IN: Mircea Eliade (Romanian: ['mirtSea eli'ade]; March 9 [O.S. February 24] 1907 - April 22, 1986) was a Romanian historian of religion, fiction writer, philosopher, and professor at the University of Chicago. He was a leading interpreter of religious experience, who established paradigms in religious studies that persist to this day. His theory that hierophanies form the basis of religion, splitting the human experience of reality into sacred and profane space and time, has proved influential.

Born in Bucharest, he was the son of Romanian Land Forces officer Gheorghe Eliade (whose original surname was Ieremia) and Jeana nee Vasilescu. An Orthodox believer, Gheorghe Eliade registered his son's birth four days before the actual date, to coincide with the liturgical calendar feast of the Forty Martyrs of Sebaste. Mircea Eliade had a sister, Corina, the mother of semiologist Sorin Alexandrescu. His family moved between Tecuci and Bucharest, ultimately settling in the capital in 1914, and purchasing a house on Melodiei Street, near Piata Rosetti, where Mircea Eliade resided until late in his teens.  Eliade kept a particularly fond memory of his childhood and, later in life, wrote about the impact various unusual episodes and encounters had on his mind. In one instance during the World War I Romanian Campaign, when Eliade was about ten years of age, he witnessed the bombing of Bucharest by German zeppelins and the patriotic fervor in the occupied capital at news that Romania was able to stop the Central Powers' advance into Moldavia.  He described this stage in his life as marked by an unrepeatable epiphany. Recalling his entrance into a drawing room that an "eerie iridescent light" had turned into "a fairy-tale palace", he wrote,  I practiced for many years [the] exercise of recapturing that epiphanic moment, and I would always find again the same plenitude. I would slip into it as into a fragment of time devoid of duration--without beginning, middle, or end. During my last years of lycee, when I struggled with profound attacks of melancholy, I still succeeded at times in returning to the golden green light of that afternoon. [...] But even though the beatitude was the same, it was now impossible to bear because it aggravated my sadness too much. By this time I knew the world to which the drawing room belonged [...] was a world forever lost.  Robert Ellwood, a professor of religion who did his graduate studies under Mircea Eliade, saw this type of nostalgia as one of the most characteristic themes in Eliade's life and academic writings.
QUESTION: how ddid that affect him
IN: Rhapsody of Fire (formerly known as Rhapsody) is an Italian symphonic power metal band created by Luca Turilli and Alex Staropoli, widely seen as a pioneer of the symphonic power metal subgenre. Since forming in 1993 as Thundercross, the band has released twelve studio albums, two live albums, two EPs, and a Live DVD. Rhapsody of Fire is known for its conceptual lyrics that constitute a fantasy story throughout all of their albums from 1997 to 2011. After using the moniker of Rhapsody for nearly ten years, the band changed their name to Rhapsody of Fire in 2006 due to trademark issues.

In July 2006 the band formerly known as Rhapsody changed their name to Rhapsody of Fire due to trademark issues. The band's website goes into further detail: The band members consider this a great new start, reflecting the emboldened and increasingly grandiose direction that their music has taken. "The power of the Dragonflame will burn brighter than ever before," says guitarist/songwriter Luca Turilli. Keyboardist/songwriter Alex Staropoli adds, "The name Rhapsody of Fire better represents the energy that has always been present in this band and its music."  The band released Triumph or Agony, on September 25, 2006, in Europe. The second chapter in The Dark Secret Saga, Triumph or Agony, continues the bombastic Rhapsody of Fire tradition with a live 70-piece orchestra and choir as Turilli and Staropoli continued to self-produce the band's work with the assistance of co-producer Sascha Paeth. New songs include "Silent Dream", "Son of Pain" and the epic 16-minute-long "The Mystic Prophecy of the Demonknight", an example of a cinema soundtrack adapted to a metal song. In addition, vocalist Fabio Lione gave his songwriting debut for Rhapsody of Fire with the song "Il canto del vento".  In June 2008, Luca Turilli reported on the band's official website about a "hard legal fight with Magic Circle Music and his main representative Mr. Joey DeMaio". Since then, the band went on a hiatus for nearly one and a half years. Any studio or live activity was suspended for the period. Luca Turilli concentrated on his solo albums, Fabio Lione collaborated with Vision Divine and Kamelot, Alex Holzwarth collaborated with his brother Oliver, and Staropoli also announced his plans to record a solo album.  In late 2009 Limb Music re-released their back-catalogue from 1997 to 2001, along with the compilation album Tales from the Emerald Sword Saga on digital music stores.
QUESTION: What was so terrible
IN: Allen was born in San Francisco, California, to George Allen and Margaret Theresa ("Molly") Allen (nee Darragh; later Mrs. Edward Pidgeon), who were both of Irish Catholic extraction. She made her first appearance on stage at age three and was given her first role on the radio by Eddie Cantor. She was educated at the Star of the Sea Convent School and during that time became a talented dancer.

In the early 1930s, Burns and Allen made several short films, preserving several of their classic vaudeville routines on celluloid. They also made two films with W. C. Fields--International House (1933) and Six of a Kind (1934). In 1937, Burns and Allen starred with Fred Astaire in A Damsel in Distress, a musical with an original score by George Gershwin, which introduced the song "A Foggy Day". It was Astaire's first RKO film without dancing partner Ginger Rogers.  Astaire's co-star Joan Fontaine was not a dancer, and he was reluctant to dance on screen alone. He also felt the script needed more comic relief to enhance the overall appeal of the film. Burns and Allen had each worked in vaudeville as dancers ("hoofers") before forming their act, and when word of the project reached them, they called Astaire and he asked them to audition.  Burns contacted an act he had once seen that performed a dance using brooms. For the next several weeks, he and Allen worked at home to learn the complicated routine for their audition. When they presented the "Whisk Broom Dance" to Astaire, he was so taken by it, that he had them teach it to him and it was added to the film. Their talents were further highlighted as they matched Astaire step by step in the demanding "Funhouse Dance". Throughout the picture, Burns and Allen amazed audiences and critics as they "effortlessly" kept pace with the most famous dancer in films, as many did not know either of them could dance.
QUESTION:
Who wrote a book about her?