title: Parody

text: Since the 20th century, parody has been heightened as the central and most representative artistic device, the catalysing agent of artistic creation and innovation. This most prominently happened in the second half of the century with postmodernism, but earlier modernism and Russian formalism had anticipated this perspective. For the Russian formalists, parody was a way of liberation from the background text that enables to produce new and autonomous artistic forms.


title: Parody

text: Historian Christopher Rea writes that "In the 1910s and 1920s, writers in China’s entertainment market parodied anything and everything... They parodied speeches, advertisements, confessions, petitions, orders, handbills, notices, policies, regulations, resolutions, discourses, explications, sutras, memorials to the throne, and conference minutes. We have an exchange of letters between the Queue and the Beard and Eyebrows. We have a eulogy for a chamber pot. We have 'Research on Why Men Have Beards and Women Don’t,' 'A Telegram from the Thunder God to His Mother Resigning His Post,' and 'A Public Notice from the King of Whoring Prohibiting Playboys from Skipping Debts.'"


title: Parody

text: Jorge Luis Borges's (1939) short story "Pierre Menard, Author of the Quixote", is often regarded as predicting postmodernism and conceiving the ideal of the ultimate parody. In the broader sense of Greek "parodia", parody can occur when whole elements of one work are lifted out of their context and reused, not necessarily to be ridiculed. Traditional definitions of parody usually only discuss parody in the stricter sense of something intended to ridicule the text it parodies. There is also a broader, extended sense of parody that may not include ridicule, and may be based on many other uses and intentions. The broader sense of parody, parody done with intent other than ridicule, has become prevalent in the modern parody of the 20th century. In the extended sense, the modern parody does not target the parodied text, but instead uses it as a weapon to target something else. The reason for the prevalence of the extended, recontextualizing type of parody in the 20th century is that artists have sought to connect with the past while registering differences brought by modernity. Major modernist examples of this recontextualizing parody include James Joyce's "Ulysses", which incorporates elements of Homer's "Odyssey" in a 20th-century Irish context, and T. S. Eliot's "The Waste Land", which incorporates and recontextualizes elements of a vast range of prior texts, including Dante's "The Inferno". The work of Andy Warhol is another prominent example of the modern "recontextualizing" parody. According to French literary theorist Gérard Genette, the most rigorous and elegant form of parody is also the most economical, that is a "minimal parody", the one that literally reprises a known text and gives it a new meaning.


title: Parody

text: Blank parody, in which an artist takes the skeletal form of an art work and places it in a new context without ridiculing it, is common. Pastiche is a closely related genre, and parody can also occur when characters or settings belonging to one work are used in a humorous or ironic way in another, such as the transformation of minor characters Rosencrantz and Guildenstern from Shakespeare's drama Hamlet into the principal characters in a comedic perspective on the same events in the play (and film) "Rosencrantz and Guildenstern Are Dead". Similarly, Mishu Hilmy's "Trapped in the Netflix" uses parody to deconstruct contemporary Netflix shows like Mad Men providing commentary through popular characters. Don Draper mansplaining about mansplaining, Luke Danes monologizing about a lack of independence while embracing codependency. In Flann O'Brien's novel "At Swim-Two-Birds", for example, mad King Sweeney, Finn MacCool, a pookah, and an assortment of cowboys all assemble in an inn in Dublin: the mixture of mythic characters, characters from genre fiction, and a quotidian setting combine for a humor that is not directed at any of the characters or their authors. This combination of established and identifiable characters in a new setting is not the same as the post-modernist trope of using historical characters in fiction out of context to provide a metaphoric element.


title: Parody

text: Sometimes the reputation of a parody outlasts the reputation of what is being parodied. For example, "Don Quixote", which mocks the traditional knight errant tales, is much better known than the novel that inspired it, "Amadis de Gaula" (although Amadis is mentioned in the book). Another case is the novel "Shamela" by Henry Fielding (1742), which was a parody of the gloomy epistolary novel "Pamela, or Virtue Rewarded" (1740) by Samuel Richardson. Many of Lewis Carroll's parodies of Victorian didactic verse for children, such as "You Are Old, Father William", are much better known than the (largely forgotten) originals. Stella Gibbons's comic novel "Cold Comfort Farm" has eclipsed the pastoral novels of Mary Webb which largely inspired it.


title: Parody

text: In more recent times, the television sitcom "'Allo 'Allo!" is perhaps better known than the drama "Secret Army" which it parodies.


title: Parody

text: Some artists carve out careers by making parodies. One of the best-known examples is that of "Weird Al" Yankovic. His career of parodying other musical acts and their songs has outlasted many of the artists or bands he has parodied. Yankovic is not required under law to get permission to parody; as a personal rule, however, he does seek permission to parody a person's song before recording it. Several artists, such as rapper Chamillionaire and Seattle-based grunge band Nirvana stated that Yankovic's parodies of their respective songs were excellent, and many artists have considered being parodied by him to be a badge of honor.


title: Parody

text: In the US legal system the point that in most cases a parody of a work constitutes fair use was upheld in the case of Rick Dees, who decided to use 29 seconds of the music from the song "When Sonny Gets Blue" to parody Johnny Mathis' singing style even after being refused permission. An appeals court upheld the trial court's decision that this type of parody represents fair use. "Fisher v. Dees" 794 F.2d 432 (9th Cir. 1986)


title: Parody

text: Some genre theorists, following Bakhtin, see parody as a natural development in the life cycle of any genre; this idea has proven especially fruitful for genre film theorists. Such theorists note that Western movies, for example, after the classic stage defined the conventions of the genre, underwent a parody stage, in which those same conventions were ridiculed and critiqued. Because audiences had seen these classic Westerns, they had expectations for any new Westerns, and when these expectations were inverted, the audience laughed.


title: Parody

text: Perhaps the earliest parody film was the 1922 "Mud and Sand", a Stan Laurel film that made fun of Rudolph Valentino's film "Blood and Sand". Laurel specialized in parodies in the mid-1920s, writing and acting in a number of them. Some were send-ups of popular films, such as "Dr. Jekyll and Mr. Hyde"—parodied in the comic "Dr. Pyckle and Mr. Pryde" (1926). Others were spoofs of Broadway plays, such as "No, No, Nanette" (1925), parodied as "Yes, Yes, Nanette" (1925). In 1940 Charlie Chaplin created a satirical comedy about Adolf Hitler with the film "The Great Dictator", following the first-ever Hollywood parody of the Nazis, the Three Stooges' short subject "You Nazty Spy!".


title: Parody

text: About 20 years later Mel Brooks started his career with a Hitler parody as well. After his 1967 film "The Producers" won both an Academy Award and a Writers Guild of America Award for Best Original Screenplay, Brooks became one of the most famous film parodists and created spoofs in multiple film genres. "Blazing Saddles" (1974) is a parody of western films, "History of the World, Part I" (1981) is a historical parody, "Robin Hood Men in Tights" (1993) is Brooks' take on the classic Robin Hood tale, and his spoofs in the horror, sci-fi and adventure genres include "Young Frankenstein" (1974), and "Spaceballs" (1987, a "Star Wars" spoof).


title: Parody

text: The British comedy group Monty Python is also famous for its parodies, for example, the King Arthur spoof "Monty Python and the Holy Grail" (1974), and the Jesus satire "Life of Brian" (1979). In the 1980s the team of David Zucker, Jim Abrahams and Jerry Zucker parodied well-established genres such as disaster, war and police movies with the "Airplane!", "Hot Shots!" and "Naked Gun" series respectively. There is a 1989 film parody from Spain of the TV series "The A-Team" called "El equipo Aahhgg" directed by José Truchado.


title: Parody

text: More recently, parodies have taken on whole film genres at once. One of the first was "Don't Be a Menace to South Central While Drinking Your Juice in the Hood" and the "Scary Movie" franchise. Other recent genre parodies include. "Shriek If You Know What I Did Last Friday The 13th", "Not Another Teen Movie", "Date Movie", "Epic Movie", "Meet the Spartans", "Superhero Movie", "Disaster Movie", "Vampires Suck", and "The 41-Year-Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It", all of which have been critically panned.


title: Parody

text: Many parody films have as their target out-of-copyright or non-copyrighted subjects (such as "Frankenstein" or Robin Hood) whilst others settle for imitation which does not infringe copyright, but is clearly aimed at a popular (and usually lucrative) subject. The spy film craze of the 1960s, fuelled by the popularity of James Bond is such an example. In this genre a rare, and possibly unique, example of a parody film taking aim at a non-comedic subject over which it actually holds copyright is the 1967 James Bond spoof "Casino Royale". In this case, producer Charles K. Feldman initially intended to make a serious film, but decided that it would not be able to compete with the established series of Bond films. Hence, he decided to parody the series.


title: Parody

text: A further, more constructive form of poetic parody is one that links the contemporary poet with past forms and past masters through affectionate parodying – thus sharing poetic codes while avoiding some of the anxiety of influence.


title: Parody

text: More aggressive in tone are playground poetry parodies, often attacking authority, values and culture itself in a carnivalesque rebellion: “Twinkle, Twinkle little star,/ Who the hell do you think you are?”


title: Parody

text: A subset of parody is "self-parody" in which artists parody their own work (as in Ricky Gervais's "Extras").


title: Parody

text: Although a parody can be considered a derivative work of a pre-existing, copyrighted work, some countries have ruled that parodies can fall under copyright limitations such as fair dealing, or otherwise have fair dealing laws that include parody in their scope.


title: Parody

text: Parodies are protected under the fair use doctrine of United States copyright law, but the defense is more successful if the usage of an existing copyrighted work is transformative in nature, such as being a critique or commentary upon it.


title: Parody

text: In "Campbell v. Acuff-Rose Music, Inc.", the Supreme Court ruled that a rap parody of "Oh, Pretty Woman" by 2 Live Crew was fair use, as the parody was a distinctive, transformative work designed to ridicule the original song, and that "even if 2 Live Crew's copying of the original's first line of lyrics and characteristic opening bass riff may be said to go to the original's 'heart,' that heart is what most readily conjures up the song for parody, and it is the heart at which parody takes aim."


title: Parody

text: In 2001, the Eleventh Circuit Court of Appeals, in "Suntrust v. Houghton Mifflin", upheld the right of Alice Randall to publish a parody of "Gone with the Wind" called "The Wind Done Gone", which told the same story from the point of view of Scarlett O'Hara's slaves, who were glad to be rid of her.


title: Parody

text: In 2007, the Ninth Circuit Court of Appeals denied a fair use defense in the "Dr. Seuss Enterprises v. Penguin Books" case. Citing the "Campbell v. Acuff-Rose" decision, they found that a satire of the O.J. Simpson murder trial and parody of "The Cat in the Hat" had infringed upon the children's book because it did not provide a commentary function upon that work.


title: Parody

text: Under Canadian law, although there is protection for Fair Dealing, there is no explicit protection for parody and satire. In "Canwest v. Horizon", the publisher of the Vancouver Sun launched a lawsuit against a group which had published a pro-Palestinian parody of the paper. Alan Donaldson, the judge in the case, ruled that parody is not a defence to a copyright claim.


title: Parody

text: In 2006 the "Gowers Review of Intellectual Property" recommended that the UK should "create an exception to copyright for the purpose of caricature, parody or pastiche by 2008". Following the first stage of a two-part public consultation, the Intellectual Property Office reported that the information received "was not sufficient to persuade us that the advantages of a new parody exception were sufficient to override the disadvantages to the creators and owners of the underlying work. There is therefore no proposal to change the current approach to parody, caricature and pastiche in the UK."


title: Parody

text: However, following the Hargreaves Review in May 2011 (which made similar proposals to the Gowers Review) the Government broadly accepted these proposals. The current law (effective from 1 October 2014), namely Section 30A of the Copyright, Designs and Patents Act 1988, now provides an exception to infringement where there is fair dealing of the original work for the purpose of parody (or alternatively for the purpose of caricature or pastiche). The legislation does not define what is meant by "parody", but the UK IPO – the Intellectual Property Office (United Kingdom) – suggests that a "parody" is something that imitates a work


title: Parody

text: Parody is a prominent genre in online culture, thanks in part to the ease with which digital texts may be altered, appropriated, and shared. Japanese kuso and Chinese e'gao are emblematic of the importance of parody in online cultures in Asia. Video mash-ups and other parodic memes, such as humorously altered Chinese characters, have been particularly popular as a tool for political protest in the People's Republic of China, the government of which maintains an extensive censorship apparatus. Chinese internet slang makes extensive use of puns and parodies on how Chinese characters are pronounced or written, as illustrated in the Grass-Mud Horse Lexicon.


title: Parody

text: Parody is often used to make a social or political statement. Examples include Swift's "A Modest Proposal", which satirized English neglect of Ireland by parodying emotionally disengaged political tracts; and, recently, "The Daily Show, The Larry Sanders Show" and "The Colbert Report", which parody a news broadcast and a talk show to satirize political and social trends and events.


title: Parody

text: On the other hand, the writer and frequent parodist Vladimir Nabokov made a distinction: "Satire is a lesson, parody is a game."


title: Parody

text: Some events, such as a national tragedy, can be difficult to handle. Chet Clem, Editorial Manager of the news parody publication "The Onion", told "Wikinews" in an interview the questions that are raised when addressing difficult topics:


title: Parody

text: Parody is by no means necessarily satirical, and may sometimes be done with respect and appreciation of the subject involved, without being a heedless sarcastic attack.


title: Parody

text: Parody has also been used to facilitate dialogue between cultures or subcultures. Sociolinguist Mary Louise Pratt identifies parody as one of the "arts of the contact zone", through which marginalized or oppressed groups "selectively appropriate", or imitate and take over, aspects of more empowered cultures.


title: Parody

text: Shakespeare often uses a series of parodies to convey his meaning. In the social context of his era, an example can be seen in "King Lear" where the fool is introduced with his coxcomb to be a parody of the king.


title: Bathory (band)

text: Bathory was a Swedish black metal band formed in Vällingby in March 1983. Eponymously named after the Hungarian countess Elizabeth Báthory, they are often considered pioneers of black metal (alongside Venom and Mercyful Fate) and viking metal.


title: Bathory (band)

text: The 1998 book "Lords of Chaos" described Bathory's first four albums as "the blueprint for Scandinavian black metal." Acts influenced by their early records include Mayhem, Burzum, Darkthrone, Gorgoroth, Satyricon, Immortal, Emperor, Dark Funeral, Enslaved, Marduk, Moonsorrow and Dimmu Borgir.


title: Bathory (band)

text: Bathory abandoned the black metal style for their fifth album, "Hammerheart" (1990), which is often cited as the first viking metal album. The band continued in the Viking metal style for most of their remaining existence, although they experimented with a thrash metal style on the albums "Requiem" (1994) and "Octagon" (1995). They stopped performing live early on and never toured; frontman, founder and main songwriter Tomas "Quorthon" Forsberg was the sole constant member and at times responsible for all instruments. Bathory ended when Forsberg died from heart failure at the age of 38 in 2004.


title: Bathory (band)

text: Bathory formed in Vällingby in March 1983. Quorthon, a 17-year-old guitarist (then known as "Ace Shoot", a name inspired by sex jokes, two Motörhead songs – Ace of Spades and Sharpshooter – and Ace Frehley of Kiss), was joined by bass guitarist Frederick Melander ("Hanoi") and drummer Jonas Åkerlund ("Vans McBurger"). According to Quorthon, he settled on the name 'Bathory' after a visit to the London Dungeon, although Jonas says that it was also inspired and taken from the Venom song "Countess Bathory". The Venom song was based on the life of Elizabeth Báthory who is believed to be one of the most prolific female murderesses. Before settling on 'Bathory', the band considered several names; including Nosferatu, Natas, Mephisto, Elizabeth Bathory and Countess Bathory. Quorthon worked part-time at the small record label Tyfon Grammofon, which was owned by his father, Börje Forsberg. In late 1983, the label was putting together a compilation of songs by Scandinavian metal bands. However, at the last minute, one of the bands backed out. Tyfon agreed to let Bathory appear on the record as a replacement. The album, called "", was released in March 1984 and was Bathory's first appearance on record. Unexpectedly, the two Bathory tracks "Sacrifice" and "The Return of Darkness and Evil" drew a great deal of fan mail.


title: Bathory (band)

text: Soon afterward, Tyfon asked Quorthon to record a full-length album. His bandmates having moved away, Quorthon recruited Rickard Bergman from his former oi-punk band Stridskuk as bassist and Stefan Larsson from punk band Obsklass as drummer. On 22 May 1984, they had their first and only rehearsal together before recording the album. Two songs were recorded at the 22 May rehearsal: "Witchcraft" and "Satan My Master" making it the first recording of the debut album line-up. The debut album, "Bathory", was recorded in June at Heavenshore Studio (a converted garage) in Stockholm and released in October that year. Over the next four years, Bathory released a further three albums: "The Return……" (1985), "Under the Sign of the Black Mark" (1987) and "Blood Fire Death" (1988).


title: Bathory (band)

text: Bathory's early work was dark, fast, heavily distorted and raw recording (lo-fi). Quorthon's vocals were harsh, high-pitched and raspy with occasional shrieks and screams. The band's lyrics focused on 'dark' topics and included anti-Christian and 'Satanic' references. These traits came to define black metal and the band used this style on their first four albums. Quorthon said that the band were not Satanists but used 'Satanic' references to provoke and attack Christianity. With the third and fourth albums he began "attacking Christianity from a different angle", realizing that Satanism is a "Christian product" and seeing them both as "religious hocus-pocus".


title: Bathory (band)

text: Quorthon described Bathory's early sound as a "mixture" of Black Sabbath, Motörhead and GBH, singling out GBH's "City Baby Attacked by Rats" and Motörhead's "Ace of Spades" and "Iron Fist", and was also influenced by the Exploited, Sex Pistols, Disorder, Riot/Clone, Anti-Nowhere League, Kiss, and Exciter. The term 'black metal' came from Venom's 1982 album of that name. Many fans and reviewers have claimed Venom was an influence on Bathory, or even accused Bathory of copying Venom. Quorthon often denied being influenced by Venom and claimed that he "heard Venom for the first time in late 1984 or early 1985" and never owned a Venom album. However, he admitted in an interview for "Metal Forces" that he first listened to Venom's "Black Metal" in 1983 and considered it "one of the best albums ever made." Bathory's early sound has always been associated with Slayer but Quorthon denied being influenced by them.


title: Bathory (band)

text: Bathory stopped performing live in 1985, with Quorthon viewing organizing concerts as too much hassle.


title: Bathory (band)

text: Although Bathory's fourth album, "Blood Fire Death" (1988), largely followed in the style of the albums before it, some songs had a very different style. These songs have a much slower tempo, acoustic passages, choral background singing, and lyrics about Vikings and Norse mythology. Music critic Eduardo Rivadavia of AllMusic describes this 'epic' style as "possibly the first true example" of Viking metal.


title: Bathory (band)

text: After "Blood Fire Death", the band shed its early black metal style. Their fifth album, "Hammerheart" (1990), was the first "archetypical Viking metal album". This was said to have been influenced by the American power metal band Manowar, although Quorthon described this rumour as "another total misconception". A music video was made for the song "One Rode to Asa Bay". The style of "Hammerheart" was continued on "Twilight of the Gods" (1991) and "Blood on Ice" (recorded in 1989 but completed in 1996).


title: Bathory (band)

text: With "Requiem" (1994) and "Octagon" (1995), Bathory changed style once more, this time turning to retro-thrash in the vein of 1980s Bay Area thrash bands. However, the 2001 release "Destroyer of Worlds" was a transitional release that led to a full return to the Viking metal style with the releases of "Nordland I" (2002) and "Nordland II" (2003).


title: Bathory (band)

text: In June 2004, Quorthon was found dead in his home, apparently due to heart failure. He was known to suffer from heart problems in the past. On 3 June 2006, Black Mark Production released a box set in tribute to Quorthon, containing three CDs of his favorite Bathory and Quorthon songs, a 176-page booklet, a DVD with his long-form video for "One Rode to Asa Bay", an interview and some rare promo footage and a poster.


title: Bathory (band)

text: Several Bathory tribute albums have been compiled by black metal artists, such as "In Conspiracy with Satan – A Tribute to Bathory" and "Voices from Valhalla – A Tribute to Bathory". In August 2004, several members of the Norwegian black metal scene gathered to perform Bathory songs in a set titled "A Tribute to Quorthon" at the Hole in the Sky festival in Bergen, Norway. These musicians included Abbath (Immortal), Apollyon (Aura Noir), Faust and Samoth (Emperor and Zyklon), Gaahl (Gorgoroth), Grutle Kjellson and Ivar Bjørnson (Enslaved), Nocturno Culto (Darkthrone) and Satyr (Satyricon).


title: Bathory (band)

text: The Swedish black metal band Watain played a live tribute to Quorthon and the band Bathory at the Sweden Rock Festival 2010. The resulting recording was the limited-edition album "Tonight We Raise Our Cups and Toast in Angels Blood: A Tribute to Bathory" with 7 tracks, and was released on 23 February 2015. It was also released as 12" album, the latter in 1300 numbered copies with four tracks, "A Fine Day to Die" (10:48), "The Return of Darkness and Evil" (4:36), "Rite of Darkness" (2:19) and "Reaper" (2:46) on Side A and three tracks "Enter the Eternal Fire" (7:14), "Sacrifice" (4:06) and "Born for Burning" (7:11) on Side B.


title: Bathory (band)

text: The release proved very popular with Swedish public, with the limited vinyl edition reaching number 1 on the vinyl chart. The album made it also to number 2 on the national Sverigetopplistan chart, the official Swedish Albums Chart in February 2015.


title: Japanese battleship Musashi

text: , named after the former Japanese province, was one of four planned s built for the Imperial Japanese Navy (IJN), beginning in the late 1930s. The "Yamato"-class ships were the heaviest and most powerfully armed battleships ever constructed, displacing almost fully loaded and armed with nine main guns. Their secondary armament consisted of four triple-gun turrets formerly used by the s. They were equipped with six or seven floatplanes to conduct reconnaissance.


title: Japanese battleship Musashi

text: Commissioned in mid-1942, "Musashi" was modified to serve as the flagship of the Combined Fleet, and spent the rest of the year working up. The ship was transferred to Truk, Japan's main wartime naval base in the South Pacific theatre, in early 1943 and sortied several times that year with the fleet in unsuccessful searches for American forces. She was used to transfer forces and equipment between Japan and various occupied islands several times in 1944. Torpedoed in early 1944 by an American submarine, "Musashi" was forced to return to Japan for repairs, during which the navy greatly augmented her anti-aircraft armament. She was present during the Battle of the Philippine Sea in June, but did not come in contact with American surface forces. During the Battle of Leyte Gulf, "Musashi" was sunk by an estimated 19 torpedo and 17 bomb hits from American carrier-based aircraft on 24 October 1944. Over half of her crew was rescued. Her wreck was located in March 2015 by a team of researchers employed by Microsoft co-founder Paul Allen.


title: Japanese battleship Musashi

text: Since the IJN anticipated it would be unable to produce as many ships as the United States, the "Yamato"-class ships with their great size and heavy armament were designed to be individually superior to American battleships. "Musashi" had a length of between perpendiculars and overall. She had a beam of and a draught of at deep load. She displaced at standard load and at deep load. Her crew consisted of 2,500 officers and ratings in 1942, and about 2,800 in 1944.


title: Japanese battleship Musashi

text: The battleship had four sets of Kampon geared steam turbines, each of which drove one propeller shaft. The turbines were designed to produce a total of , using steam provided by 12 Kampon water-tube boilers, giving the ship a maximum speed of . She had a stowage capacity of of fuel oil, giving a range of at a speed of .


title: Japanese battleship Musashi

text: "Musashi"s main battery consisted of nine 45-calibre 460-milliimetre Type 94 guns mounted in three triple gun turrets, numbered from front to rear. The guns had a rate of fire of 1.5 to 2 rounds per minute. The ship's secondary battery consisted of twelve 60-calibre 155-millimetre 3rd Year Type guns mounted in four triple turrets, one each fore and aft of the superstructure and one on each side amidships. These had become available once the "Mogami"-class cruisers were rearmed with guns. Heavy anti-aircraft defence was provided by a dozen 40-calibre 127-millimetre (5 in) Type 89 dual-purpose guns in six twin turrets, three on each side of the superstructure. "Musashi" also carried thirty-six 25-millimetre (1 in) Type 96 light anti-aircraft (AA) guns in 12 triple-gun mounts, all mounted on the superstructure. The ship was also provided with two twin mounts for the licence-built Type 93 anti-aircraft machine guns, one on each side of the bridge.


title: Japanese battleship Musashi

text: While the ship was under repair in April 1944, the two 155 mm wing turrets were removed and replaced with three triple 25 mm gun mounts each. A total of sixteen triple 25 mm mounts and twenty-five single mounts were added at that time, giving the ship a light AA armament of 115 guns.


title: Japanese battleship Musashi

text: The ship's waterline armour belt was identical to the "Yamato"'s at thick and angled outwards 20 degrees at the top. Below it was a strake of armour that ranged in thickness from over the magazines and machinery spaces, respectively; it tapered to a thickness of at its bottom edge. The deck armour ranged in thickness from . The turrets were protected with an armour plate thick on the face, on the sides, and 270 millimetres on the roof. The barbettes of the turrets were protected by armour thick, and the turrets of the 155 mm guns were protected by armour plates. The sides of the conning tower were thick and its roof was 200 millimetres thick. Underneath the magazines were armour plates to protect the ship from mine damage. "Musashi" contained 1147 watertight compartments (1065 underneath the armour deck, 82 above) to preserve buoyancy in the event of battle damage.


title: Japanese battleship Musashi

text: "Musashi" was fitted with two catapults on her quarterdeck and could stow up to seven floatplanes in her below-decks hangar. The ship operated Mitsubishi F1M biplanes and Aichi E13A1 monoplanes and used a , stern-mounted crane for recovery.


title: Japanese battleship Musashi

text: The ship was equipped with four rangefinders, one atop her forward superstructure and one in each of her main gun turrets, and another unit atop her rear superstructure. Each gun turret was equipped with an rangefinder. Low-angle fire was controlled by two Type 98 fire-control directors mounted above the rangefinders on the superstructure. Type 94 high-angle directors controlled the 127 mm AA guns, with Type 95 short-range directors for the 25 mm AA guns.


title: Japanese battleship Musashi

text: "Musashi" was built with a Type 0 hydrophone system in her bow, usable only while stationary or at low speed. In September 1942, a Type 21 air-search radar was installed on the roof of the 15-metre rangefinder at the top of the forward superstructure. Two Type 22 surface-search radars were installed on the forward superstructure in July 1943. During repairs in April 1944, the Type 21 radar was replaced by a more modern version, and a Type 13 early-warning radar was also fitted.


title: Japanese battleship Musashi

text: To cope with "Musashi"s great size and weight, the construction slipway was reinforced, nearby workshops were expanded, and two floating cranes were built. The ship's keel was laid down on 29 March 1938 at Mitsubishi's Nagasaki shipyard, and was designated "Battleship No. 2". Throughout construction, a large curtain made of hemp rope weighing prevented outsiders from viewing construction.


title: Japanese battleship Musashi

text: Launching the "Musashi" also presented challenges. The ship's thick launch platform, made of nine Douglas fir planks bolted together, took two years to assemble (from keel-laying in March 1938) because of the difficulty in drilling perfectly straight bolt holes through 4m of fresh timber. The problem of slowing and stopping the massive hull once inside the narrow Nagasaki Harbour was met by attaching of heavy chains on both sides of the hull to create dragging resistance in the water. The launch was concealed by measures that included a citywide air-raid drill staged on launch day to keep people inside their homes. "Musashi" was launched on 1 November 1940, coming to a stop only further than the hull's expected travel distance across the harbour. The entry of such a large mass into the water caused a wave, which swept the harbour and local rivers, flooding homes and capsizing small fishing boats. "Musashi" was fitted out at nearby Sasebo, with Captain Kaoru Arima assigned as her commanding officer.


title: Japanese battleship Musashi

text: Towards the end of fitting out, the ship's flagship facilities, including those on the bridge and in the admiral's cabins, were modified to satisfy Combined Fleet's desire to have the ship equipped as the primary flagship of the commander-in-chief, as her sister ship "Yamato" was too far along for such changes. These alterations, along with improvements in the secondary battery armour, pushed back completion and pre-handover testing of "Musashi" by two months, to August 1942.


title: Japanese battleship Musashi

text: "Musashi" was commissioned at Nagasaki on 5 August 1942, and assigned to the 1st Battleship Division, together with "Yamato", and . Beginning five days later, the ship conducted machinery and aircraft-handling trials near Hashirajima. Her secondary armament of twelve 127 mm guns, 12 triple 25 mm gun mounts, and four anti-aircraft machine guns was fitted 3–28 September 1942 at Kure, as well as a Type 21 radar. The ship was working up for the rest of the year. Arima was promoted to rear admiral on 1 November.


title: Japanese battleship Musashi

text: "Musashi" was assigned to the Combined Fleet, commanded by Admiral Isoroku Yamamoto, on 15 January 1943 and sailed for Truk three days later, arriving on 22 January. On 11 February, she replaced her sister ship "Yamato" as the fleet's flagship. On 3 April, Yamamoto left "Musashi" and flew to Rabaul, New Britain to personally direct "Operation "I-Go"", a Japanese aerial offensive in the Solomon Islands. His orders were intercepted and deciphered by Magic, and American Lockheed P-38 Lightning fighters shot down his transport aircraft and killed him in Operation Vengeance while he was en route from New Britain to Ballale, Bougainville. On 23 April, his cremated remains were flown back to Truk and placed in his cabin on board "Musashi".


title: Japanese battleship Musashi

text: On 17 May, in response to American attacks on Attu Island, "Musashi"—together with the carrier , two heavy cruisers, and nine destroyers—sortied to the northern Pacific. When no contact was made with American forces, the ships sailed to Kure on 23 May, where Yamamoto's ashes were taken from the vessel in preparation for a formal state funeral. Immediately afterwards, "Musashi"s task force was significantly reinforced to counterattack American naval forces off Attu, but the island was captured before the force could intervene. On 9 June, Arima was relieved by Captain Keizō Komura. On 24 June, while being overhauled at Yokosuka Naval Arsenal, "Musashi" was visited by Emperor Hirohito and high-ranking naval officers. From 1 to 8 July, the ship was fitted with a pair of Type 22 radars at Kure. She sailed for Truk on 30 July and arrived there six days later, where she resumed her position as fleet flagship for Admiral Mineichi Koga.


title: Japanese battleship Musashi

text: In mid-October, in response to suspicions of planned American raids on Wake Island, "Musashi" led a large fleet—three carriers, six battleships, and 11 cruisers—to intercept American forces, but failed to make contact and returned to Truk on 26 October. She spent the remainder of 1943 in Truk Lagoon. Komura was promoted to rear admiral on 1 November and transferred to the 3rd Fleet on 7 December as Chief of Staff; Captain Bunji Asakura assumed command of "Musashi".


title: Japanese battleship Musashi

text: The ship remained in Truk Lagoon until 10 February 1944, when she returned to Yokosuka. On 24 February, "Musashi" sailed for Palau, carrying one Imperial Japanese Army battalion and another of Special Naval Landing Forces and their equipment. After losing most of her deck cargo in a typhoon, she arrived at Palau on 29 February and remained there for the next month. On 29 March, "Musashi" departed Palau under cover of darkness to avoid an expected air raid, and encountered the submarine , which fired six torpedoes at the battleship; five of them missed, but the sixth blew a hole in diameter near the bow, flooding her with 3000 tonnes of water. The torpedo hit killed seven crewmen and wounded another eleven. After temporary repairs, "Musashi" sailed for Japan later that night and arrived at Kure Naval Arsenal on 3 April. From 10 to 22 April, she was repaired, while her anti-aircraft armament was substantially increased in the space freed up by removal of the beam-mounted 6.1 inch (155-mm) triple turrets. When she undocked on 22 April, the ship's secondary battery comprised six 15.5 cm guns, twenty-four 12.7 cm guns, one hundred and thirty 25 mm guns, and four 13.2 mm machine guns. She also received new radars (which were still primitive compared to American equipment) and depth-charge rails on her fantail.


title: Japanese battleship Musashi

text: In May 1944, Asakura was promoted to rear admiral; "Musashi" departed Kure for Okinawa on 10 May, then for Tawi-Tawi on 12 May. She was assigned to the 1st Mobile Fleet, under the command of Vice Admiral Jisaburō Ozawa, with her sister ship. On 10 June, the battleships departed Tawi-Tawi for Batjan under the command of Vice Admiral Matome Ugaki, in preparation for Operation Kon, a planned counterattack against the American invasion of Biak. Two days later, when word reached Ugaki of American attacks on Saipan, his force was diverted to the Mariana Islands. After they rendezvoused with Ozawa's main force on 16 June, the battleships were assigned to Vice Admiral Takeo Kurita's 2nd Fleet. During the Battle of the Philippine Sea, "Musashi" was not attacked. Following Japan's disastrous defeat in the battle (also known as the "Great Marianas Turkey Shoot"), the Second Fleet returned to Japan. On 8 July, "Musashi" and her sister embarked 3,522 men and equipment of the Army's 106th Infantry Regiment of the 49th Infantry Division and sailed for Lingga Island, where they arrived on 17 July.


title: Japanese battleship Musashi

text: Captain Toshihira Inoguchi relieved Asakura in command of "Musashi" on 12 August 1944 and was promoted to rear admiral on 15 October. Three days later, the ship sailed for Brunei Bay, Borneo to join the main Japanese fleet in preparation for "Operation "Sho"-1", the planned counterattack against the American landings at Leyte. The Japanese plan called for Ozawa's carrier forces to lure the American carrier fleets north of Leyte so that Kurita's 1st Diversion Force (also known as the Central Force) could enter Leyte Gulf and destroy American forces landing on the island. "Musashi", together with the rest of Kurita's force, departed Brunei for the Philippines on 22 October.


title: Japanese battleship Musashi

text: The following day, the submarine torpedoed and sank the heavy cruiser near Palawan. The destroyer rescued 769 survivors and transferred them to "Musashi" later in the day.


title: Japanese battleship Musashi

text: On 24 October, while transiting the Sibuyan Sea, Kurita's ships were spotted by a reconnaissance aircraft from the fleet carrier . Just over two hours later, the battleship was attacked by eight Curtiss SB2C Helldiver dive bombers from "Intrepid" at 10:27. One bomb struck the roof of Turret No. 1, failing to penetrate. Two minutes later, "Musashi" was struck starboard amidships by a torpedo from a Grumman TBF Avenger, also from "Intrepid". The ship took on of water and a 5.5-degree list to starboard that was later reduced to 1 degree by counterflooding compartments on the opposite side. During this attack, two Avengers were shot down.


title: Japanese battleship Musashi

text: An hour and a half later, another eight Helldivers from "Intrepid" attacked "Musashi" again. One bomb hit the upper deck and failed to detonate; another hit the port side of the deck and penetrated two decks before exploding above one of the engine rooms. Fragments broke a steam pipe in the engine room and forced its abandonment, as well as that of the adjacent boiler room. Power was lost to the port inboard propeller shaft and the ship's speed dropped to . Anti-aircraft fire shot down two Helldivers during this attack. Three minutes later, nine Avengers attacked from both sides of the ship, scoring three torpedo hits on the port side. One hit abreast Turret No. 1, the second flooded a hydraulic machinery room, forcing the main turrets to switch over to auxiliary hydraulic pumps, and the third flooded another engine room. More counterflooding reduced the list to one degree to port, but the amount of flooding reduced the ship's forward freeboard by . During this attack, "Musashi" fired "sanshikidan" anti-aircraft shells from her main armament; one shell detonated in the middle gun of Turret No. 1, possibly because of a bomb fragment in the barrel, and wrecked the turret's elevating machinery.


title: Japanese battleship Musashi

text: At 13:31, the ship was attacked by 29 aircraft from fleet carriers and . Two Grumman F6F Hellcat fighters strafed the ship's deck and Helldivers scored four more bomb hits near her forward turrets. "Musashi" was hit by four more torpedoes, three of which were forward of Turret No. 1, causing extensive flooding. The ship was now listing one degree to starboard, and had taken on so much water that her bow was now down and her speed had been reduced to . Two hours later, nine Helldivers from attacked with armour-piercing bombs, scoring four hits. The ship was hit by three more torpedoes, opening up her starboard bow and reducing her speed to . At 15:25, "Musashi" was attacked by 37 aircraft from "Intrepid", fleet carrier and light carrier . The ship was hit by 13 bombs and 11 more torpedoes during this attack, for a loss of three Avengers and three Helldivers. Her speed was reduced to , her main steering engine was temporarily knocked out and her rudder was briefly jammed 15 degrees to port. Counterflooding reduced her list to six degrees to port from its previous maximum of ten degrees. "Musashi" had been struck by an estimated total of 19 torpedoes and 17 bombs.


title: Japanese battleship Musashi

text: Kurita left "Musashi" to fend for herself at 15:30, and encountered her again at 16:21 after reversing course. The ship was headed north, with a list of 10 degrees to port, down at the bow with her forecastle awash. He detailed a heavy cruiser and two destroyers to escort her while frantic efforts were made to correct her list, including flooding another engine room and some boiler rooms. Her engines stopped before she could be beached. At 19:15, her list reached 12 degrees and her crew was ordered to prepare to abandon ship, which they did fifteen minutes later when the list reached 30 degrees. "Musashi" capsized at 19:36 and sank in at . Inoguchi chose to go down with his ship; 1,376 of her 2,399-man crew were rescued. About half of her survivors were evacuated to Japan, and the rest took part in the defence of the Philippines. The destroyer rescued 635 of "Maya"s survivors from "Musashi".


title: Japanese battleship Musashi

text: For over 70 years after her sinking, various attempts were made by shipwreck hunters to locate the wreck of the Japanese battleship, but none succeeded. "Musashi", like other Japanese warships, did not have its name on its sides, making it more difficult for divers and shipwreck hunters to find her. A research team sponsored by Microsoft co-founder Paul Allen eventually found her after eight years of searching for the wreck, going through various historical records in different countries, and deploying the high-tech yacht and a remotely operated vehicle to aid in their search. In March 2015, Allen announced that the team had found "Musashi" under the Sibuyan Sea in the Philippines, some beneath the surface.


title: Japanese battleship Musashi

text: The ship had been thought to have sunk in one piece; in reality, it exploded underwater, scattering debris across the ocean floor. The bow section from the number one barbette forward is upright on the sea floor, while the stern is upside down. The forward superstructure and funnel is detached from the rest of the ship and lies on its port side. In the live streaming video tour conducted by the expedition team, a mount for the seal of the Imperial Japanese Navy—a chrysanthemum made out of teak, long rotted away—can be seen amid the debris. The video also showed damage made by U.S. torpedoes, including a warped bow and hits under the ship's main gun. Other items found in the area of the wreck, as well as other features found inside, led maritime experts to claim with 90% certainty that the wreck was "Musashi".


title: Japanese battleship Musashi

text: To further confirm the identity of the wreck, Shigeru Nakajima, an electrical technician on "Musashi" who claimed to have survived by jumping overboard after the order to abandon ship was given, told the Associated Press that he was "certain" that the wreck was "Musashi" upon seeing its anchor and the imperial seal mount. He also expressed his gratitude to the expedition team for having located the shipwreck.


title: Japanese battleship Musashi

text: The discovery of the wreck beneath the surface of the Sibuyan Sea raised issues in the Philippines because Romblon (the local government with jurisdiction over the shipwreck site), as well as the provincial government and even the Philippine Coast Guard, had been unaware that Allen and his team had an ongoing expedition in the area, though Governor Eduardo Firmalo publicly welcomed discovery of the ship. In response to the find, the Philippine Coast Guard stated that foreign-owned vessels need clearance from the Philippine Foreign Affairs Department, the Customs Bureau, and the Immigration Bureau before entering Philippine waters.


title: Japanese battleship Musashi

text: Although discovering the shipwreck was very important to the Japanese people because of the presence aboard of over 1,000 Japanese sailors' remains, the National Museum of the Philippines stated that "any further activity [pertaining to the shipwreck would] be governed by established rules and regulations." The Museum pointed out that the wreck site of "Musashi", as stated by the law, is considered an archaeological site under Romblon's jurisdiction, and was "giving priority to verifying the discovery, obtaining and sharing key information, facilitating the protection and preservation of the site, and formulating appropriate next steps."


title: Maya Higa

text: Maya Elaine Higa (born May 24, 1998) is an American conservationist, falconer, wildlife rehabilitator, host of The Streamer Awards, co-host of the "Wine About It" podcast, and Twitch streamer. She is the founder of Alveus Sanctuary, a non-profit exotic animal sanctuary and virtual education center based in Austin, Texas, and the host of the Conservation Cast, a weekly conversation broadcast on Higa's Twitch channel designed to connect her audience and conservationists.


title: Maya Higa

text: Maya Higa was born in California on May 24, 1998, to a Japanese father and an American mother. She grew up with her two brothers and sister on a farm in Northern California. She is the youngest of her siblings. She attended California Polytechnic State University in San Luis Obispo, graduating with a bachelor's degree in agricultural education and communication in June 2020.


title: Maya Higa

text: Higa began streaming on Twitch in February 2019. Her streams consist of various activities such as music and falconry, along with spreading conservation awareness. Early in her streaming career, she saw significant growth after a falconry video with her juvenile red-tailed hawk named Bean went viral on Reddit. After she celebrated her 21st birthday by holding a charity stream for 5 Cities Homeless Coalition, a local homeless coalition that she previously volunteered at, she gained media attention from local news.


title: Maya Higa

text: In July 2019, Higa started the Conservation Cast, a podcast where viewers learn about animals and gather information from experts such as conservationists, wildlife enthusiasts, and scientific communicators. The first episode of the podcast raised US$3,000 for the American Eagle Foundation. The podcast has also featured speakers from organizations such as Save the Rhino, the Exotic Feline Rescue Center, and the Dian Fossey Gorilla Fund. Conservation Cast has raised more than US$80,000 with 63 episodes for wildlife protection organizations around the globe.


title: Maya Higa

text: In October 2020, Higa became a part of the Board of Directors for a wildlife rehabilitation center in Central Texas. Her role focuses on raptor rehabilitation and husbandry.


title: Maya Higa

text: On February 10, 2021, Higa held a 21-hour charity stream for her newly founded non-profit exotic animal sanctuary and virtual education center known as Alveus Sanctuary. The stream was highlighted by an auction that sold off items such as a golden shovel owned by Sodapoppin, Gucci loafers owned by T-Pain, and a signed jersey from xQc. The most expensive item auctioned off was a 1-hour gaming session with streamer and former professional player Shroud, purchased by fellow streamer Ludwig Ahgren for $53,000. Shortly after reaching her goal of US$500,000, Higa shaved her head, fulfilling a promise she made a few weeks prior. All together, she raised US$578,000.


title: Maya Higa

text: In February 2021, Higa officially joined the Make-a-Wish Foundation in Central and South Texas as a governing board member.


title: Maya Higa

text: In November 2021, Higa began to co-host the "Wine About It" podcast alongside her friend and fellow Twitch streamer, QTCinderella. "Wine About It" went on hiatus in September 2022 after Higa announced her “indefinite” break from online content creation.


title: Maya Higa

text: On March 12, 2022, Higa co-hosted the first Streamer Awards show with QTCinderella at The Fonda Theater in Los Angeles, California.


title: Maya Higa

text: On March 30, 2022, Higa started Conservation Uncharted, a travel series of live streams focused on different aspects of wildlife conservation, with a whale watching trip joined by Whale and Dolphin Conservation, raising over US$4,000 in under 2 hours.


title: Maya Higa

text: Higa began dating fellow Twitch streamer Matthew Rinaudo, also known by his online alias Mizkif, in 2019. On September 14, 2021, Rinaudo announced on Twitter that he and Higa had ended their relationship.


title: Zero-day (computing)

text: A zero-day (also known as a 0-day) is a computer-software vulnerability previously unknown to those who should be interested in its mitigation, like the vendor of the target software. Until the vulnerability is mitigated, hackers can exploit it to adversely affect programs, data, additional computers or a network. An exploit taking advantage of a zero-day is called a zero-day exploit, or zero-day attack.


title: Zero-day (computing)

text: The term "zero-day" originally referred to the number of days since a new piece of software was released to the public, so "zero-day software" was obtained by hacking into a developer's computer before release. Eventually the term was applied to the vulnerabilities that allowed this hacking, and to the number of days that the vendor has had to fix them. Once the vendors learn of the vulnerability, they will usually create patches or advise workarounds to mitigate it.


title: Zero-day (computing)

text: The more recently that the vendor has become aware of the vulnerability, the more likely it is that no fix or mitigation has been developed. Once a fix is developed, the chance of the exploit succeeding decreases as more users apply the fix over time. For zero-day exploits, unless the vulnerability is inadvertently fixed, such as by an unrelated update that happens to fix the vulnerability, the probability that a user has applied a vendor-supplied patch that fixes the problem is zero, so the exploit would remain available. Zero-day attacks are a severe threat.


title: Zero-day (computing)

text: Potential attack vectors for a zero-day vulnerability are identical to known vulnerabilities and those that have available patches. For example, when a user visits a rogue website, malicious code on the site can exploit unpatched vulnerabilities in a Web browser. Web browsers are a particular target for criminals because of their widespread distribution and usage. Cybercriminals, as well as international vendors of spyware such as Israel’s NSO Group, can also send malicious e-mail attachments via SMTP, which exploit vulnerabilities in the application opening the attachment. Exploits that take advantage of common file types are numerous and frequent, as evidenced by their increasing appearances in databases such as US-CERT. Criminals can engineer malware to take advantage of these file type exploits to compromise attacked systems or steal confidential data.


title: Zero-day (computing)

text: The time from when a software exploit first becomes active to the time when the number of vulnerable systems shrinks to insignificance is known as the "window of vulnerability". The timeline for each software vulnerability is defined by the following main events:


title: Zero-day (computing)

text: In this formulation, it is always true that t ≤ t, and t ≤ t. Note that t is not the same as "day zero". For example, if a hacker is the first to discover (at t) the vulnerability, the vendor might not learn of it until much later (on day zero).


title: Zero-day (computing)

text: For normal vulnerabilities, t > t. This implies that the software vendor was aware of the vulnerability and had time to publish a security patch (t) before any hacker could craft a workable exploit (t). For zero-day exploits, t ≤ t, such that the exploit becomes active before a patch is made available.


title: Zero-day (computing)

text: By not disclosing known vulnerabilities, a software vendor hopes to reach t before t is reached, thus avoiding any exploits. However, the vendor has no guarantees that hackers will not find vulnerabilities on their own. Furthermore, hackers can analyze the security patches themselves, and thereby discover the underlying vulnerabilities and automatically generate working exploits. These exploits can be used effectively up until time t.


title: Zero-day (computing)

text: In practice, the length of the window of vulnerability varies between systems, vendors, and individual vulnerabilities. It is often measured in days, with one report from 2006 estimating the average as 28 days.


title: Zero-day (computing)

text: Zero-day protection is the ability to provide protection against zero-day exploits. Since zero-day attacks are generally unknown to the public, it is often difficult to defend against them. Zero-day attacks are often effective against "secure" networks and can remain undetected even after they are launched. Thus, users of so-called secure systems must also exercise common sense and practice safe computing habits.


title: Zero-day (computing)

text: Many techniques exist to limit the effectiveness of zero-day memory corruption vulnerabilities such as buffer overflows. These protection mechanisms exist in contemporary operating systems such as macOS, Windows Vista and beyond (see also: Security and safety features new to Windows Vista), Solaris, Linux, Unix, and Unix-like environments; Windows XP Service Pack 2 includes limited protection against generic memory corruption vulnerabilities and previous versions include even less. Desktop and server protection software also exist to mitigate zero-day buffer overflow vulnerabilities. Typically, these technologies involve heuristic termination analysis in order to stop attacks before they cause any harm.


title: Zero-day (computing)

text: It has been suggested that a solution of this kind may be out of reach because it is algorithmically impossible in the general case to analyze any arbitrary code to determine if it is malicious, as such an analysis reduces to the halting problem over a linear bounded automaton, which is unsolvable. It is, however, unnecessary to address the general case (that is, to sort all programs into the categories of malicious or non-malicious) under most circumstances in order to eliminate a wide range of malicious behaviors. It suffices to recognize the safety of a limited set of programs (e.g., those that can access or modify only a given subset of machine resources) while rejecting both some safe and all unsafe programs. This does require the integrity of those safe programs to be maintained, which may prove difficult in the face of a kernel-level exploit.


title: Zero-day (computing)

text: The Zeroday Emergency Response Team (ZERT) was a group of software engineers who worked to release non-vendor patches for zero-day exploits.


title: Zero-day (computing)

text: Zero-day worms take advantage of a surprise attack while they are still unknown to computer security professionals. Recent history shows an increasing rate of worm propagation. Well designed worms can spread very fast with devastating consequences to the Internet and other systems.


title: Zero-day (computing)

text: Differing ideologies exist relating to the collection and use of zero-day vulnerability information. Many computer security vendors perform research on zero-day vulnerabilities in order to better understand the nature of vulnerabilities and their exploitation by individuals, computer worms and viruses. Alternatively, some vendors purchase vulnerabilities to augment their research capacity. An example of such a program is TippingPoint's Zero Day Initiative. While selling and buying these vulnerabilities is not technically illegal in most parts of the world, there is a lot of controversy over the method of disclosure. A 2006 German decision to include Article 6 of the Convention on Cybercrime and the EU Framework Decision on Attacks against Information Systems may make selling or even manufacturing vulnerabilities illegal.


title: Zero-day (computing)

text: Most formal programs follow some form of Rain Forest Puppy's disclosure guidelines or the more recent OIS Guidelines for Security Vulnerability Reporting and Response. In general, these rules forbid the public disclosure of vulnerabilities without notification to the vendor and adequate time to produce a patch.


title: Zero-day (computing)

text: A zero-day virus (also known as zero-day malware or next-generation malware) is a previously unknown computer virus or other malware for which specific antivirus software signatures are not yet available.


title: Zero-day (computing)

text: Traditionally, antivirus software relied upon signatures to identify malware. A virus signature is a unique pattern or code that can be used to detect and identify specific viruses. The antivirus scans file signatures and compares them to a database of known malicious codes. If they match, the file is flagged and treated as a threat. The major limitation of signature-based detection is that it is only capable of flagging already known malware, making it useless against zero-day attacks. Most modern antivirus software still uses signatures but also carries out other types of analysis.


title: Zero-day (computing)

text: In code analysis, the machine code of the file is analysed to see if there is anything that looks suspicious. Typically, malware has characteristic behaviour; code analysis attempts to detect if this is present in the code.


title: Zero-day (computing)

text: Although useful, code analysis has significant limitations. It is not always easy to determine what a section of code is intended to do, particularly if it is very complex and has been deliberately written with the intention of defeating analysis. Another limitation of code analysis is the time and resources available. In the competitive world of antivirus software, there is always a balance between the effectiveness of analysis and the time delay involved.


title: Zero-day (computing)

text: One approach to overcome the limitations of code analysis is for the antivirus software to run suspect sections of code in a safe sandbox and observe their behavior. This can be orders of magnitude faster than analyzing the same code, but must resist (and detect) attempts by the code to detect the sandbox.


title: Zero-day (computing)

text: Generic signatures are signatures that are specific to certain behaviour rather than a specific item of malware. Most new malware is not totally novel, but is a variation on earlier malware, or contains code from one or more earlier examples of malware. Thus, the results of previous analysis can be used against new malware.


title: Zero-day (computing)

text: It is generally accepted in the antivirus industry that most vendors' signature-based protection is identically effective. If a signature is available for an item of malware, then every product (unless dysfunctional) should detect it. However, some vendors are significantly faster than others at becoming aware of new viruses and/or updating their customers' signature databases to detect them.


title: Zero-day (computing)

text: There is a wide range of effectiveness in terms of zero-day virus protection. The German computer magazine c't found that detection rates for zero-day viruses varied from 20% to 68%. It is primarily in the area of zero-day virus performance that manufacturers now compete.


title: Zero-day (computing)

text: In mid-April 2017 the hackers known as The Shadow Brokers (TSB), who are allegedly linked to the Russian government, released files from the NSA (initially just regarded as alleged to be from the NSA, later confirmed through internal details and by American whistleblower Edward Snowden) which include a series of 'zero-day exploits' targeting Microsoft Windows software and a tool to penetrate the Society for Worldwide Interbank Financial Telecommunication (SWIFT)'s service provider. "Ars Technica" had reported Shadow Brokers' hacking claims in mid-January 2017, and in April the Shadow Brokers posted the exploits as proof.


title: Zero-day (computing)

text: The Vulnerabilities Equities Process, first revealed publicly in 2016, is a process used by the U.S. federal government to determine on a case-by-case basis how it should treat zero-day computer security vulnerabilities: whether to disclose them to the public to help improve general computer security or to keep them secret for offensive use against the government's adversaries. The process has been criticized for a number of deficiencies, including restriction by non-disclosure agreements, lack of risk ratings, special treatment for the NSA, and a less than full commitment to disclosure as the default option.


title: Kwame Brown

text: Kwame Hasani Brown (born March 10, 1982) is an American former professional basketball player who spent 12 seasons in the National Basketball Association (NBA). Selected by the Washington Wizards in the 2001 NBA draft, Brown was the first No. 1 overall pick to be chosen straight out of high school and the 16th player from high school to be drafted into the NBA. He also played for the Los Angeles Lakers, Memphis Grizzlies, Detroit Pistons, Charlotte Bobcats, Golden State Warriors, and Philadelphia 76ers. His performance as a first overall draft pick has led many analysts to label him as one of the biggest busts in NBA history.


title: Kwame Brown

text: Brown was consistently rated as the "best high school player" in his class, which also included high school standouts Eddy Curry and Tyson Chandler. He was the high school player of the year as a senior in Georgia. Brown finished his high school career at the historic Glynn Academy (in Brunswick, Georgia) as the school's all-time leading rebounder (1,235) and shot-blocker (605), and also finished second all-time as a scorer (1,539 points). He was named to the 2001 McDonald's All-American Team. His senior averages were 20.1 points, 13.3 rebounds, 5.8 blocks, 3 assists and 2 steals per game. While Brown was a senior, Glynn produced a 24–7 record and reached the Georgia State semifinals.


title: Kwame Brown

text: Originally signing a letter of intent to play for the University of Florida, he later declared for the 2001 NBA draft. The Washington Wizards, under team president Michael Jordan, used their first overall pick on him. Following a pre-draft workout with the Wizards, it has been reported that Brown told then-Wizards coach Doug Collins, "If you draft me, you'll never regret it."


title: Kwame Brown

text: Perhaps as a result of hype and high expectations, Brown's rookie season was marred by a lack of maturity and production on the court. In his rookie year, Brown averaged 4.5 points and 3.5 rebounds per game.


title: Kwame Brown

text: However, the Wizards believed in Brown's potential. In his second season as a professional, Brown saw more action in the league. He started 20 out of the 80 games he played and the total minutes he played doubled. Brown improved his numbers, posting averages of 7.4 points and 5.3 rebounds per game. In his third season, Brown continued to improve, posting career highs in both points (10.9) and rebounds (7.4). He also in a game against the Sacramento Kings registered 30 points and 19 rebounds.


title: Kwame Brown

text: After his first three years in Washington, Brown rejected a five-year, $30 million contract offer, electing instead to test the free agent market when his contract expired after the season. In his fourth season, Brown was limited to 42 games due to injuries. His highest-scoring game of the season was 19 points, compared to his season-high of 30 the year before, and he averaged 7.0 points per game. Late in the season, criticism increased; he feuded with Gilbert Arenas, other teammates, and his coach Eddie Jordan.


title: Kwame Brown

text: On August 2, 2005, Brown and Laron Profit were traded to the Lakers in exchange for Caron Butler and Chucky Atkins. This move was met with some controversy from fans who disliked Brown's reputation and his label as an "under-achiever." In the beginning of the season, he averaged just above 6 points and 6 rebounds.


title: Kwame Brown

text: On December 26, 2005, he played his first game at the Washington Wizards' MCI Center (now known as Capital One Arena) as a Laker. The sold-out crowd of 20,173 fans loudly booed him upon entering the game and whenever he touched the ball. In the second quarter, Brown was looking the other way when teammate Sasha Vujačić threw a pass his way. The ball bounced off his head and landed out of bounds, which was met with loud cheers from the crowd. Brown called the reception "weak" and stated that "they should be cheering that I'm gone." The Wizards won the game 94–91.


title: Kwame Brown

text: When Lakers center Chris Mihm went down with a season-ending ankle injury on March 12, 2006, Brown took over the starting center position. During his stint as a center, he raised his averages from 6.1 points and 6.3 rebounds to 12.3 points and 9.1 rebounds and started every game for the Lakers in the playoffs. Brown became a central part of the Lakers seven-game series with the Phoenix Suns. Although they ended up losing the series, it had appeared that Kwame Brown's potential was beginning to show.


title: Kwame Brown

text: The surprising consistency Brown showed while playing center prompted Phil Jackson to make Brown the starting center in the 2006–07 season. Brown was injured at the beginning of the season and Mihm was also out with injury for the whole season, so the starting job at center was given to the young Andrew Bynum. After playing the majority of the minutes at center despite the bench role, he was given the starting job in early December.


title: Kwame Brown

text: Brown again became injured in the 2007–08 season which allowed Bynum to start again at the center position where he flourished. However, when Bynum suffered a knee injury that appeared to jeopardize the Lakers' playoff chances, Brown regained his starting position.


title: Kwame Brown

text: On February 1, 2008, Brown was traded along with Javaris Crittenton, Aaron McKie, the draft rights to Marc Gasol, and the Lakers' 2008 and 2010 first-round draft picks for Pau Gasol and a second-round pick in 2010. On July 1, 2008, the Memphis Grizzlies chose not to sign Brown to a new contract, making him an unrestricted free agent.


title: Kwame Brown

text: On July 28, 2008, ESPN.com reported that the Pistons signed Brown to a two-year deal worth $8 million, with the second year a player option.


title: Kwame Brown

text: On March 13, 2012, Brown, along with Monta Ellis and Ekpe Udoh, was traded to the Milwaukee Bucks in exchange for Andrew Bogut and Stephen Jackson. Brown never played for the Bucks during the season.


title: Kwame Brown

text: On July 20, 2012, Brown signed a two-year contract for nearly $6 million with the Philadelphia 76ers. After sustaining a right hamstring strain in September 2013, Brown was waived by the 76ers on November 20 before appearing in a game for them in the 2013–14 season.


title: Kwame Brown

text: In 2017, Brown was the fifth overall pick in the inaugural draft of the BIG3 basketball league. In BIG3 Brown played for the 3 Headed Monsters, who made it to the finals and ended up losing to Trilogy 51–46.


title: Kwame Brown

text: In 2021, Brown created numerous YouTube videos critiquing the assertion that he was a 'bust" as a first round draft pick, claiming that mainstream U.S. sports media unfairly targeted him for over twenty years, as well as negatively depicting black men, in general. The videos were created in response to negative comments about Brown's career from former NBA players Matt Barnes and Stephen Jackson on a May 2021 episode of their podcast "All the Smoke." Brown's response has led to a significant increase of social media attention, especially via YouTube and Instagram. Therefore, some journalists are now re-examining whether the "bust" label is legitimate.


title: Kwame Brown

text: Brown's cousin Jabari Smith also played in the NBA. Smith's son, Jabari Smith Jr., also became an NBA player.


title: Kwame Brown

text: In 2002, Brown's hometown girlfriend, Joselyn Vaughn, moved into his Virginia home. Together they had three daughters. In 2019, Brown sued for custody of the children.


title: Kwame Brown

text: In August 2003, Brown was arrested and charged with driving under intoxication near his hometown of Brunswick. In October 2007, Brown was arrested in Georgia and charged with disorderly conduct and interference with a law enforcement officer after an incident in which the driver of a car in which he was a passenger was arrested for driving drunk with a suspended license.


title: Kwame Brown

text: Brown was arrested on March 31, 2019 by Georgia police and charged with felony possession of edible marijuana products and misdemeanor possession of less than one ounce of marijuana.


title: Take Care (album)

text: Take Care is the second studio album by Canadian rapper Drake. It was released on November 15, 2011, by Young Money Entertainment, Cash Money Records and Republic Records. The album features guest appearances from the Weeknd, Rihanna, Kendrick Lamar, Birdman, Nicki Minaj, Rick Ross, Lil Wayne, and André 3000. Alongside prominent production from the album's executive producers Drake and 40, further contributors include T-Minus, Chantal Kreviazuk, Boi-1da, Illangelo, Jamie xx, Supa Dups, Just Blaze, Chase N. Cashe, and Doc McKinney.


title: Take Care (album)

text: Prior to "Take Care", Drake released "Thank Me Later", which experienced positive critical success, but left him feeling disjointed about the album's musical content. Expressing a desire to reunite with 40, his long-time producer who featured in parts on "Thank Me Later", the duo worked extensively on the new album once recording sessions began in 2010. Drake's vocals on the album feature emotional crooning, alto vocals, a guttural cadence, a melodic flow, and a larger emphasis on singing than on "Thank Me Later". In comparison to his debut album, Drake revealed that the album is called "Take Care" because "I get to take my time this go-round [rather than rush]".


title: Take Care (album)

text: The album also expands on the low-tempo, sensuous, and dark sonic aesthetic of "Thank Me Later". It incorporates several elements that have come to define Drake's sound, including minimalist R&B influences, existential subject matter, and alternately sung and rapped vocals. It features a mixture of braggadocio and emotional lyrics, exploring themes of fame, romance, and wealth. The album also highlights other topics, such as Drake's relationships with friends and family, as well as touching on sex and narcissism.


title: Take Care (album)

text: Despite leaking online nine days before its scheduled release, "Take Care" debuted at number one on the "Billboard" 200, selling 631,000 copies in its first week. It has been certified six times platinum by the Recording Industry Association of America (RIAA). Four of the album's singles peaked in the top 20 on the "Billboard" Hot 100: "Headlines", "Make Me Proud", "The Motto" and "Take Care". The album received generally positive reviews from critics, with praise for its expansive production and emotional themes. It was named one of 2011's best albums, and subsequently one of the best albums of the 2010s, by several publications. It won Drake his first Grammy Award, winning Best Rap Album at the 2013 Grammy Awards. In 2020, the album was ranked 95th on "Rolling Stone"s updated list of the 500 Greatest Albums of All Time.


title: Take Care (album)

text: In 2010, Drake released his debut album "Thank Me Later", continuing his creative partnership with record producer and audio engineer Noah "40" Shebib, who had first introduced his distinct sound on Drake's breakthrough mixtape "So Far Gone" (2009). "Thank Me Later" became a commercial success and was well received by music critics and also Prior to "Take Care", Drake also expanded his repertoire as a live performer. For the album, he intended to have Shebib handle most of the production and record a more cohesive sound than on "Thank Me Later", which featured disparate production duties by Shebib and others. In November 2010, Drake revealed the title of his next studio album will be "Take Care". In comparison to his debut album Drake revealed to Y.C Radio 1 that "Thank Me Later" was a rushed album, stating, "I didn’t get to take the time that I wanted to on that record. I rushed a lot of the songs and sonically I didn’t get to sit with the record and say, 'I should change this verse.' "Once it was done, it was done. That’s why my new album is called Take Care because I get to take my time this go-round." Drake mentioned after OVO Fest 2011 that Take Care could have up to 18 songs on it, and added that Stevie Wonder contributed to the creative direction of the album and will be featured on the album as well. Drake also revealed that the album was recorded mainly in Toronto. Debating whether to submit his final cut or not, Drake's preferred release date that motivated him to created a "Birthday edition", much like a deluxe edition to be released on the iTunes Store.


title: Take Care (album)

text: Several producers were revealed to be working with Drake on "Take Care" other than Noah "40" Shebib (who is the main producer of the album), including T-Minus, the xx's Jamie Smith and Boi-1da (who is a long-time Drake collaborator). He had initially recruited 9th Wonder for the album. He even appeared on 9th's documentary "The Wonder Year" and expressed his desire to make a number one hit with him, however, in an interview about a month prior to the slated release date, 9th said that he was not on the album. 9th states that was a part of the reason, because he was going through an A&R and playing beats for them as opposed to the artist himself, which he is opposed to. Drake had also been planning on having Q-Tip, DJ Premier, and the Neptunes as producers on the album, but those projects fell through as well. Several artists were confirmed as collaborators with Drake on "Take Care" consist of Stevie Wonder, Kendrick Lamar, Chantal Kreviazuk, André 3000, Rick Ross, Lil Wayne, Nicki Minaj and Rihanna. He had initially reached out to Phonte of the group Little Brother (who is a major influence on his career). The track was made for "Take Care", but did not make it for the album, due to an issue he had with the producer. Drake admits in an interview to "dropping the ball" on the project and is optimistic about a future collaboration with Phonte. He also wanted to collaborate with Justin Timberlake stating, "The song was gonna be dope," it was produced by Noah "40" Shebib. "It was solid, a solid little look. But he's so immersed in the acting thing, and I don't blame him, he's doing great at it. He was just like, 'I really want to work. I just can't do it right now. But we'll work as soon as I'm back in the studio." They later collaborated on the song "Cabaret" for Timberlake's 2013 album "The 20/20 Experience - 2 of 2".


title: Take Care (album)

text: "Take Care" expands on the low-tempo, sensuous, and dark sonic aesthetic of "Thank Me Later". Primarily a hip hop album, it has a languid, grandiose production that incorporates R&B, pop, electronica, and post-dubstep styles. The music is typified by an atmospheric sound, muted textures, slow tempos, subtle chords, melodic synth tracks, low-end grooves, and sparse, ambient arrangements. Noah "40" Shebib contributed to most of the album's production with murky beats, dark synth layers, atmospheric keyboards, moody guitar sounds, smooth piano, muffled drums, dramatic flourishes, and low-pass filters. Although he is credited as producer for only eight of the album's 17 songs, Shebib also served as audio engineer and mix engineer on the album. His production for the album is characteristic of the Toronto hip hop scene, which experienced a mainstream breakthrough with Shebib's work with Drake, producers Boi-1da and T-Minus, and singer-songwriter the Weeknd, all of whom contributed to "Take Care". Evan Rytlewski of "The A.V. Club" comments that the album is "crafted primarily around the oblique production of Drake's native Toronto—all rippling synths, distant pulses, and purposeful empty space".


title: Take Care (album)

text: Music writers noted "late-night" and 1990s-era R&B influence in the album's music. NPR writer Frannie Kelley notes "minimalist reworkings of TLC's minor-key soul and [...] trancey rhythms that land somewhere between paranoid Sly Stone and smoked-out Maxwell". Ryan Dombal of Pitchfork Media comments that the music "breathes heavy somewhere between UGK's deep funk, quiet-storm 90s R&B, and James Blake-inspired minimalism", and interprets its subtle style to be "a direct rebuke" to the prevalence of European dance influences in mainstream music. "Los Angeles Times" writer Todd Martens views that the album's mood and style are modelled after Kanye West's 2008 album "808s & Heartbreak".


title: Take Care (album)

text: Other producers' tracks are more up-tempo and shift from the melancholic mood of Shebib's production. Songs on the album are lengthy, sonically expansive, and accompanied by playful interludes. Lauren Carter of the "Boston Herald" writes of the song structure on "Take Care", "Musical themes vanish and re-appear, layers build upon layers and then strip down to bare bones as tightly wound tracks give way to gauzy, lush interludes. Most songs sound intentionally distorted and warped". Drake's vocals on the album feature emotional crooning, alto vocals, a guttural cadence, a melodic flow, and a larger emphasis on singing than on his previous album, "Thank Me Later".


title: Take Care (album)

text: The album's subject matter expands on "Thank Me Later"s theme of ambivalence and conflicted feelings toward fame. Drake's lyrics on "Take Care" address failed romances, missed connections, relationship with friends and family, maintaining balance with growing wealth and fame, concerns about leading a hollow life, the passage of young adulthood, and despondency. The album's slower songs generally explore themes of loneliness, heartbreak, and mistrust. The topic of women is prevalent on the album, with songs that address past and potential lovers ("Marvins Room", "The Real Her") and songs about revering ("Make Me Proud") and lavishing them ("We'll Be Fine"). Juan Edgardo Rodriguez of No Ripcord denotes women as "the main force in his songs – he’s consciously aware about what it takes to love them, but simply decides to thrust aside the guidelines because he's on an entirely different stratosphere from any female average joe."


title: Take Care (album)

text: The album's expositional content is interpreted by critics in relation to contemporary society. "Newsday"s Glenn Gamboa views that Drake's "emotional self-doubt and realizations about [...] success", along with the album's melancholy mood, "captur[es] today's zeitgeist of uncertainty and diminishing expectations." Music journalist Ann Powers cites Drake's "predicament — the inability to locate oneself within everyday power relations" as "one that's afflicted existential antiheroes throughout modernity." She denotes his point of view as that of a "biracial upper middle-class kid [...] from a position of privilege that few rappers would occupy", and finds his subject matter culturally significant, stating "[H]is melancholia is that of the overly sated [...] But Drake's relentless focus on the point where money empties out happiness isn't merely autobiographical. It's emblematic of our moment of crashed markets and occupied streets, and it speaks to a generation beginning to question whether the All-American, celebrity-endorsed credit card lifestyle will make them anything but bankrupt." Pitchfork Media's Ryan Dombal compares his "unrepentant navel-gazing and obsession with lost love" to Marvin Gaye's 1978 album "Here, My Dear", adding that Drake's "penchant for poetic oversharing" makes him "an apt avatar" for the Information Age.


title: Take Care (album)

text: Drake's songwriting is characterized by wistful introspection, existential contemplation, and minimal boasting, with lyrics that convey frankness, vulnerability, melancholia, and narcissism. Andy Gill of "The Independent" writes that he "eschews anger or threat for a weariness shadowed by wistful regret." Music journalist Greg Kot comments that Drake does not "indulge in the macho poses that have dominated mainstream hip-hop for decades, and blur[s] the line between singing and rhyming", adding that he "makes his rhymes sound conversational, matter of fact, like he’s talking to the listener one-one-one". Tim Sendra of AllMusic notes that his "introspective tone [...] is only rarely punctured by aggressive tracks, boasts, and/or come-ons." Drake's persona on songs shows traits of sincerity, self-doubt, regret, passive-aggressiveness, and self-absorption. Kazeem Famuyide of "The Source" explains his conflicted persona as being "arrogant enough to know his place as one of the most successful artist in hip-hop, and comfortable enough to realize his own faults in his personal life." Jon Dolan of "Rolling Stone" writes that Drake "collapse[s] many moods – arrogance, sadness, tenderness and self-pity – into one vast, squish-souled emotion." Kevin Ritchie of "NOW" notes "an overwhelming sense of alienation, and sadness" on "Take Care", calling it "an idiosyncratic, aggressively self-conscious and occasionally sentimental album".


title: Take Care (album)

text: The first track Drake released was "Dreams Money Can Buy" on May 20, 2011 through his October's Very Own blog. Drake mentioned this song was "A Story of Dreams, mixed with reality," and that this was not his first single off the album but that it would be included on "Take Care". On June 9, 2011, a second track titled "Marvins Room" was released via his blog. Drake initially stated that the song would not be featured on "Take Care", but because of the song's unexpected success, prompting it was released as a digital and radio single on July 22, 2011 and would be on "Take Care". "Trust Issues" was then released shortly after on his blog, but was confirmed not to be on the album via Drake's Twitter. He explained that the song was an idea he had from I'm On One and made it "just for fun." However, in an interview, Drake stated that Trust Issues, along with Dreams Money Can Buy, would be included in the Birthday Edition of the album.


title: Take Care (album)

text: On September 10, 2011, Drake released a new song titled "Club Paradise" on his October's Very Own blog. "Dropping this for our boy Avery...this was his favorite sh*t during the recording process. 2 more songs coming tonight as well. ovoxo," he wrote on his blog. On September 11, 2011, Drake released another track entitled "Free Spirit" featuring Rick Ross and blogged that another was to be released that night, as well. Later that night he released a remix of Waka Flocka Flame's "Round of Applause". On September 23, 2011, Drake released the official album cover to "Take Care". On October 20, 2011, an unfinished version of "The Real Her" featuring only Lil Wayne was leaked online. On October 8, 2011, Drake announced on his OVO blog that "Take Care" would be pushed back until November 15 because of three sample clearances (Take Care, Cameras, & Practice). It was originally to be released on his 25th birthday, October 24, 2011.


title: Take Care (album)

text: The Club Paradise Tour was revealed to start in November on Twitter. However, it was revealed that the tour was delayed until after Christmas/New Year break so Drake could perform at more schools. A chopped and screwed version of the album remixed by OG Ron C and DJ Candlestick of the Chopstars titled "Chop Care" was released on November 29, 2011, and received over 1 million downloads in the first 48 hours. It was featured on a variety of media blogs, magazines, and newspapers. It was included on year-end lists by several publications, including The New York Times which gave major praise.


title: Take Care (album)

text: According to "Billboard", as of 2022, "Take Care" is one of the 15 best-performing 21st-century albums without any of its singles being number-one hits on the "Billboard" Hot 100. The album's lead single, "Marvins Room" impacted urban radio on June 28, 2011; peaking at number 21 on the US "Billboard" Hot 100. Following by the second single, "Headlines", which was released through his blog on July 31, 2011. The production on both of these songs was handled by Boi-1da and Noah "40" Shebib; it was released to radio and iTunes on August 9, 2011. "Headlines" debuted at number 13 on the US "Billboard" Hot 100 and number 98 on the "Billboard" Hot R&B/Hip-Hop Songs chart.<ref name="R&B/Hip-Hop – Headlines"></ref>


title: Take Care (album)

text: "Make Me Proud" featuring Nicki Minaj, was released through Drake's blog on October 13, 2011, as the album's third single. The song was produced by T-Minus and Kromatik. It was released to iTunes on October 16, 2011. The song peaked at number 9 on the US "Billboard" Hot 100.


title: Take Care (album)

text: The album's fourth single, "The Motto" featuring Lil Wayne, impacted rhythmic radio and urban radio stations on November 29, 2011. It was re-released to rhythmic radio on January 10, 2012. It officially impacted Top 40/Mainstream radio on April 10, 2012. The single debuted at number 18 on the US "Billboard" Hot 100, with first-week sales of 124,000 copies. It has since sold over 3 million copies in the United States, becoming the most successful single from the album thus far and his third single overall to reach the milestone.


title: Take Care (album)

text: "Take Care" featuring Rihanna, was released as the album's fifth single. It impacted US rhythmic contemporary radio on January 17, 2012. Prior to its release as a single, the song entered the UK Singles Chart on November 20, 2011, at number 12. It also debuted at number nine on the US "Billboard" Hot 100. "Take Care" became one of Drake's highest-charting songs as a solo artist in the United Kingdom and United S, with first-week sales of 162,000 in the US. In its seventeenth week on the Hot 100, the track rose to a new peak of number seven. As of July 2012 the single has sold over two million digital copies.


title: Take Care (album)

text: "HYFR (Hell Ya Fucking Right)" was released as the album's sixth single. Lil Wayne is also featured on this track. The music video shoot for the song took place on March 21, 2012. The video was released on April 6, 2012. It officially impacted rhythmic and urban radio on April 24, 2012.


title: Take Care (album)

text: "Crew Love" was released as the album's seventh single in the United Kingdom on July 30, 2012. The song peaked at number 37 on the UK Singles Chart and number 80 on both the US "Billboard" Hot 100 and the Canadian Hot 100.


title: Take Care (album)

text: "Take Care" received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 78, based on 34 reviews. John McDonnell of "NME" dubbed it "an affecting masterpiece" and commended its "delicate, mellifluous sound and unashamedly candid, emotive lyrics." "Pitchfork"s Ryan Dombal found Drake's "technical abilities" to be improved and stated, "Just as his thematic concerns have become richer, so has the music backing them up." Andy Hutchins of "The Village Voice" called it "a carefully crafted bundle of contradictory sentiments from a conflicted rapper who explores his own neuroses in as compelling a manner as anyone not named Kanye West." "Chicago Tribune" writer Greg Kot complimented the depth of Drake's "moral psychodramas" and stated, "the best of it affirms that Drake is shaping a pop persona with staying power."


title: Take Care (album)

text: Nitsuh Abebe of "New York" wrote that the album "is full of gorgeous tones ... And the lyrics surrounding them can be rich with meaning". Evan Rytlewski of "The A.V. Club" found it "plenty downbeat, but [also] gorgeous, an immersive headphone masterwork that's tender and intimate like little else in contemporary rap and R&B." Ann Powers of NPR felt that "the artfulness of this music allows me an in to that experience. I can make that leap and identify with Drake, or at least be intrigued by multiple characters in the little dramas he designs." Jon Caramanica of "The New York Times" called it "an album of eccentric black pop that takes" hip hop and R&B "as starting points, asks what they can do but haven’t been doing, then attempts those things. In the future an album like this will be commonplace; today, it’s radical." With "Take Care", he named Drake "hip-hop's current center of gravity".


title: Take Care (album)

text: In a mixed review, Kyle Anderson of "Entertainment Weekly" panned its content as "one overlong woozy monologue" and called the album a "total downer", adding that "Drake half-bakes his woozy rap-croon and glazes it with sluggish keyboard hums, stalling the album’s momentum". In a negative review, Alex Macpherson of "The Guardian" found his singing "insipid", his rapping "inert", and his lyrics "hollow", writing that "he doesn't seem to realise that introspection is only worth a damn if you're an interesting person." "The Globe and Mail"s Robert Everett-Green criticized Drake's lyrics as "drawling patter" and found the songs to "noodle around [...] aimlessly".


title: Take Care (album)

text: According to Metacritic, "Take Care" was the ninth-highest-ranked album in year-end top 10 lists by music critics, based on 135 lists. It was named the best album of 2012 by the "Los Angeles Times" and "The New York Times", and was ranked number three by "Now" and MTV, number four by "Slate", number five by "Billboard" and "The Washington Post", number seven by "Fact", number eight by "The Globe and Mail", NPR, and "Pitchfork", number 14 by "Slant Magazine", and number 22 by "Rolling Stone" and "Spin". It was also named as a longlisted nominee for the 2012 Polaris Music Prize on June 14, 2012. In 2012, "Complex" named the album one of the classic albums of the last decade. "Take Care" won a Grammy Award for Best Rap Album at the 55th Grammy Awards. In October 2013, "Complex" named it the fourth-best hip hop album of the last five years. In January 2015, "Billboard" named it the sixth-best album of the 2010s (so far). In September 2020, it was named the 95th greatest album of all time by "Rolling Stone".


title: Take Care (album)

text: "Take Care" debuted at number one on the US "Billboard" 200, with first-week sales of 631,000 copies, becoming Drake’s second number-one album. The album also topped the "Billboard" Rap Albums and R&B/Hip-Hop Albums in its debut week. On January 31, 2012, the album was certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies in the United States. As of August 2015, the album has sold 2,260,000 copies in the United States. On September 27, 2019, the album was certified six times platinum for combined sales and album-equivalent units of over six million copies in the United States.


title: Take Care (album)

text: In Canada, the album debuted at number one on the Canadian Albums Chart, selling 48,000 copies in its first week. It has been certified double platinum by the Canadian Recording Industry Association, indicating shipments of 160,000 copies. In the United Kingdom, "Take Care" entered at number five on the UK Albums Chart and on January 18, 2013, the album went platinum with the British Recorded Music Industry, with 300,000 copies shipped to UK retailers.


title: Metallurgy

text: Metallurgy is a domain of materials science and engineering that studies the physical and chemical behavior of metallic elements, their inter-metallic compounds, and their mixtures, which are known as alloys.


title: Metallurgy

text: Metallurgy encompasses both the science and the technology of metals; that is, the way in which science is applied to the production of metals, and the engineering of metal components used in products for both consumers and manufacturers. Metallurgy is distinct from the craft of metalworking. Metalworking relies on metallurgy in a similar manner to how medicine relies on medical science for technical advancement. A specialist practitioner of metallurgy is known as a .


title: Metallurgy

text: The science of metallurgy is further subdivided into two broad categories: chemical metallurgy and physical metallurgy. Chemical metallurgy is chiefly concerned with the reduction and oxidation of metals, and the chemical performance of metals. Subjects of study in chemical metallurgy include mineral processing, the extraction of metals, thermodynamics, electrochemistry, and chemical degradation (corrosion). In contrast, physical metallurgy focuses on the mechanical properties of metals, the physical properties of metals, and the physical performance of metals. Topics studied in physical metallurgy include crystallography, material characterization, mechanical metallurgy, phase transformations, and failure mechanisms.


title: Metallurgy

text: Historically, metallurgy has predominately focused on the production of metals. Metal production begins with the processing of ores to extract the metal, and includes the mixture of metals to make alloys. Metal alloys are often a blend of at least two different metallic elements. However, non-metallic elements are often added to alloys in order to achieve properties suitable for an application. The study of metal production is subdivided into ferrous metallurgy (also known as "black metallurgy") and non-ferrous metallurgy (also known as "colored metallurgy").


title: Metallurgy

text: Ferrous metallurgy involves processes and alloys based on iron, while non-ferrous metallurgy involves processes and alloys based on other metals. The production of ferrous metals accounts for 95% of world metal production.


title: Metallurgy

text: Modern metallurgists work in both emerging and traditional areas as part of an interdisciplinary team alongside material scientists and other engineers. Some traditional areas include mineral processing, metal production, heat treatment, failure analysis, and the joining of metals (including welding, brazing, and soldering). Emerging areas for metallurgists include nanotechnology, superconductors, composites, biomedical materials, electronic materials (semiconductors) and surface engineering. Many applications, practices, and devices associated or involved in metallurgy were established in ancient China, such as the innovation of the blast furnace, cast iron, hydraulic-powered trip hammers, and double acting piston bellows.


title: Metallurgy

text: "Metallurgy" derives from the Ancient Greek , , "worker in metal", from , , "mine, metal" + , , "work" The word was originally an alchemist's term for the extraction of metals from minerals, the ending "-urgy" signifying a process, especially manufacturing: it was discussed in this sense in the 1797 "Encyclopædia Britannica". In the late 19th century, it was extended to the more general scientific study of metals, alloys, and related processes. In English, the pronunciation is the more common one in the UK and Commonwealth. The pronunciation is the more common one in the US and is the first-listed variant in various American dictionaries (e.g., "Merriam-Webster Collegiate", "American Heritage").


title: Metallurgy

text: The earliest recorded metal employed by humans appears to be gold, which can be found free or "native". Small amounts of natural gold have been found in Spanish caves dating to the late Paleolithic period, 40,000 BC. Silver, copper, tin and meteoric iron can also be found in native form, allowing a limited amount of metalworking in early cultures. Certain metals, notably tin, lead, and at a higher temperature, copper, can be recovered from their ores by simply heating the rocks in a fire or blast furnace, a process known as smelting. The first evidence of this extractive metallurgy, dating from the 5th and 6th millennia BC, has been found at archaeological sites in Majdanpek, Jarmovac and Pločnik, in present-day Serbia. To date, the earliest evidence of copper smelting is found at the Belovode site near Pločnik. This site produced a copper axe from 5,500 BC, belonging to the Vinča culture.


title: Metallurgy

text: The earliest use of lead is documented from the late neolithic settlements of Yarim Tepe and Arpachiyah in Iraq. The artifacts suggest that lead smelting predated copper smelting.