Ballad of a Soldier (Russian: Баллада о солдате, Ballada o soldate), is a 1959 Soviet film directed by Grigori Chukhrai and starring Vladimir Ivashov and Zhanna Prokhorenko. While set during World War II, Ballad of a Soldier is not primarily a war film. It recounts, within the context of the turmoil of war, various kinds of love: the romantic love of a young couple, the committed love of a married couple, and a mother's love of her child, as a Red Army soldier tries to make it home during a leave, meeting several civilians on his way and falling in love. The film was produced at Mosfilm and won several awards, including the BAFTA Award for Best Film from any Source and was nominated for the Academy Award for Writing Original Screenplay.

A middle-aged farm woman walks through her village and gazes down a country road. A voiceover reveals that her son was killed in the war and buried in a foreign land.

On the Eastern Front, nineteen-year-old soldier Alexei Nikolaevich Skvortsov (Vladimir Ivashov) single handedly destroys two attacking German tanks, more out of self-preservation than bravery. His commanding general wants to give him a decoration, but Alyosha asks instead for a leave to see his mother and to repair the leaking roof of their home. He is given six days.

Eduard Anatolyevich Khil (Russian: Эдуард Анатольевич Хиль; born 4 September 1934) is a Russian baritone singer and a recipient of the People's Artist Award of the RSFSR.

Eduard Khil was born on 4 September 1934 in Smolensk to Anatoly Vasilievich Khil, a mechanic, and Helena Pavlovna Kalugina, an accountant. Life as a child was hard on Khil, with his family breaking up; he was brought up by his mother. During the Great Patriotic War (WWII Eastern Front), his kindergarten was bombed, he was separated from his mother and evacuated to Bekovo, Penza Oblast where he ended up in a children's home, which lacked basic facilities and needs, such as food. Despite this Khil regularly performed in front of wounded soldiers in the nearby hospital. He was reunited with his mother in 1943 when Smolensk was liberated from Nazi Germany and in 1949 moved to Leningrad, where he enrolled and then graduated from printing college. In 1955, Khil enrolled in the Leningrad Conservatory, where he studied under direction of Evgeni Olkhovksky and Zoya Lodyi. He graduated in 1960. During his studies, he began performing various lead operatic roles, including Figaro in The Marriage of Figaro.

Polly Jean Harvey (born 9 October 1969) is an English musician, singer-songwriter, composer and occasional artist. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments including piano, organ, bass, saxophone, harmonica, and most recently, the autoharp.

Harvey began her career in 1988 when she joined local band Automatic Dlamini, whose vocalist and saxophone player, John Parish, would become her long-term collaborator. In 1991, she formed an eponymous trio and subsequently began her professional career. The trio released two studio albums, Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further six studio albums with collaborations from various musicians including John Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman and has also worked extensively with record producer Flood.

Among the accolades she has received are the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011) respectively—the only artist to have been awarded the prize twice—eight BRIT Award nominations, six Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her 1992's Best New Artist and Best Singer Songwriter and 1995's Artist of the Year, and listed Rid of Me and To Bring You My Love (1995) on its 500 Greatest Albums of All Time list. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards.

Kurt Julian Weill (March 2, 1900 – April 3, 1950) was a German-Jewish composer, active from the 1920s, and in his later years in the United States. He was a leading composer for the stage who was best known for his fruitful collaborations with Bertolt Brecht. With Brecht, he developed productions such as his most well known work The Threepenny Opera, a Marxist critique of capitalism, which included the ballad "Mack the Knife". Weill was a socialist^{[unreliable source?]} who held the ideal of writing music that served a socially useful purpose. He also wrote a number of works for the concert hall, as well as several Judaism-themed pieces.

Kurt Julian Weill was born on March 2, 1900, the third of four children to Albert Weill (1867–1950) and Emma Weill née Ackermann (1872–1955). He grew up in a religious Jewish family in the "Sandvorstadt", the Jewish quarter in Dessau, Germany, where his father was a cantor. At the age of twelve, Kurt Weill started taking piano lessons and made his first attempts at writing music; his earliest preserved composition was written in 1913 and is titled Mi Addir. Jewish Wedding Song.

Bertolt Brecht (German: [ˈbɛɐ̯tɔlt ˈbʁɛçt] ( listen); born  Eugen Berthold Friedrich Brecht (help·info); 10 February 1898 – 14 August 1956) was a German poet, playwright, and theatre director.

An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production, the latter particularly through the seismic impact of the tours undertaken by the Berliner Ensemble – the post-war theatre company operated by Brecht and his wife, long-time collaborator and actress Helene Weigel.

Bertolt Brecht was born in Augsburg, Bavaria, (about 50 miles (80 km) north-west of Munich) to a conventionally-devout Protestant mother and a Catholic father (who had been persuaded to have a Protestant wedding). His father worked for a paper mill, becoming its managing director in 1914. Thanks to his mother's influence, Brecht knew the Bible, a familiarity that would impact on his writing throughout his life. From her, too, came the "dangerous image of the self-denying woman" that recurs in his drama. Brecht's home life was comfortably middle class, despite what his occasional attempt to claim peasant origins implied. At school in Augsburg he met Caspar Neher, with whom he formed a lifelong creative partnership, Neher designing many of the sets for Brecht's dramas and helping to forge the distinctive visual iconography of their epic theatre.