in Manhattan.

"Pleasant dreeeeaaams, hmmmmm?"
In the 1970s, with his CBS Radio Mystery Theater series, Himan Brown recycled both the creaking door opening and, to a lesser extent, the manner of Raymond. The hosts were E. G. Marshall and during the final season, Tammy Grimes. When the series was rebroadcast during the late 1990s, Brown himself rerecorded the host segments and mimicked Raymond's "Pleasant dreeeeaaams, hmmmmm?" for the familiar closing.

Satires
Harvey Kurtzman and Will Elder satirized the series in Mad's fifth issue (June–July 1953) with "Outer Sanctum!" In the opening panels, host Ramon greets the reader: "Come in, I've been waiting for you! I've been waiting for you to fix my squeaking door!... What?... You say you're not the carpenter?... You have come to hear a story?... Very well!"

In the Three Stooges short The Ghost Talks, a creaking door prompts Shemp to parody the opening narration of the program, naming it "The Outer Sanctorum."

The opening of an Inner Sanctum episode was used to open one side of The Whole Burbank Catalog, a 1972 compilation album in the Warner/Reprise Loss Leaders series from Warner Bros. Records. The announcer's jokey pun in this case concerned an author friend, specializing in best-sellers, who "tried to bury [him] in one, because all the very best sellers (cellars) have corpses in them." A backwards version of the creaking door sound effect led directly into "Get It On" by T. Rex.

The popular British 60s radio comedy Round The Horne had occasional sketches that were influenced by the style of the show. Regular cast member Hugh Paddick would introduce the "scary" sketch with the words "Inner Sanctum-um-um-um-um-um..." – pretending to echo! This was accompanied by a warbling, quivering, high pitched tone from a Theremin played by an orchestra member. The sketches nearly always ended in confusion as the plots were deliberately circular and convoluted whilst playing up the "spookiness" of the part.

The 1946 Warner Brothers Bugs Bunny cartoon Racketeer Rabbit had Bugs enter an abandoned Victorian house (which was actually the gangsters' hideout) that had a squeaky door. Bugs said as he was entering the house, "Huh? Sounds like Inner Sanctum!"

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Inner Sanctum Mystery


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Captive bead ring

A captive bead ring (CBR), ball closure ring (BCR), captive hoop, or captive ball ring is a common example of body piercing jewelry.

The captive bead or ball fits into a small opening in the circle of the ring. The bead is slightly larger than this opening and has small indentations or depressions that correspond to the ring's end-points so that it may fit snugly against them, thus completing the circuit of the ring. Often, a hole is drilled through the bead to allow easier fitting.

It uses the natural tensile or compressive strength of the metal the ring is made of, usually surgical stainless steel, niobium, or titanium, to hold the bead tightly in place. The bead or ball itself may additionally be made from coloured glass, acrylic or ceramic, or a gemstone.

This is a popular piece of body jewelry because it conveniently allows the wearer to remove the ring by simply removing the captive bead, the bead is held firmly in place so that it will not easily fall out. Additionally, because of their closed shape and rounded edges, these rings do not easily snag on clothing, hair, or furniture, making them a popular choice for piercings which are still healing. However, its circular shape means that it can drag dried lymph back into the healing piercing, meaning that barbells are seen as being preferable for certain healing piercings.

title: Captive bead ring


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Digital hardcore

Digital hardcore is a fusion genre that combines hardcore punk with electronic dance music genres such as breakbeat, techno, and drum and bass while also drawing on heavy metal and noise music. It typically features fast tempos and aggressive sound samples. The style was pioneered by Alec Empire of the German band Atari Teenage Riot during the early 1990s, and often has sociological or leftist lyrical themes.

Characteristics
Digital hardcore music is typically fast and abrasive, combining the speed, heaviness and attitude of hardcore punk, thrash metal, and riot grrrl with electronic music such as hardcore techno, gabber, jungle, drum and bass, glitch, and industrial rock. Some bands, like Atari Teenage Riot, incorporate elements of hip-hop music, such as freestyle rap.

According to Jeff Terich of Treble Media, digital hardcore is "on the verge of reaching speeds incompatible with popular music, as if the rapid acceleration of BPMs would render the idea of rhythm irrelevant or, at the very least, unpredictable. Maybe this is music for dancing; definitely this is music for screaming and breaking things."

The electric guitar (either real or sampled and usually heavily distorted) is used alongside samplers, synthesizers and drum machines. While the use of electronic instruments is a defining feature of the genre, bass guitars, electric guitars, and drum kits are optional. Vocals are more often shouted than sung by more than one member of the group. Typically, the lyrics are highly politicized and espouse left-wing or anarchist ideals. Some practitioners have been influenced by anarcho-punk.

1990s
The music was first defined by the band Atari Teenage Riot, who formed in Berlin, Germany in 1992. The band's frontman, Alec Empire, coined the term "digital hardcore," setting up the independent record label Digital Hardcore Recordings in 1994. German bands with a similar style began signing to the label and its underground popularity grew, with small digital hardcore festivals being held in several German cities. By the mid-1990s, a number of new record labels specializing in the genre were formed around the world. These included Gangster Toons Industries (Paris), Praxis (London), Cross Fade Enter Tainment (Hamburg), Drop Bass Network (U.S.), and Bloody Fist (Australia). Digital Hardcore Recordings also had some kinship with the Frankfurt labels Mille Plateaux and Riot Beats. Alec Empire's work subsequently set the template for breakcore.

Other prominent digital hardcore musicians of this period include Christoph de Babalon, Cobra Killer, Sonic Subjunkies, EC8OR, Hanin Elias, Lolita Storm, Nic Endo, The Panacea, and The Mad Capsule Markets.

2000s
In Alec Empire's words, "Digital Hardcore went from a local, Berlin based scene to an international underground movement." The soundtrack to the film Threat included contributions from digital hardcore musicians, along with metalcore bands. James Plotkin, Dave Witte and Speedranch's project Phantomsmasher combined digital hardcore with grindcore. Notable 21st century digital hardcore groups include Left Spine Down, Motormark, Death Spells, The Shizit, Rabbit Junk, and Fear, and Loathing in Las Vegas.

2010s
Digital hardcore saw less prominence in the 2010s. However, its international influence can be seen in the prominence of electronicore, a similar musical genre fusing hardcore punk and metalcore with electronica. The German band We Butter the Bread with Butter has seen commercial success employing this fusion. The term "digital hardcore" has largely fallen out of use, given its association with politically charged lyrics, which are not a characteristic of newer electronicore artists.

One notable digital hardcore band to come out of the 2010s was Machine Girl, especially with their 2017 album ...Because I'm Young Arrogant and Hate Everything You Stand For, which combined their earlier modern breakcore style with more extreme hardcore punk vocals.

2020s
Coming into the 2020s, digital hardcore has seen a rise with new releases and artists, such as LustSickPuppy, death insurance and VoidDweller. Notable mainstream success within the digital hardcore genre has been seen with the British band WARGASM, whose debut EP, Explicit: The Mixxxtape, was released on 9 September 2022.

title: Digital hardcore


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Gag

A gag is usually an item or device designed to prevent speech, often as a restraint device to stop the subject from calling for help and keep its wearer silent. This is usually done by blocking the mouth, partially or completely, or attempting to prevent the tongue, lips, or jaw from moving in the normal patterns of speech. The more "effective" a gag appears to be, the more hazardous it is. For example duct tape is a fairly effective method of keeping a person's mouth shut but can be hazardous if the subject cannot breathe freely through the nose (for example if they have the common cold). For this reason, a gagged person should never be left alone.

The use of gags is commonly depicted in soap operas and crime fiction, particularly in comics, novels and films.

Courts have been known to gag certain people, such as the civil rights activist Bobby Seale. This practice has been criticized as inhumane.

Types of gags
One type of gag familiar in fiction, particularly in crime comics and novels, is a suitably sized piece of cloth pulled over the subject's mouth and tied at the back of their head. It is sometimes called the "detective gag" because many of its first appearances were in crime serials.

Sometimes a gag is pushed back between the victim's front teeth into the mouth, or with a hard ball in its middle or reinforced by pushing small cloth items into the mouth. This is common in BDSM, but in practice these sorts of gag can usually be got rid of by working the jaws about and/or pushing with the tongue, and they often do not stop the victim from making a loud inarticulate noise to call for help.

Often adhesive tapes are used for improvised gags. A tape gag can cause the skin on the lips to be damaged in its removal or the adhesive can cause chemical burns or reactions.

Other uses of the word
The word "gag" has come to have various extended meanings, for example:
 * Various sorts of laws and orders preventing or stopping discussion or revealing of information, e.g., a parliamentary procedure to end a debate. See gag order.
 * A gag rule can be a part of court proceedings and congressional proceedings.
 * Gag (medical device), to keep the mouth open
 * A gag bit is a special bit type used with horses.

In symbolism

 * Sometimes in political cartoons, a character is shown gagged to represent that in the real world some law or rule or order is preventing him/her from speaking about some matter (see gag order).
 * A gag that is specifically two stripes of red tape as an X is often used represent censorship.

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Alec Empire

Alec Empire (born Alexander Wilke-Steinhof on 2 May 1972) is a German experimental electronic musician who is best known as a founding member of the band Atari Teenage Riot, as well as a solo artist, producer and DJ. He has released many albums, EPs and singles, some under aliases, and remixed over seventy tracks for various artists including Björk. He was also the driving force behind the creation of the digital hardcore genre, and founded the record labels Digital Hardcore Recordings and Eat Your Heart Out Records.

Biography
Wilke's father was a working-class socialist, himself the son of a radical activist who perished in the Nazi concentration camps of World War II. His maternal grandfather, Karl Steinhof, was a self-made millionaire who patented the first domestic hand-knitting appliance during the economic boom in Germany in the 1950s.

Wilke grew up during the Cold War near the Berlin Wall, which he passed every day on his way to school. The frequent sight of patrol guards with guns influenced his outlook on life from an early age. He describes Berlin at the time as: "Probably the most left radical place in Germany in the 70s, terrorists, a lot of demonstrations, and probably the first address to hear the latest American music, because of the radio shows the US soldiers brought to Berlin."

Early influences and career
At the age of ten, Wilke's love of hip hop led to a vogueing career on the streets of Berlin. Later disillusioned by that genre becoming increasingly commercial, he left it behind in favour of a completely different form of musical expression. He had played guitar since the age of eight which coupled with his politically charged upbringing eventually led him to punk music; he formed his first band, Die Kinder (The Kids), at age twelve.

By sixteen, however, Wilke came to believe that the punk movement was "dead" (though the anti-establishment punk attitude would figure significantly in his subsequent output). After leaving Die Kinder, he began listening to classical music and experimenting with electronic instruments. He eventually became fascinated by the rave scene, and, following German reunification, frequented underground raves in East Berlin, believing his native West Berlin scene to be too commercialised. Known earlier in his career as LX Empire he produced a great deal of what he refers to as "faceless DJ music". In 1991, while DJing on a beach in France with his friend Hanin Elias, he caught the attention of Ian Pooley, which led to the release of a number of 12" records on the Force Inc. label.

Although Empire was a prolific producer and DJ at this time, and made a comfortable enough living, he nevertheless saw the rave scene as decadent and selfish. This angered him, as he and his friends lived in a city embroiled in politics, and the demise of communist-led governments had given rise to increased conservatism in Germany, whilst few people cared. The German neo-Nazi movement had invaded the scene, declaring trance techno "true German music".

Empire retaliated by utilising samples of 1960s and 1970s funk – a predominantly black style of music – in his solo work. In order to further spread the message, he gathered like-minded individuals Hanin Elias (also a former punk) and Carl Crack (a Swazi MC) to form a band. In 1992, the trio became known as Atari Teenage Riot (ATR).

Atari Teenage Riot and Digital Hardcore Recordings
In Empire's words, Atari Teenage Riot's complex musical style was intended to "destroy" the "simulated harmony" of the mainstream electronic music, and that, besides their protest lyrics, "riot sound produce riots". Empire, who is straight edge, also stated that it was a reaction to both the fashion-victimized and drug-fueled nihilism of the rave scene of the 1990s, once saying that "You can't read or do anything else while listening to our music."

ATR signed a record deal with Phonogram, a major UK label, in 1993. The two parted ways after only a couple of single releases, due to the band's refusal to play by the label's rules. In 1994, using the non-refundable cash advance from the deal, Empire started an independent record label that allowed its artists the freedom of expression Phonogram were unlikely to give. He named it Digital Hardcore Recordings (DHR); the direction his sound had taken came to be known as "digital hardcore". That year, DHR released EPs by EC8OR, Sonic Subjunkies, and Empire himself.

While working with ATR, Empire continued steadily with his solo output. He recorded for Force Inc. under several pseudonyms, including the Detroit techno-inspired Jaguar. He also recorded several albums for Force Inc.'s experimental sub-label Mille Plateaux, including Generation Star Wars (his first full solo album) and Low on Ice, which he recorded entirely on his laptop during a three-day tour of Iceland with ATR. In 1995, ATR released their first proper album, Delete Yourself!, on DHR, and, in 1996, Empire released his first solo album for DHR, The Destroyer. In that year, Empire and Mike D signed a deal to release a number of DHR's recordings on the Beastie Boys' Grand Royal record label in the United States.

ATR spent the next few years touring the world with artists such as Jon Spencer Blues Explosion, Beck, Rage Against the Machine, the Wu-Tang Clan and Ministry, as well as headlining shows as the Digital Hardcore festival at CBGB's in New York City in 1998, and the Queen Elizabeth Hall show in London in 1999 at the request of fan John Peel. During this time they introduced Nic Endo to their ranks as a fourth member.

All of the members found some comfort in their solo work – Empire's output at this time would include his sole release as Nintendo Teenage Robots, and the bootleg recording Alec Empire vs. Elvis Presley, as well as remixes for the likes of The Mad Capsule Markets, Mogwai and Thurston Moore. However, ATR's problems worsened. Onstage at one show in Seattle in 1999, Empire slashed his forearms with a razor. At another show that year in London, in which ATR supported Nine Inch Nails, the band dispensed with the usual song-based formula and delivered one long barrage of what could only be described as "noise"; this would later be released as Live at Brixton Academy.

By the end of 1999, Empire was mentally exhausted, Elias was pregnant and Crack was suffering from psychosis induced by prolonged drug use. The band was put on hiatus; its future was made even more doubtful following Crack's death in 2001, and Elias' decision to leave DHR and create Fatal Recordings.

After ATR
Empire rebounded in 2001 when he, with assistance from Endo, recorded Intelligence and Sacrifice. The album contained two discs: the first retained the ATR formula, yet exhibited a more polished production style and lyrics of an unusually introspective nature; the second disc was an electronic instrumental album, and in contrast was more experimental. He used an all-star lineup in his first live "Alec Empire" show at the Fuji Rock Festival in Japan: Charlie Clouser (ex-Nine Inch Nails) played synths, Masami "Merzbow" Akita and Gabe Serbian (The Locust) both played drums, and Endo played synths and keyboards.

Empire's next lineup would include a guitarist, Robbie Furze, who would later record for DHR with Panic DHH. Empire also played a series of live shows performing material from the second disc of Intelligence and Sacrifice; one of these was released as The CD2 Sessions in 2003. He returned in 2005 with Futurist, which was less electronic than its predecessor and had more of a raw punk-rock sound, albeit assisted by drum machines and some processing.

Empire began 2006 by DJing at industrial pioneers Throbbing Gristle's New Year's Eve party. During that year he remixed fellow Germans Rammstein (whom he once said were "successful for all the wrong reasons" ) and New York hardcore band Most Precious Blood. He also recorded a cover version of The Monks' "Monk Time" for a tribute album with that band's singer Gary Burger, and Russell Simins of Blues Explosion. Atari Teenage Riot: 1992-2000, a retrospective album, was released by DHR on 3 July 2006.

After DHR
In 2007, Empire announced that DHR would henceforth assume a more "underground" role, as his focus turned to a new label, Eat Your Heart Out Records, which he describes as "the sound of New Berlin". The label's first release was his 12" single "Robot L.O.V.E.", followed by an album, The Golden Foretaste of Heaven, recorded with his new production team and touring band The Hellish Vortex, released in Japan on 28 November 2007 and in Europe on 21 January 2008. The second single release, the On Fire EP, was released on 7 December. Sixteen Years of Video Material, a DVD featuring rare footage of Empire and ATR was released on German video label Monitorpop in July 2008.

In February 2017 Empire released an original soundtrack album for the German sci-fi thriller Volt.

Style
Alec Empire's body of work spans a range of electronic (as well as conventionally less electronic) styles. His earlier releases for Force Inc. were influenced by the rave scene in his native Berlin, and included acid house, techno, hardcore, punk and breakbeat (all of which are evident on the SuEcide EPs and the Limited Editions 1990-1994 compilation). On creating DHR his solo recordings for that label consisted largely of the digital hardcore staples of breakcore (as heard on The Destroyer album and EPs) and later experimental noise (as heard on Miss Black America), while his work during the same period for Mille Plateaux saw him experimenting with minimal techno (Pulse Code), ambient (Low on Ice) and musique concrète (Les Étoiles des Filles Mortes). His alter-egos for various labels provided outlets for dabbling in other genres such as drum and bass/jungle (DJ Mowgly), Detroit techno (Jaguar) and even chiptune music (Nintendo Teenage Robots).

After the demise of Atari Teenage Riot, Empire's major releases for DHR sought to continue in the guitar-based, punk-influenced vein of the band. Intelligence and Sacrifice utilised live guitars, breakbeats, noise, sampled cinematic dialogue and Empire's trademark spoken/shouted English vocals, while Futurist saw a more obvious return to his punk roots and consequently sounds as if it were largely recorded using all live instrumentation, even though it was electronically produced. The creation of the Eat Your Heart Out label saw a move to a much more electronic-sounding approach with comparatively subdued vocals over synthesized sounds and beats.

Albums

 * 1992 – SuEcide Pt.1 & Pt.2
 * 1994 – Limited Editions 1990–94 (Mille Plateaux / Geist Records UK)
 * 1994 – Generation Star Wars (Mille Plateaux / Geist Records UK)
 * 1995 – Low on Ice (Mille Plateaux Records)
 * 1995 – Atari Teenage Riot – Delete Yourself (Digital Hardcore Rec. / Intercord)
 * 1996 – Hypermodern Jazz 2000.5 (Mille Plateaux / Geist Records UK)
 * 1996 – The Destroyer (Digital Hardcore Recordings)
 * 1996 – Les Etoiles Des Filles Mortes (Mille Plateaux / Geist Records UK)
 * 1996 – Berlin Sky (Analogue Records USA)
 * 1997 – Atari Teenage Riot – Burn Berlin Burn (Grand Royal USA / DHR)
 * 1997 – Squeeze The Trigger (DHR UK)
 * 1998 – Miss Black America (DHR UK)
 * 1999 – Atari Teenage Riot – 60 Second Wipe Out (Elektra Records USA / DHR)
 * 1999 – Nintendo Teenage Robots – We Punk Einheit (DHR Limited)
 * 1999 – Alec Empire vs. Elvis Presley Bootleg (El Turco Loco)
 * 2001 – Intelligence and Sacrifice (Beat Ink. Japan)
 * 2002 – Intelligence and Sacrifice (Digital Hardcore Recordings / Zomba Records)
 * 2002 – Redefine The Enemy (DVD)
 * 2003 – Alec Empire & Merzbow live at CBGBs New York (Digital Hardcore Recordings)
 * 2003 – The CD2 Sessions Live in London (Digital Hardcore Recordings)
 * 2005 – Futurist (Digital Hardcore Recordings/Beat Ink Japan)
 * 2006 – Atari Teenage Riot – Atari Teenage Riot (Digital Hardcore Recordings)
 * 2007 – Alec Empire – The Golden Foretaste of Heaven (Eat Your Heart Out Records/Beat Ink Japan)
 * 2008 – Alec Empire – The Golden Foretaste of Heaven (Eat Your Heart Out Records/Rough Trade)
 * 2009 – Alec Empire – Shivers (Eat Your Heart Out Records)
 * 2011 – Mustard Pimp feat. Alec Empire – Catch Me (Dim Mak Records)
 * 2011 – Atari Teenage Riot – Is This Hyperreal? (Digital Hardcore Recordings)

Remixes (selection)

 * 1993 – Space Cube (Remix: Dschungelfieber) / Riot Beats
 * 1994 – Air Liquide (Remix: Abuse Your Illusions Pt.1)
 * 1996 – Nicolette (Remix: Beautiful Day) / Mercury Records / Talkin Loud Rec.
 * 1996 – Stereo Total (Remix: Dactylo Rock)
 * 1996 – Schorsch Kamerun (Remix: Die Menschen aus Kiel) / L'Âge d'or Records
 * 1996 – Cibo Matto (Remix: Know Your Chicken) / Blanco Y Negro Records
 * 1996 – Think About Mutation / Ooomph (Remix: Motor Razor)
 * 1996 – Bindenmittel – (Remix: Unification) WEA Records
 * 1997 – Nicolette (Remix: No Government) / Talkin Loud Records
 * 1997 – Audio Active (Remix: My Way) / On U-Sound Records
 * 1997 – Björk (Remix: Bachelorette) / One Little Indian Records
 * 1997 – Björk (Remix: Joga) / Mother Records
 * 1997 – Mad Capsule Markets (Remix: Crash Pow) / Viktor Entertainment Japan
 * 1997 – Violent Onsen Geisha & DMBQ (Remix: Mood of Mods Generation) / ZK Records Japan
 * 1997 – Einstürzende Neubauten (Remix: The Garden) / Mute Records
 * 1997 – Schweisser (Remix: Friss Scheiße) / Intercord Tonträger GmbH
 * 1997 – Bottom 12 – (Remix: Dance or be shot)
 * 1997 – Buffalo Daughter (Remix: Dr Moog) / Grand Royal Records
 * 1998 – Mark Stewart (Remix: Consumed) / Mute Records
 * 1998 – Mogwai (Remix: Like Herod) / Eye Q Records UK, Jet Set Records
 * 1998 – Thurston Moore (Remix: Root) / Lo Recordings
 * 1998 – Shonen Knife – (Remix: Keep On Rockin) / MCA Victor Japan
 * 1998 – Techno Animal vs. Reality (Remix: Atomic Buddha) / City Slang, Labels
 * 1999 – Collision Course (El-P, Company Flow) (Remix: Trapped in 3D) / PIAS UK
 * 1999 – Björk (Remix: Joga) / Columbia Records
 * 2000 – Godzilla 2000 Soundtrack (Remix: March of Godzilla) / Nippon Columbia
 * 2000 – Guitar Wolf – (Remix: Jet Virus) / KiOon Records Japan
 * 2002 – Primal Scream (Remix: Miss Lucifer) / Columbia Records, Sony
 * 2003 – Brainbombs (Remix: It's a Burning Hell) / Load Records USA
 * 2003 – Chris Vrenna (Remix: Skool Daze) / Waxploitation Records USA
 * 2004 – Rammstein (Remix: Amerika) / Universal Music
 * 2004 – Panic DHH (Remix: Reach) / Gonzo Circus Records
 * 2005 – Coil (band) (Remix: Tribute To Coil) / Fulldozer Records Russia
 * 2005 – Rammstein (Remix: Mann Gegen Mann) / Universal Island Records
 * 2006 – Most Precious Blood (Remix: Oxygen Dept) / Halo 8 Records USA
 * 2007 – Emigrate (Remix: New York City) / Motor, Edel Records
 * 2010 – IAMX (Remix: I Am Terrified) / Metropolis Records, 61Seconds
 * 2012 – SALEM (Remix: Better Off Alone)
 * 2021 – Eternal Struggle (Remix: Year of the Gun) / Demons Run Amok Entertainment

Films / soundtracks / film music contribution and/or composition

 * Spawn (USA, 1997)
 * Orgazmo (USA, 1998)
 * Modulations (USA, 1998)
 * Hurricane Streets (USA, 1999)
 * Buddyhead Presents: Punk Is Dead (USA, 2005)
 * Threat (USA, 2000, Re-Release 2006)
 * The Fast & The Furious: Tokyo Drift (USA, 2006)
 * Monks: The Transatlantic Feedback (USA, Sp, D, 2006)
 * Durch die Nacht mit … (Episode Arte TV, 2008)
 * Atari Teenage Riot / Alec Empire: 16 Years of Video Material (DVD only, the United States, Japan, EU, 2008)
 * 224466 (Japan, 2008, episode of 246)
 * ''Slumber Party Slaughterhouse" (USA, 2008)
 * Chaostage (D, 2008)
 * Godkiller (USA, 2010)
 * Volt (Germany, 2018)
 * Razzennest (Austria, 2022)

title: Alec Empire


text:
Lollapalooza

Lollapalooza (Lolla) is an annual American four-day music festival held in Grant Park in Chicago. It originally started as a touring event in 1991, and many years later, Chicago became its permanent location. Music genres include alternative rock, heavy metal, punk rock, hip hop, and electronic dance music. Lollapalooza has also featured visual arts, nonprofit organizations, and political organizations. The festival hosts an estimated 400,000 people each July and sells out annually. Lollapalooza is one of the largest music festivals in the world and one of the longest-running in the United States.

Lollapalooza was conceived and created in 1991 as a farewell tour by Perry Farrell, singer of the group Jane's Addiction. The first Lollapalooza tour had a diverse collection of bands and was a commercial success. It stopped in more than twenty cities in North America. In 2020, Spin rated the first Lollapalooza as the best concert on a list of "The 35 Greatest Concerts of the Last 35 Years". Lollapalooza then ran annually until 1997, and was revived in 2003. From its inception through 1997 and its revival in 2003, the festival toured North America. In 2004, the organizers decided to expand the dates to two days per city, but poor ticket sales forced the 2004 tour to be canceled.

In 2005, Farrell and the William Morris Agency partnered with Austin, Texas–based company Capital Sports Entertainment (now C3 Presents) and retooled the event into its current format as an annual festival in Chicago. In 2014, Live Nation Entertainment bought a controlling interest in C3 Presents.

In 2010, it was announced that Lollapalooza would remain in Chicago, while also debuting outside the United States, with a branch of the festival staged in Santiago, Chile on April 2–3, 2011, where it partnered with Santiago-based company Lotus. In 2011, Geo Events confirmed the Brazilian version of the event, which was held at the Jockey Club in São Paulo on April 7–8, 2012. The Argentine version started in April 2014 in Buenos Aires and in November 2014, the first European Lollapalooza was announced, and was held at the former Berlin Tempelhof Airport.

Etymology
The word—sometimes alternatively spelled and pronounced as lollapalootza, lalapaloosa, or lallapaloosa (P. G. Wodehouse, The Heart of a Goof)—dates from a late 19th-century/early 20th-century American idiomatic phrase meaning "an extraordinary or unusual thing, person, or event; an exceptional example or instance". Its earliest known use was in 1896. In time, the term also came to refer to a large lollipop. Farrell, searching for a name for his festival, liked the euphonious quality of the by-then-antiquated term, which he claimed he had heard in a Three Stooges short film, though a search of their catalog turned up nothing related. Paying homage to the term's double meaning, a character in the festival's original logo holds a lollipop.

Creation
Inspired by events such as Britain's Reading Festival—which Lollapalooza cofounder Perry Farrell had been due to play in 1990 —Farrell, Ted Gardner, Don Muller, and Marc Geiger conceived the festival in 1990 as a farewell for Farrell's band Jane's Addiction.

Unlike previous festivals such as Woodstock, A Gathering of the Tribes, and the US Festival, which were one-time events held at single venues, Lollapalooza toured across the United States and Canada from mid-July until late August 1991. The inaugural Lollapalooza lineup was diverse and made up of artists from alternative rock (such as Siouxsie and the Banshees who were the second headliners), industrial music (such as Nine Inch Nails), and rap (Ice-T rapped and used the platform to launch Body Count, his heavy metal band). The premiere in Phoenix, Arizona, on July 18, 1991, was covered by a report on MTV, which ended by journalist Dave Kendall saying "Lollapalooza could be the tour of the summer". The tour ended at King County Fairgrounds in Enumclaw, Washington, near Seattle, on August 28, 1991.

Another key concept was the inclusion of nonmusical features. Performers such as the Jim Rose Circus Side Show, an alternative freak show, and the Shaolin monks stretched the boundaries of rock culture. There was a tent for display of art pieces, virtual reality games, and information tables for political and environmental nonprofit groups, promoting counterculture and political awareness. "Basically, I'm bored", Farrell said at the time. "I just want to see things that are unexpected and slightly bizarre. The way Barnum & Bailey perceived putting on a show...well, they had a different angle."

Success and decline
The inaugural edition in 1991 was a surprise massive success. For Dave Grohl of Nirvana, who saw it in Los Angeles, the festival helped change the mentalities in the music industry. The Butthole Surfers opened the day, playing in front of a big audience, and Siouxsie and the Banshees "were like the Led Zeppelin of that scene". "It felt like something was happening, that was the beginning of it all". In an interview filmed on the opening day in Phoenix, rapper Ice-T stated: "I know it is gonna be a tour people are gonna talk about for a long time". That year, Farrell also coined the term "Alternative Nation" when talking about the festival. In 2020, when rating the first edition as the greatest US tour in 35 years, Spin wrote that it "changed the trajectory of the '90s, helping usher the alternative era into the mainstream. [...] Lollapalooza provided a common home for artists on the mainstream periphery. [...] Lolla became the template for what became the modern American festival."

The explosion of alternative rock in the early 1990s propelled Lollapalooza forward. However, MTV noted that the second edition was organized in a different way and included bands who had achieved commercial success. Journalist Kurt Loder commented: "By 1992 the music that had once been trumpeted as alternative was quickly becoming mainstream and the second Lollapalooza reflected the shift. [...] The 1992 headliners included acts such as Soundgarden and Red Hot Chili Peppers, bands that were hardly strangers to the mainstream pop charts". The 1992 and 1993 festivals also leaned heavily on grunge and alternative acts, and usually featured an additional rap artist. Punk rock standbys like mosh pits and crowd surfing became part of the canon of the concerts. These years saw great increases in the participatory nature of the event, with the inclusion of booths for open-microphone readings and oratory, television-smashing pits, and tattoo and piercing parlors. After 1991, the festival included a second stage (and in 1996, a third) for up-and-coming bands or local acts. Attendee complaints of the festival included high ticket prices as well as the high cost for food and water at the shows. The event took place at the Alpine Valley festival in East Troy, Wisconsin on August 29, 1992, and also at World Music Theater in Tinley Park, Illinois (near Chicago), where concertgoers ripped up chunks of sod and grass and threw them at each other and at the bands, resulting in tens of thousands of dollars in damages to the venue. The same summer, patrons at Great Woods in Mansfield, Massachusetts had torn up the venue's fencing and burned it in bonfires throughout the show. The tour then relocated its New England stop to the naval yard at Quonset Point for two years, until Rhode Island officials vowed to keep it out, and in 1995, the tour returned to Great Woods.

Grunge band Nirvana was scheduled to headline at the festival in 1994, reportedly being offered nearly $10 million to do it. However, frontman Kurt Cobain turned it down, and the band officially dropped out of the festival on April 7, 1994. Cobain's body was discovered in Seattle the next day. His widow, Courtney Love, made guest appearances at several shows, including the Philadelphia show at FDR Park (usually taking time given to her by the Smashing Pumpkins vocalist/guitarist Billy Corgan), speaking to the crowds about the loss, then singing a minimum of two songs. Farrell worked with rock poster artist Jim Evans (T.A.Z.) to create a series of posters and the complete graphic decoration for the 1994 event, including two seventy-foot-tall Buddha statues that flanked the main stage.

In 1996, Farrell, who had been the soul of the festival, decided to focus his energy to produce his new festival project, ENIT, and did not participate in producing Lollapalooza. Many fans saw the addition of Metallica in 1996 as contrary to the festival's prior practice of featuring "non-mainstream" artists, and described the crowds attracted by Metallica as being singularly focused on the headliner without respect for the other performing artists. Moreover, festival cofounder Farrell felt that Metallica's macho image violated his peaceful vision for the festival, as the alternative culture of the early 1990s was generally against macho behavior. Farrell quit the tour in protest.

Responding to the controversial Metallica incident, Lollapalooza made efforts to revive its relevance to audiences. The festival booked eclectic acts such as country superstar Waylon Jennings in 1996, and emphasized heavily electronica groups such as the Orb and the Prodigy in 1997. 1997, however, would prove to be the final tour from the initial series of Lollapalooza events. The festival failed to find a suitable headliner in 1998 and therefore announced Lollapalooza's cancellation. The cancellation served as a signifier of alternative rock's declining popularity. In light of the festival's troubles that year, Spin magazine said, "Lollapalooza is as comatose as alternative rock right now."

Revival

In 2003, Farrell reconvened Jane's Addiction and scheduled a new Lollapalooza tour. The festival schedule included venues in thirty cities through July and August. The 2003 tour achieved only marginal success, with many fans staying away, presumably because of high ticket prices. Another tour scheduled for 2004 was to consist of a two-day festival taking place in each city. Despite a bill with Morrissey, Sonic Youth, PJ Harvey, Pixies, and the Flaming Lips as headliners, the 2004 edition was canceled in June due to weak ticket sales across the country. In 2005, Farrell partnered with Capital Sports & Entertainment (now C3 Presents), which co-owns and produces the Austin City Limits Music Festival, to produce Lollapalooza. CSE, Farrell, and the William Morris Agency—along with Charles Attal Presents—resurrected Lollapalooza as a two-day destination festival in 2005 in Chicago's Grant Park, with an even greater variety of performers (70 acts on five stages) than that of the touring festival. The event was generally successful, attracting over 65,000 attendees, despite a 104-degree Fahrenheit Sunday (40 degrees Celsius) heat wave (two people were hospitalized for heat-related illness).

It returned to Chicago on August 4–6, 2006. On October 25, 2006, the Chicago Park District and Capital Sports & Entertainment agreed to a five-year, $5 million deal, keeping Lollapalooza at Grant Park in Chicago until 2011. Lollapalooza ran August 3–5 in 2007; August 1–3, 2008; August 7–9, 2009; August 6–8, 2010; August 5–7, 2011; August 3–5, 2012; August 2–4, 2013; and August 1–3, 2014. After a successful 2008 festival, another deal was signed to keep Lollapalooza in Chicago through 2018, guaranteeing the city $13 million.

In 2016, Lollapalooza was four days long, from July 28 to 31, to celebrate the event's 25th anniversary.

In 2017, the festival kicked off on August 3, celebrating its 26th year of existence.

In 2018, the festival began on August 2 with a lineup of 180 bands.

On March 20, 2019, the next version of the annual Lollapalooza festival was announced.

On July 27, 2020, it was announced that due to the COVID-19 pandemic, the 2020 festival in Chicago would now be renamed Lolla2020 and feature a virtual festival broadcast for free on YouTube on July 30 – August 2, 2020. The event was scheduled to feature a reunion by Porno for Pyros, marking their first performance in 24 years. The event featured new original live performances, along with performances from past years. Perry Farrell hosted conversations with Metallica's Lars Ulrich, Chuck D, Matt Pinfield, and others, and the event was also planned to feature a special tribute to David Bowie.

In May 2022, it was announced that Hulu will exclusively stream the festival, alongside Austin City Limits and Bonnaroo.

Lollapalooza 2020
The 2020 experience of the festival was initially scheduled to occur July 30 – August 2. However, due to the COVID-19 pandemic, the event was officially canceled on June 9. The festival postponed the sale of tickets in March as a precaution to the possible shutdown of live music events. In order to keep the spirit of the festival going, the city of Chicago announced that they would offer a livestreamed event occurring the same weekend as the initially-planned event. The livestreamed version featured acts such as A$AP Rocky, Brockhampton, Lupe Fiasco, Outkast, and many more performing on a free YouTube broadcast.

On May 18, 2021, festival organizers and the City of Chicago announced that Lollapalooza would return at full capacity from July 29 to August 2, 2021.

Festival tickets and pricing
Tickets to the flagship and original Lollapalooza edition, in Chicago, usually sold out extremely quickly. For the 2016 event, the four-day general passes sold out in about one day after the sale began. The one-day passes sold even more quickly: they were gone less than three hours after organizers revealed the lineup for the four-day music festival. Because of this phenomenon, people who cannot buy the passes try to get them through alternatives sources such as Craigslist and StubHub. This is a common practice, although the prices tend to be significantly higher on these websites. In 2018, the festival experienced unusually slower sales, so they released the lineup about eight hours earlier.

In its earliest editions, the official passes cost $31.50. However, with its growth and prominent relevance in the music world, Lollapalooza pass prices have increased substantially over the years. Comparing the weekend passes for Lollapalooza 2016, which cost $335, with the ones for Lollapalooza 2015, at $275, the increase was more than 20%. The price for weekend passes from 2016 to 2018 remained the same. In 2020, a slight increase of five dollars was added to weekend passes, making them $340.

Kidzapalooza
Originally thought of by music producer Tor Hyams, Kidzapalooza was the idea for a more child-centered experience to the adult Lollapalooza. Hyams came to Perry Farrell with the idea in 2005, and later that year the event first appeared in Chicago. Kidzapalooza has been a success and appeared alongside every Lollapalooza since its original debut in 2005. The event includes many different events for children to enjoy such as game, design, and art stations where children can express their creativity. Musical instruments are set up for children to play and experience in another station of the venue. Raffles and various other amenities are available to the children as well. Due to the COVID-19 pandemic, the 2020 installation of Kidzapalooza was canceled. Kidzapalooza has sprouted to other venues taking interest, such as the Hollywood Bowl hosting its own Kidzapalooza in 2008 as a stand-alone event.

PurimPalooza
Another play on the Lollapalooza name, PurimPalooza is a celebration of Purim, a Jewish holiday. The celebration includes traditional Purim practices such as a commemoratory meal, attendees dressing up in costume, and a public reading of the Scroll of Esther. The night is followed up by less traditional Purim practices, with the addition of live music, by primarily Jewish artists, and drinking for those of age. In 1999, Farrell himself performed at PurimPalooza, hosted by Rabbi Josef Langer, at the Great American Music Hall in San Francisco. Again in 2006, Farrell performed at PurimPalooza, hosted at the Ruby Skye in San Francisco, which featured artists such as Matisyahu and Chutzpah.

Chile
In 2010, it was announced that Lollapalooza would debut in South America, with a branch of the festival staged in Chile's capital Santiago on April 2–3, 2011. The Lollapalooza Chile lineup included Jane's Addiction, Thirty Seconds to Mars, The National, Manny and Gil The Latin, The Drums, The Killers, Los Bunkers, Ana Tijoux, Javiera Mena, Fatboy Slim, Deftones, Los Plumabits, Cypress Hill, 311, The Flaming Lips, and many others. The eighth edition in Chile was held on March 16–18, 2018, with Pearl Jam, Lana Del Rey, The Killers, Red Hot Chili Peppers, and LCD Soundsystem as headliners. In October 2022, the lineup for the following year's event was announced and is set to include headliners Blink-182, Billie Eilish, Lil Nas X, Drake, Rosalía, and Tame Impala.

Brazil
A Brazilian version of the event was confirmed in 2011, and had its inaugural edition at the Jockey Club in São Paulo on April 7–8, 2012. In the following year, Lollapalooza was again held at Jockey Club during Holy Week, this time expanding to three days that filled the whole Paschal Triduum—March 29–31, 2013. The third edition was moved to the Autódromo José Carlos Pace in São Paulo's borough of Interlagos, happening on April 5 and 6, 2014. Interlagos remained the festival's home for the following editions, on March 28–29, 2015, March 12–13, 2016, March 25–26, 2017, March 23–25, 2018, and April 5–7, 2019. The 2020 edition was supposed to happen in April 3–5, with headliners Guns N' Roses, Travis Scott, and The Strokes, but was canceled a week before the planned dates due to lockdowns. The festival was rescheduled to December 4–6 of the same year, maintaining the same headliners, but was, once again, shut down due to COVID. It was again rescheduled to September 10–12, 2021 due to continued COVID restrictions, this time not confirming its headliners or other attractions. After two years of expectations, the festival was rescheduled for a fourth time, to March 25–27, 2022. The festival finally returned in March 2022 on the scheduled dates, with headliners The Strokes and Miley Cyrus. Foo Fighters were supposed to close the event on March 27, but their drummer, Taylor Hawkins, died two days before the event, while touring South America. The band was replaced with various Brazilian artists paying tribute to the musician.

The 2023 Brazilian version of the festival took place from March 24 to 26. Announced headliners were Billie Eilish, Blink-182, and Drake. Blink-182 cancelled a few weeks before the event due to drummer Travis Barker injuring his hand. The band was replaced by Twenty One Pilots. Drake also cancelled his performance hours before he was scheduled to go onstage, causing commotion online as he was seen at an American club the night before; he was replaced by Skrillex.

The 2024 edition is scheduled for March 22 to 24, with Blink-182, SZA, Kings of Leon, Sam Smith, Arcade Fire, Limp Bizkit, and Titãs set to headline. Paramore was replaced by Kings of Leon after canceling just two months before the festival.

Argentina
On September 10, 2013, it was announced that the Argentine version of the festival would be held in Buenos Aires. Since then, Lollapalooza has had an annual edition at the Hipódromo de San Isidro, usually in the last week of March.

Germany
On November 4, 2014, it was announced that the first European Lollapalooza would be held in the German capital of Berlin. It was scheduled for September 12–13, 2015, and the proposed location was the historical airport grounds of Berlin-Tempelhof. In the official press release, festival founder Perry Farrell stated that, "Berlin's energy, vibrant art, fashion and music scenes are a mirror reflection of what Lollapalooza is all about and I can't wait to share in this cultural exchange". Lollapalooza Germany was produced by the Lollapalooza U.S. team, in addition to Melt! Booking and Festival Republic, who have helped run both Reading and Leeds festivals in England. The 2016 edition of the event took place in the Treptower Park in Berlin, on September 10–11. It drew 70,000 visitors each day.

At change.org, an online petition against the festival in the Treptower Park gathered over 6,400 supporters. Citizens from the area created working groups to stop the festival taking place, due to noise and other complaints.

Since 2018, the festival has been held at the Olympiapark Berlin.

Sweden
The first Scandinavian edition of Lollapalooza was held in the Swedish capital of Stockholm, on June 28–30, 2019. After being canceled for two years due to the COVID-19 pandemic, Lollapalooza returned to Stockholm on July 1–3, 2022. The 2022 event was attended by over 70,000 people, making it the biggest Swedish festival of all time.

France
On October 12, 2016, Lollapalooza announced that they would be hosting a festival in Paris, France. The inaugural edition of the event took place at the city's Longchamp Racecourse grounds on July 22–23, 2017. The lineup for Lollapalooza Paris 2017 was announced on January 17, 2017, and included Red Hot Chili Peppers and The Weeknd as headliners. Following that, the lineup included the likes of Imagine Dragons, Lana Del Rey, DJ Snake, London Grammar, Alt-J, The Roots, Marshmello, Liam Gallagher, Martin Solveig, Skepta, Glass Animals, Milky Chance, Don Diablo, Oliver Heldens, Crystal Fighters, Jauz, Alan Walker, and many more.

Israel
On August 7, 2012, Perry Farrell announced that Lollapalooza would be debuting in Tel Aviv, Israel. Farrell described Israel as an "international music community that listens to everything we all listen to, but the artists weren't traveling there so it was an opportunity." The event was scheduled for August 20–22, 2013 in Hayarkon Park, the city's largest urban park. However, the event was postponed to an unspecified date. While there was no definitive reason for the cancellation of the Israel date, various news sources reported financial challenges associated with producing a large-scale show with international artists within the political situation in the Middle East.

India
On July 27, 2022, Lollapalooza announced that they would be debuting at the Mahalaxmi Racecourse in Mumbai, India on January 28–29, 2023. This would be Lollapalooza's first event in Asia, partnering with BookMyShow. The headliners of the two-day event were Imagine Dragons, the Strokes, and Diplo. The lineup included nearly forty artists, such as Cigarettes After Sex, Raveena, Greta Van Fleet, Japanese Breakfast, the Wombats, Jackson Wang, and AP Dhillon.

Criticism
Recording engineer, guitarist, and journalist Steve Albini has criticized Lollapalooza for its corporatization of popularized "alternative" music. In a 1993 interview, Albini commented:

"Lollapalooza is the worst example of corporate encroachment into what is supposed to be the underground. It is just a large scale marketing of bands that pretend to be alternative but are in reality just another facet of the mass cultural exploitation scheme. I have no appreciation or affection for those bands and I have no interest in that whole circle. If Lollapalooza had Jesus Lizard and the Melvins and Fugazi and Slint then you could make a case that it was actually people on the vanguard of music. What it really is is the most popular bands on MTV that are not heavy metal."

Both the Jesus Lizard and Melvins have subsequently performed at the event.

In April 2010, it was reported that Illinois Attorney General Lisa Madigan had launched an antitrust investigation into the festival for imposing radius clauses on acts, contractually stipulating that they could not perform in cities within 300 miles of Chicago—including cities as far as Detroit, Indianapolis, and Milwaukee—for up to six months prior, and three months after Lollapalooza. The investigation was closed in 2012, with no action taken.

title: Lollapalooza


text:
Digital Hardcore Recordings

Digital Hardcore Recordings (DHR) is a record label set up in 1994 by Alec Empire, Joel Amaretto and Pete Lawton. Most of the music is recorded in Berlin, though the label is based in London where the records are mastered and manufactured. The funds for setting up the label came from the payment which Atari Teenage Riot received for their aborted record deal with the major UK record label Phonogram Records.

The label is acclaimed for its articulation of the digital hardcore style of music: "digital hardcore" is used not only to refer to the record label itself, but to the genre that its artists helped to create. Several artists to this day, though not affiliated with the DHR label, would classify themselves as digital hardcore, tangible proof of DHR's solid influence on the industrial/electronic scene as well as on the rock/metal-scene.

In 1995 DHR released its first album (they had previously only released a 12" in 1994) and a compilation, Harder Than The Rest. Digital Hardcore Festival events were held in several German cities, and the Suicide Club in Berlin, run by a friend of ATR, provided a platform to new bands such as EC8OR. The word about DHR spread to underground scenes in Japan, USA, Australia and Europe. BBC Radio 1 DJ John Peel heard about DHR and invited Atari Teenage Riot to play in London.

In 1996 DHR made a distribution deal for the US on the Beastie Boys' Grand Royal label then DHR toured there and South East Asia. Atari Teenage Riot toured in support of bands such as Jon Spencer Blues Explosion, Beck, Rage Against the Machine and Wu-Tang Clan. In 1997 Atari Teenage Riot, Shizuo and Ec8or embarked on a Digital Hardcore tour of the United States.

In 1998 DHR established an office in New York City and its studios in Berlin. In the ensuing years Atari Teenage Riot came under a lot of pressure, amongst other reasons because of member Carl Crack's psychosis (and subsequent death). By 2000 the Berlin music scene in which DHR had found its place was declining, Atari Teenage Riot disbanded and no new groups or artists were being signed to DHR. At the end of that year Alec Empire decided to restructure DHR and began work on a new album.

In 2002 Empire released Intelligence and Sacrifice and played shows in the US. He became aware of the growing digital hardcore scene there, releasing a compilation of American bands on DHR entitled Don’t Fuck With Us!

Although at present the label is seen as less influential than it was in the 1990s, DHR is nevertheless recognised for its role in the emergence of breakcore, as well as promoting music its artists believed in.

title: Digital Hardcore Recordings


text:
Elevenses

Elevenses is a short break taken at around 11:00a.m. to consume a drink or snack. The names and details vary among countries.

Australia and New Zealand
Australia and New Zealand have "morning tea" that occurs at approximately 10:30a.m. This is often a break from work that is formally codified into many workplace agreements. It is standard practice for schools to have a morning tea recess for students, which may be colloquially known as little lunch. Many workplaces organize an event or celebration during morning tea in order to welcome new employees, farewell colleagues who are leaving, to recognise special occasions such as birthdays, or simply as a regular social event for staff. Food will sometimes be provided by the workplace, but often employees will be expected to bring food to share.

Farmers, shearers and tradespeople in both countries often refer to this mid-morning break as smoko.

Belgium
In Flemish, this type of snack is called "tienuurtje", lit. 'a little (one of) 10o'clock'. A tienuurtje typically consists of one or more cookies or some piece of fruit and may be accompanied by fruit juice or chocolate milk. Many parents give their children a tienuurtje to eat during the mid-morning school break. A similar type of snack for the afternoon break is called "vieruurtje", lit. 'little (one of) 4o'clock'.

Chile
In many Spanish-speaking cultures, elevenses is observed under the name las once or la once (in Spanish, once means 'eleven'). However, in Chile it has shifted to the afternoon, sometimes replacing the traditional dinner.

In the 2010–2011 National Food Consumption Survey, around 80% of the Chileans reported having once. This is due to once sometimes replacing the traditional dinner in Chile, which only 30% of the population reported having. Here, traditional dinner means a proper meal with vegetables, meat, poultry and fish. La once resembles a light version of British High Tea.

An alternative widespread, but unfounded, popular etymology for the word in Chile is that priests (in other versions, workers or women) used the phrase tomar las once (Spanish: 'drink the eleven') in reference to the eleven letters of the word Aguardiente to conceal the fact that they were drinking during the day.

Colombia
In Colombia, it is common to have a snack named onces. It consists mainly of hot chocolate or coffee with arepa, bread, or crackers, usually taken around 5:00 pm. In the morning, the snack consist of the same type of food but it is called "medias nueves". It is served generally between 9:00 and 11:00a.m.

Germany
In Germany, 10:30a.m. is a popular time for workers who started early (like craftspeople, builders, …) to eat a snack. Most people nowadays will attribute German self-awareness of this to an advertisement for Knoppers, a type of candy, with the saying "Morgens, halb Zehn, in Deutschland…" ("In the morning, 9:30, in Germany…"), that had become its own meme. But in reality, since those workers work harder, the most common snacks include bread rolls with meat, e.g. Mettbrötchen (raw pork mince), Leberkäse (comparable to trick baloney), Schnitzel, three small sausages (Wiener or Nürnberger), etc., all preferably warm; or just cold cuts.

Hungary
Elevenses in Hungarian is called "Tíz-órai", which translates to 'of the 10o'clock', referring to "the meal of the 10o'clock". This is a break between breakfast and lunch, when it is time for a light meal or snack. In schools the early lunch break is called "Tíz-órai". Parallel to the word elevenses, Tíz-órai is often called Tenses "Tenzeez" by Hungarian-Americans and Hungarian-Britons.

India
In certain parts of rural India, especially in northern states, such as Punjab, it is normal practice to take tea break two or three hours after breakfast. When the practice began, there was no set clock and break was usually between 10–11a.m., so as in other countries it was named after the approximate time; Das-Baja, meaning '10o'clock tea'.

The practice is slowly becoming obsolete in cities and towns, especially in professional jobs, but in rural areas such breaks for manual and agricultural labourers are still very popular.

Israel
In Israel it is called ארוחת עשר (arukhat eser, Hebrew for '10o'clock meal'), mostly eaten at schools and kindergartens in the form of homemade sandwiches, often accompanied with a fruit or other snack, after the second hour of the school day and before the so-called "small break". It also occurs in major unionized workplaces, such as factories and customer services reception centres, where workers are handed tea.

Netherlands
In West Friesland country people had a similar meal called "konkelstik" (served at konkeltiid, the proper time for konkelen, a verb denoting "making a visit").

Poland
In Poland the drugie śniadanie (lit. 'second breakfast') is eaten in the midmorning. Rather than a heavy chunk of sausage or other meat, though, like the German second breakfast, Poles prefer a lighter, dessert-like pastry or sweet with a hot drink, more similar to the American "coffee break".

Slovakia
In Slovakia, desiata (lit. 'tenth', from "tenth hour") can be eaten at or around 10a.m.. It usually consists of a small snack, fruit, or a sandwich, i.e. a lighter meal, so as not to fill the stomach before lunch. In schools, the break between classes around 10a.m. is referred to as desiatová prestávka (lit. 'tenth break' or 'break for the tenth') and may be a few minutes longer than other breaks, to give the students time to eat their desiata. Note: although the word desiata is grammatically an ordinal numeral, it is treated as a noun in this context.

Spain
In Spain it is not rare to have a short meal break around 11:00a.m., particularly in jobs of intense physical activity; this can range from a hot drink paired with light snacks like pastries to a sandwich, scrambled eggs or a piece of Spanish omelette (also known as a pincho). This meal is sometimes known as almuerzo, although this word is used inconsistently and mostly just means 'lunch'. Also note lunch time in Spain can be as late as 3:00p.m., which conditions mid-morning customs.

In the Basque Country, in particular, it is common to have a mid-morning snack consisting of high-protein food like eggs, bacon, or cured meat on bread, called "hamarretako" (lit. '10o'clock (snack)') or "hamaiketako" (lit. '11o'clock (snack)').

Sweden
In Sweden, it is common to drink coffee at 11:00a.m., elvakaffe (lit. 'coffee at eleven'), often with a few biscuits or a light sandwich.

Switzerland
In Switzerland, there is a Znüni ('(Meal) at nine', following the nomenclature of Breakfast (Zmorge), Lunch (Zmittag), afternoon snack at four (Zvieri) and Dinner (Znacht)). The name, despite referring to a specific time, stays the same no matter the actual time of the snack break; especially in schools, it is usually at 10:00a.m..

United Kingdom
Elevenses, eaten at 11:00a.m. as the name suggests, typically consists of tea or coffee, often with a few biscuits. Sometimes, cake or other snacks are eaten instead.

United States
During the first decades of the 19th century, elevenses consisted of drinking whiskey. In modern times, hourly workers take a break known as a coffee break, typically around 10:00a.m., or in the first third of a work shift. Often, this is done in a break room, and small snacks may be eaten as well.

It is common for school children to have a short snack break, called "morning snack". This is offered in the morning before lunch, usually between 9:00 and 11:00a.m..

In popular culture
For elevenses, Winnie-the-Pooh preferred honey on bread with condensed milk.

Paddington Bear often took elevenses at the antique shop on Portobello Road run by his friend Mr Gruber, for which Paddington would buy buns and Mr Gruber would make cocoa.

In the Middle-earth stories by J. R. R. Tolkien (The Lord of the Rings), elevenses is one of the many meals that is enjoyed by the Hobbits of the Shire, served daily between second breakfast and luncheon. In addition, a party is implied to be particularly lavish in that food was served "continuously from elevenses until six-thirty".

In Fireman Sam, Dilys Price regularly took elevenses at Bella Lasagne's café.

title: Elevenses