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It became the task of the U.S. 34th Division (joined temporarily by the 142nd Infantry Regiment of the 36th Division, which had been held in reserve and unused during the Rapido crossing) to fight southward along the linked hilltops towards the intersecting ridge on the south end of which was Monastery Hill. They could then break through down into the Liri valley behind the Gustav Line defences. It was very tough going: the mountains were rocky, strewn with boulders and cut by ravines and gullies. Digging foxholes on the rocky ground was out of the question and each feature was exposed to fire from surrounding high points. The ravines were no better since the gorse growing there, far from giving cover, had been sown with mines, booby-traps and hidden barbed wire by the defenders. The Germans had had three months to prepare their defensive positions using dynamite and to stockpile ammunition and stores. There was no natural shelter, and the weather was wet and freezing cold.

Wearing a loose-knotted black sweater that revealed his carved torso beneath, the pianist, singer and songwriter known as Perfume Genius sat before a whisper-quiet sold-out crowd at the Roxy in West Hollywood and tried to explain the raw, full-throated wail he'd just unleashed. Dubbing it his "general horror movie scream," the artist born Mike Hadreas had just poured forth during "Grid," a highlight from his new album, "Too Bright," and devastating as performed live in a room with so much history. It was a harrowing cry amid a remarkable set, delivered from the thin membrane that separates singing and raging, a place expertly inhabited by artists including Jeff Buckley and his father, Tim, Fiona Apple and the Cocteau Twins' Elizabeth Fraser. A realm that straddles an egoless display of creative emotion and uncontrollable onstage breakdown. (Randall Roberts) Read more

My relationship with Nintendo is maybe not as healthy as it should be. This realization comes to me as the year draws to a close, when one is pressed to discuss the most innovative or thoughtful interactive experiences of the year. Games such as the haunting "The Vanishing of Ethan Carter" or the whimsically lonely "Broken Age: Act 1" are some that immediately spring to mind. These are titles that made the same sort of lasting impression as a TV season of "Orphan Black" or a movie screening of "Big Hero 6," which was full of unexpected considerations on loss. Like the getting-by struggles at the heart of hip-hop act Run the Jewels, these are all examples of pop culture with layers, where revisiting is encouraged. Yet there is one Wii U game in heavy rotation that I didn't expect to be there. That game is "Super Smash Bros.," a button-smashing, jump-and-sock 'em extravaganza of punching, kicking and crazy moves with nonsense titles such as the "Peach blossom" and "konga beat." There are fights at haunted mansions, fights in suburban streets and fights around space lava. Read more 2b1af7f3a8