Billie Joe Armstrong commented that this was the point in which their song writing became slightly more politically based. The lyrics "I pledge allegiance to the underworld, one nation under dog..." were taken from the American Pledge of Allegiance but "twisted upside down a bit."
During Caesar Clown's broadcast for the selling of Shinokuni, the Straw Hat Pirates, Trafalgar Law, and Smoker's G-5 unit defeated him in order to deprive Doflamingo of his supplier of SAD, the main ingredient in the SMILEs production. Several major figures in the underworld, some hailing from the Kid Pirates, Big Mom Pirates, and the Beasts Pirates, witnessed Caesar Clown unleashing the deadly weapon on his own subordinates as a means of showing off its destructive potential, but when the scheme failed, his prospective buyers were left in disorder.
The defeat and kidnapping of the scientist caused a riot in the underworld and characters such as the Emperor Big Mom and Jack were informed about it. Later, Law blackmailed Doflamingo into resigning from his Warlord position in exchange for Caesar's return and not become a target of Kaidou's fury. However, Doflamingo was able to deceive Law with false news.
Armed with his weapons, the lyre and voice, Orpheus approached Hades and demanded entry into the underworld. None challenged him. Standing in front of the rulers of the dead, Orpheus said why he was there, in a voice both mellifluous and disquieting. He played his lyre and sang out to King Hades and Queen Persephone that Eurydice was returned to him. Not even the most stone-hearted of people or Gods could have neglected the hurt in his voice.
Hades openly wept, Persephone's heart melted and even Cerberus, the gigantic three-headed hound guarding the entry to the underworld, covered his many ears with his paws and howled in despair. The voice of Orpheus was so moving that Hades promised to this desperate man that Eurydice would follow him to the Upper World, the world of the living. However, he warned Orpheus that for no reason must he look back while his wife was still in the dark, for that would undo everything he hoped for. He should wait for Eurydice to get into the light before he looked at her.
With great faith in his heart and joy in his song, Orpheus began his journey out of the underworld, joyful that he would once again be reunited with his love. As Orpheus was reaching the exit of the Underworld, he could hear the footfalls of his wife approaching him. He wanted to turn around and hug her immediately but managed to control his feelings. As his was approaching the exit, his heart was beating faster and faster. The moment he stepped on the world of the living, he turned his head to hug his wife. Unfortunately, he got only a glimpse of Eurydice before she was once again drawn back into the underworld.
"Orpheus" is a Greek myth about a musician whodescends into the underworld to reclaim his dead wife, and so enchants the godswith the music of his lyre that they permit her to return to the land of theliving--on the condition that he never look at her. Jean Cocteau set his 1949film of the story in modern-day Paris, and added twists that would havestartled the Greeks, especially a romantic triangle with Death as the thirdpartner.
Hisstory begins in the Poet's Cafe in Paris, where a famous middle-aged poet namedOrpheus (Jean Marais) is scorned by younger poets who want to displace him. Abrawl breaks out, and a young rival named Cegeste (Edouard Dermit) is struckdown. A Rolls-Royce materializes, and its owner, a striking princess (MariaCasares), orders her chauffeur to put the young man in the back seat. Then sheorders Orpheus to come along "as a witness," although their routetakes them not to the hospital but into a cloudy shadowland that eventuallybecomes the underworld.
"Doyou know who I am?" the Princess asks Cegeste. "I am yourdeath." And so she is, looking like a dominatrix in her slinky black gownand severe makeup. Her chauffeur, named Heurtebise (Francois Perier), is a sortof guardian spirit who watches as she schemes. Orpheus returns with Heurtebiseto the living world, orders the chauffeur to hide the Rolls in his garage, andbecomes obsessed with the cryptic messages that come from the car'sradio--messages that might be inspiration for his art. His wife, Eurydice(Marie Dea), is impatient with his obsession, and Heurtebise tries to comforther. But eventually (to leap ahead) Eurydice is dead, all the principals areback in the underworld, and there are complications: Orpheus is in love withboth his wife and the Princess, the Princess is in love with him, and thechauffeur is in love with Eurydice.
Seeing"Orpheus" today is like glimpsing a cinematic realm that has passedcompletely from the scene. Films are rarely made for purely artistic reasons,experiments are discouraged, and stars as big as Marais are not cast ineccentric remakes of Greek myths. The story in Cocteau's hands becomesunexpectedly complex; we see that it is not simply about love, death andjealousy, but also about how art can seduce the artist away from ordinary humanconcerns, so that after Orpheus astonishingly returns from the land of death,he is more concerned with the nonsensical radio transmissions than with hiswife who loves him. (A cynic might whisper in his ear that a trip to theunderworld is more inspiration than most poets ever receive.)
As Medea prepares to wander into uncharted lands beyond the walls of Corinth, the chorus continues to lament her fate. Medea, however, is focused on the task she must accomplish over the course of the next day--that is, killing her three antagonists, "father and daughter; and my husband" (line 376). Considering the various possible means of murdering them, she settles on poison as the most effective. Medea calls on the goddess, Hecate, mistress of the underworld and the patroness of black magic, to serve as her accomplice in this mission. She also vows to restore honor to her lineage (Hyperion, the Sun-god, was her grandfather) and shame Jason's own tribe, which descends from Sisyphus. Finally, she concludes her prayer and tirade by claiming the natural affinity of women for acts of evil. The chorus responds to Medea in an imaginative ode, describing a world in which the presumed order of the sexes is reversed: men will be known for deception, women will be honored, male poets will lose their favor, and Apollo, the god of music, will inspire new epics that display a female perspective. The chorus continues by rehashing the tale of Medea's misfortune, "an exile with no redress" (439).
Made in Brazil and stylized by French director Marcel Camus, Black Orpheus (Orfeu Negro) (1959) made a global impact with its color, movement, youthful energy and infectious soundtrack - winning the Academy Award for Best Foreign Film and the Palme d'Or at Cannes. The film adapts the Hellenic myth of Orpheus and Eurydice to the contemporary favelas (slums) of Rio de Janeiro during Carnaval, a pre-Lenten celebration known for its costumed parades and celebrations. Orfeu (Breno Mello) is a streetcar conductor who makes such beautiful music, it is said that it makes the sun rise. Eurydice (Marpessa Dawn) is a young woman from the countryside who has fled to Rio because Death, figured as a grimacing stalker in a skeleton costume, is threatening her life. Following the myth, the young couple falls in love and Orfeu travels as far as the underworld to be reunited with Eurydice. The film depicted Rio as a playful paradise full of beautiful and boisterous people. Black Orpheus captivated the European-American imagination with its audiovisual richness. 041b061a72