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...white hoops. What could it possibly mean to Rangers' Georgian striker Shota Arveladze when those cheering his team on against Celtic are singing "We're up to our knees in Fenian blood!" ? And what passions does an IRA anthem stir in the heart of Celtic's favorite forward, Henrik Larsson, whose mother is Swedish and whose father hails from the West African island of Cabo Verde? Once, Rangers only signed Protestant players; today, like Celtic, they've followed the trend of shopping in soccer's global labor market in order to make themselves competitive in the pan-European leagues that...

Author: /time Magazine | Title: Soccer's New Wars | 7/15/2004 | See Source »

...Caribbean and southeast Asia, while seven of the England squad have roots in Britain's former colonies. But while the colonial era may explain the makeup of those national teams, more contemporary patterns of migration are at work in Sweden, whose strike force consists of the half-Cabo Verdian Henrik Larsson, and Zlatan Ibrahimovic, whose origins are Bosnian-Croat...

Author: /time Magazine | Title: Soccer's New Wars | 7/15/2004 | See Source »

...even Steven Spielberg could write a script like that." HENRIK LARSSON, Swedish footballer, dismissing claims by Italian fans that Sweden and Denmark colluded to shut Italy out of the Euro 2004 quarter-finals by ending their match in a 2-2 draw...

Author: /time Magazine | Title: Verbatim | 6/28/2004 | See Source »

...many people," wrote playwright Henrik Ibsen, "have nothing to do but yearn for happiness without ever being able to find it." But even that great Norwegian depressive might have become giddy with excitement at the prospect of Cate Blanchett playing his femme fatale Hedda Gabler, as the Australian star will do for the Sydney Theatre Company from late July. Ibsen's bored 19th century housewife with a gun is a volatile vehicle for a high-voltage actress looking to make her mark, a kind of career-defining harpy Hamlet. Just ask Judy Davis, who's now appearing on the Sydney...

Author: /time Magazine | Title: The Restoration of Judy | 4/27/2004 | See Source »

...When Henrik Ibsen wrote Hedda Gabler, he created characters whose psychologies would push them ever closer to destruction as the play progressed. Chekhov said that if a gun is onstage in the first act, it will go off in the last act; Ibsen is so bent on his characters’ destruction that he puts onstage two guns, a lighter, and a bar full of flammable alcohol. The move over Hedda’s duration from relative peace to high-strung shooting and burning is inexorable, highly telegraphed and oh-so-precisely plotted, rarely allowing a spare motivation or interaction...

Author: By Benjamin J. Soskin, ON THEATER | Title: Review: 'Hedda' Fueled by Destruction | 4/26/2004 | See Source »

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