title: John Napier

text: Napier died from the effects of gout at home at Merchiston Castle at the age of 67. He was buried in the kirkyard of St Giles in Edinburgh. Following the loss of the kirkyard of St Giles to build Parliament House, his remains were transferred to an underground vault on the north side of St Cuthbert's Parish Church at the west side of Edinburgh. There is also a wall monument to Napier at St Cuthbert's.


title: John Napier

text: Many mathematicians at the time were acutely aware of the issues of computation and were dedicated to relieving practitioners of the calculation burden. Napier was famous for his devices to assist with these issues of computation. He invented a well-known mathematical artefact, the ingenious numbering rods more quaintly known as "Napier's bones", that offered mechanical means for facilitating computation.


title: John Napier

text: In addition, Napier recognized the potential of the recent developments in mathematics, particularly those of prosthaphaeresis, decimal fractions, and symbolic index arithmetic, to tackle the issue of reducing computation. He appreciated that, for the most part, practitioners who had laborious computations generally did them in the context of trigonometry. Therefore, as well as developing the logarithmic relation, Napier set it in a trigonometric context so it would be even more relevant.


title: John Napier

text: His work, "Mirifici Logarithmorum Canonis Descriptio" (1614) contained fifty-seven pages of explanatory matter and ninety pages of tables listing the natural logarithms of trigonometric functions. The book also has an excellent discussion of theorems in spherical trigonometry, usually known as Napier's Rules of Circular Parts.


title: John Napier

text: Modern English translations of both Napier's books on logarithms and their description can be found on the web, as well as a discussion of Napier's bones and Promptuary (another early calculating device).


title: John Napier

text: His invention of logarithms was quickly taken up at Gresham College, and prominent English mathematician Henry Briggs visited Napier in 1615. Among the matters they discussed were a re-scaling of Napier's logarithms, in which the presence of the mathematical constant now known as "e" (more accurately, "e" times a large power of 10 rounded to an integer) was a practical difficulty. Neither Napier nor Briggs actually discovered the constant "e"; that discovery was made decades later by Jacob Bernoulli.


title: John Napier

text: Napier delegated to Briggs the computation of a revised table. The computational advance available via logarithms, the inverse of powered numbers or exponential notation, was such that it made calculations by hand much quicker. The way was opened to later scientific advances, in astronomy, dynamics, and other areas of physics.


title: John Napier

text: Napier made further contributions. He improved Simon Stevin's decimal notation, introducing the period (.) as the delimiter for the fractional part. Lattice multiplication, used by Fibonacci, was made more convenient by his introduction of Napier's bones, a multiplication tool using a set of numbered rods.


title: John Napier

text: Napier may have worked largely in isolation, but he had contact with Tycho Brahe who corresponded with his friend John Craig. Craig certainly announced the discovery of logarithms to Brahe in the 1590s (the name itself came later); there is a story from Anthony à Wood, perhaps not well substantiated, that Napier had a hint from Craig that Longomontanus, a follower of Brahe, was working in a similar direction.


title: John Napier

text: It has been shown that Craig had notes on a method of Paul Wittich that used trigonometric identities to reduce a multiplication formula for the sine function to additions.


title: John Napier

text: Napier had an interest in the "Book of Revelation", from his student days at St Salvator's College, St Andrews. Under the influence of the sermons of Christopher Goodman, he developed a strongly anti-papal reading, going as far as to say that the Pope was the Antichrist in some of his writings.


title: John Napier

text: Napier regarded "A Plaine Discovery of the Whole Revelation of St. John" (1593) as his most important work. It was written in English, unlike his other publications, in order to reach the widest audience and so that, according to Napier, "the simple of this island may be instructed". "A Plaine Discovery" used mathematical analysis of the "Book of Revelation" to attempt to predict the date of the Apocalypse. Napier identified events in chronological order which he believed were parallels to events described in the "Book of Revelation" believing that "Revelation"'s structure implied that the prophecies would be fulfilled incrementally. In this work Napier dated the seventh trumpet to 1541, and predicted the end of the world would occur in either 1688 or 1700. Napier did not believe that people could know the true date of the Apocalypse, but claimed that since the Bible contained so many clues about the end, God wanted the Church to know when the end was coming.


title: John Napier

text: In his dedication of the "Plaine Discovery" to James VI, dated 29 Jan 1594, Napier urged the king to see "that justice be done against the enemies of God's church," and counselled the King "to reform the universal enormities of his country, and first to begin at his own house, family, and court." The volume includes nine pages of Napier's English verse. It met with success at home and abroad. In 1600 Michiel Panneel produced a Dutch translation, and this reached a second edition in 1607. In 1602 the work appeared at La Rochelle in a French version, by Georges Thomson, revised by Napier, and that also went through several editions (1603, 1605, and 1607). A new edition of the English original was called for in 1611, when it was revised and corrected by the author, and enlarged by the addition of "With a resolution of certain doubts, moved by some well affected brethren."; this appeared simultaneously at Edinburgh and London. The author stated that he still intended to publish a Latin edition, but it never appeared. A German translation, by Leo de Dromna, of the first part of Napier's work appeared at Gera in 1611, and of the whole by Wolfgang Meyer at Frankfurt-am-Main, in 1615. Among Napier's followers was Matthew Cotterius (Matthieu Cottière).


title: John Napier

text: In addition to his mathematical and religious interests, Napier was often perceived as a magician, and is thought to have dabbled in alchemy and necromancy. It was said that he would travel about with a black spider in a small box, and that his black rooster was his familiar spirit.


title: John Napier

text: Some of Napier's neighbors accused him of being a sorcerer and in league with the devil, believing that all of the time he spent in his study was being used to learn the black art. These rumors were stoked when Napier used his black rooster to catch a thief. Napier told his servants to go into a darkened room and pet the rooster, claiming the bird would crow if they were the one who stole his property. Unbeknownst to the servants, Napier had covered the rooster with soot. When the servants emerged from the room, Napier inspected their hands to find the one who had been too afraid to touch the rooster.


title: John Napier

text: Another act which Napier is reported to have done, which may have seemed mystical to the locals, was when Napier removed the pigeons from his estate, since they were eating his grain. Napier caught the pigeons by strewing grain laced with alcohol throughout the field, and then capturing the pigeons once they were too drunk to fly away.


title: John Napier

text: A contract still exists for a treasure hunt, made between Napier and Robert Logan of Restalrig. Napier was to search Fast Castle for treasure allegedly hidden there, wherein it is stated that Napier should "do his utmost diligence to search and seek out, and by all craft and ingine to find out the same, or make it sure that no such thing has been there." This contract was never fulfilled by Napier, and no gold was found when the Edinburgh Archaeological Field society excavated the castle between 1971 and 1986.


title: John Napier

text: Among Napier's early followers were the instrument makers Edmund Gunter and John Speidell. The development of logarithms is given credit as the largest single factor in the general adoption of decimal arithmetic. The "Trissotetras" (1645) of Thomas Urquhart builds on Napier's work, in trigonometry.


title: John Napier

text: Henry Briggs was an early adopter of the Napierian logarithm. He later computed a new table of logarithms to base 10, accurate to 14 decimal places.


title: John Napier

text: An alternative unit to the decibel used in electrical engineering, the neper, is named after Napier, as is Edinburgh Napier University in Edinburgh, Scotland.


title: John Napier

text: In French and Portuguese, the natural logarithm is named after him (respectively, "Logarithme Népérien" and "Logaritmos Neperianos"). In Italian, the mathematical constant "e" is named after him in Italian ("Numero di Nepero").


title: John Napier

text: In 1572, Napier married 16-year-old Elizabeth, daughter of James Stirling, the 4th Laird of Keir and of Cadder. They had two children. Elizabeth died in 1579, and Napier then married Agnes Chisholm, with whom he had ten more children.


title: John Napier

text: Napier's father-in-law, Sir James Chisholm of Cromlix, was one of many excommunicated by the General Assembly of the Presbyterian party following the Spanish blanks plot. Napier sat on the General Assembly that excommunicated the plotters, and petitioned the King James VI and I to enforce the punishment on the plotters, but was ultimately ignored since the King believed the ministers were acting cruelly, and was in favor of pursuing policies of more appeasement.


title: House arrest

text: In justice and law, house arrest (also called home confinement, home detention, or, in modern times, electronic monitoring) is a measure by which a person is confined by the authorities to their residence. Travel is usually restricted, if allowed at all. House arrest is an alternative to being in a prison while awaiting trial or after sentencing.


title: House arrest

text: While house arrest can be applied to criminal cases when prison does not seem an appropriate measure, the term is often applied to the use of house confinement as a measure of repression by authoritarian governments against political dissidents. In these cases, the person under house arrest often does not have access to any means of communication with people outside of the home; if electronic communication is allowed, conversations may be monitored.


title: House arrest

text: Judges have imposed sentences of home confinement, as an alternative to prison, as far back as the 17th century. Galileo was confined to his home following his infamous trial in 1633. Authorities often used house arrest to confine political leaders who were deposed in a coup d'état, but this method was not widely used to confine numerous common criminals.


title: House arrest

text: This method did not become a widespread alternative to imprisonment in the United States and other western countries until the late 20th century, when newly designed electronic monitoring devices made it inexpensive and easy to manage by corrections authorities. Although Boston was using house arrest for a variety of arrangements, the first-ever court sentence of house arrest with an electronic bracelet was in 1983.


title: House arrest

text: Home detention is an alternative to imprisonment; its goals are both to reduce recidivism and to decrease the number of prisoners, thereby saving money for states and other jurisdictions. It is a corrective to mandatory sentencing laws that greatly increased the incarceration rates in the United States. It allows eligible offenders to retain or seek employment, maintain family relationships and responsibilities and attend rehabilitative programs that contribute towards addressing the causes of their offending.


title: House arrest

text: The terms of house arrest can differ, but most programs allow employed offenders to continue to work, and confine them to their residence only during non-working hours. Offenders are commonly allowed to leave their home for specific purposes; examples can include visits to the probation officer or police station, religious services, education, attorney visits, court appearances, and medical appointments. Many programs also allow the convict to leave their residence during regular, pre-approved times in order to carry out general household errands, such as food shopping and laundry. Offenders may have to respond to communications from a higher authority to verify that they are at home when required to be. Exceptions are often made to allow visitors to visit the offender.


title: House arrest

text: The types of house arrest vary in severity according to the requirements of the court order. A curfew may restrict an offender to their house at certain times, usually during hours of darkness. "Home confinement" or detention requires an offender to remain at home at all times, apart from the above-mentioned exceptions. The most serious level of house arrest is "home incarceration", under which an offender is restricted to their residence 24 hours a day, 7 days a week, except for court-approved treatment programs, court appearances, and medical appointments.


title: House arrest

text: In some exceptional cases, it is possible for a person to be placed under house arrest without trial or legal representation, and subject to restrictions on their associates. In some countries this type of detention without trial has been criticized for breaching the offender's human right to a fair trial. In countries with authoritarian systems of government, the government may use such measures to stifle dissent.


title: House arrest

text: In some countries, house arrest is enforced through the use of technology products or services. One method is an electronic sensor locked around the offender's ankle (technically called an ankle monitor, also referred to as a tether). The electronic sensor transmits an RF signal to a base handset. The base handset is connected to a police station or for-profit monitoring service.


title: House arrest

text: If the offender goes too far from their home, the violation is recorded, and the police will be notified. To discourage tampering, many ankle monitors detect attempted removal. The monitoring service is often contracted out to private companies, which assign employees to electronically monitor many convicts simultaneously. If a violation occurs the unit signals the office or officer in charge immediately, depending on the severity of the violation. The officer will either call or verify the participant's whereabouts. The monitoring service notifies a convict's probation officer. The electronic surveillance together with frequent contact with their probation officer and checks by the security guards provides for a secure environment.


title: House arrest

text: Another method of ensuring house arrest compliance is achieved through the use of automated calling services that require no human contact to check on the offender. Random calls are made to the residence. The respondent's answer is recorded and compared automatically to the offender's voice pattern. Authorities are notified only if the call is not answered or if the recorded answer does not match the offender's voice pattern.


title: House arrest

text: Electronic monitoring is considered a highly economical alternative to the cost of imprisoning offenders. In many states or jurisdictions, the convict is often required to pay for the monitoring as part of his or her sentence.


title: House arrest

text: The People's Republic of China continues to use soft detention, a traditional form of house arrest used by the Chinese Empire.


title: House arrest

text: In Italy, house arrest (in Italian "arresti domiciliari") is a common practice of detaining suspects, as an alternative to detention in a correctional facility, and is also commonly practiced on those felons who are close to the end of their prison terms, or for those whose health condition does not allow residence in a correctional facility, except some particular cases of extremely dangerous persons. As per article 284 of the Italian Penal Procedure Code, house arrest is imposed by a judge, who orders the suspect to stay confined in their house, home, residence, private property, or any other place of cure or assistance where they may be housed at the moment. When necessary, the judge may also forbid any contact between the subject and any person other than those who cohabit with them or those who assist them. If the subject is unable to take care of their life necessities or if they are in conditions of absolute poverty, the judge may authorize them to leave their home for the strict necessary time to take care of said needs or to exercise a job. The prosecuting authorities and law enforcement can check at any moment whether the subject, who is "de facto" considered in state of detention, is complying with the order; violation of house arrest terms is immediately followed by transfer to a correctional facility. House arrests cannot be applied to a subject that has been found guilty of escape within the previous five years.


title: House arrest

text: At sentencing, the judge may sentence an offender to home detention where they would otherwise receive a short-term prison sentence (i.e. two years or less). Home detention sentences range from 14 days and 12 months; offenders are confined to their approved residence 24 hours a day and may only leave with the permission of their probation officer.


title: House arrest

text: Electronic monitoring equipment is extensively used by the New Zealand Department of Corrections to ensure that convicted offenders subject to home detention remain within approved areas. This takes the form of a Global Positioning System tracker fitted to the offender's ankle and monitoring units located at their residence and place of employment. over three thousand persons were serving home detention sentences under GPS surveillance.


title: House arrest

text: House arrest was a common tool of the South African apartheid government, used to silence their opponents, along with banning orders.


title: Coat of arms of Nigeria

text: The coat of arms of Nigeria consists of a black shield with a wavy white pall, symbolizing the meeting of the Niger and Benue Rivers at Lokoja. The black shield represents Nigeria's fertile soil, while the two supporting horses or chargers on each side represent dignity. The eagle represents strength, while the green and white twists of the torse on the top of the shield represent the rich soil.


title: Coat of arms of Nigeria

text: The red flowers at the base are "Costus spectabilis", Nigeria's national flower. This flower was chosen for inclusion in the coat of arms as it is found all over Nigeria and also stand for the beauty of the nation. On the banderole around the base is Nigeria's national motto since 1978: "Unity and Faith, Peace and Progress" (formerly "Peace, Unity, Freedom").


title: Coat of arms of Nigeria

text: Sable a Pall wavy argent, supported by two horses Argent, and set for a crest on a wreath, Argent and Vert, an eagle displayed Gules.


title: Slim Jim (snack food)

text: Slim Jim is an American snack brand sold globally and manufactured by Conagra Brands. They are widely available and popular in the United States, with 2015 revenues of $575 million. About 569 million of the cylindrical meat sticks are produced annually in at least 21 varieties.


title: Slim Jim (snack food)

text: Jack Comella invented the first Slim Jim in 1929 in Philadelphia, although he and his partner, Adolph Levis, subsequently hired a meatpacker to develop the product for production in the 1940s. He later sold the company in 1967 for about $20 million to General Mills, which moved the operations to Raleigh, North Carolina, and merged them into the meatpacking operations of their recently-acquired Jesse Jones Sausage Co. to create Goodmark Foods. Ron Doggett moved to Raleigh in 1969 as he was named corporate controller of the newly-formed entity, and was later the company's Vice President of Finance. In 1982, General Mills put the company up for sale, and Doggett and three other GoodMark executives acquired the company; Doggett assumed the offices of president and chief operating officer. ConAgra bought Goodmark in 1998. Until 2009, the former Jones Sausage plant in Garner, North Carolina was the only facility in the world which produced Slim Jims.


title: Slim Jim (snack food)

text: The product Levis created is different from the one produced since the 1990s, with Lon Adams (1925–2020) developing the current Slim Jim recipe while working for Goodmark.


title: Slim Jim (snack food)

text: Production was interrupted after an explosion and fire on June 9, 2009, heavily damaged the plant in Garner, killing three workers and a subcontractor worker. ConAgra reopened the plant six weeks after the incident. Since it could only produce at about half of its original capacity, ConAgra arranged for other facilities to produce Slim Jims including facility in Troy, Ohio. On May 20, 2011, the facility in Garner closed, the same day that the company's former spokesman "Macho Man" Randy Savage died.


title: Slim Jim (snack food)

text: From 1993 to 2000, advertising for the product included commercials that featured professional wrestler "Macho Man" Randy Savage, who served as spokesperson. Each commercial would close with Savage bellowing "Need a little excitement? Snap into a Slim Jim!" Other notable spokespersons have included rapper Vanilla Ice and wrestlers The Ultimate Warrior, Bam Bam Bigelow, Kevin Nash, and Edge.


title: Slim Jim (snack food)

text: The advertising campaign was developed at North Castle Partners in Greenwich, Connecticut, by Tom Leland and Roger Martensen, under the creative direction of Hal Rosen. The "Snap Into A Slim Jim" concept was originally intended for comedian Sam Kinison, but he declined. Hal Rosen then suggested using WWF wrestlers, and The Ultimate Warrior was selected for the kickoff spot. In addition to a TV spot, the Ultimate Warrior also recorded several radio commercials for Slim Jim in 1991.


title: Slim Jim (snack food)

text: A subsequent campaign featured Slim Jim Guy (played by actor Demetri Goritsas), a human personification of a Slim Jim who would wreak havoc on the digestive system of anyone who ate it and used the slogan "Eat me!" These ads personified the irreverent personality of the brand and were also from North Castle Partners.


title: Slim Jim (snack food)

text: Slim Jim advertisements were also heavily featured on MTV, ESPN, WWF, WCW, and Disney Channel. Slim Jim was one of the earliest sponsors of the ASA Pro Tour (the aggressive inline skating tour) from 1997 to 2000. The ASA Pro Tour was a qualifier for ESPN's X Games.


title: Slim Jim (snack food)

text: In 2005, Slim Jim advertising featured the Fairy Snapmother, described in a ConAgra press release as "a character resembling a tattooed rocker with wings – and a familiar MTV-type of humor young males enjoy."


title: Slim Jim (snack food)

text: Another campaign depicted hunters hunting a fictitious "Snapalope" within convenience stores using urban camouflage. The Snapalope is a deer-like puppet made from Slim Jims.


title: Slim Jim (snack food)

text: In 2008, Slim Jim launched the website "SpicySide.com", encouraging consumers to get in touch with their "Spicy Side" by creating an avatar and fighting their friends in an online landscape called Spicy Town. Slim Jim also partnered with a well known Machinima artist Myndflame to develop a "World of Warcraft" parody.


title: Slim Jim (snack food)

text: As of 2012, the company uses social media as a method of advertisement, using internet humour and memes to gain popularity online, creating an unofficial slogan of “Long Boi Gang” (referring to the snack itself). The Slim Jim account frequently comments on popular Instagram meme pages, and has gained a fair amount of popularity through this alone.


title: Slim Jim (snack food)

text: Slim Jim sponsored Bobby Labonte and David Green when they won the NASCAR Busch Series championship in 1991 and 1994, respectively.


title: Slim Jim (snack food)

text: A 2009 "Wired" article listed some of the ingredients as beef, mechanically separated chicken, lactic acid starter culture, dextrose, salt, sodium nitrite, and hydrolyzed soy. They note that although ConAgra refers to Slim Jim as a "meat stick", it resembles a fermented sausage, such as salami or pepperoni, which uses bacteria and sugar to produce lactic acid, lowering the pH of the sausage to around 5.0 and firming up the meat.


title: Slim Jim (snack food)

text: Sodium nitrite is added to prevent the meat from turning gray, and hydrolyzed soy contains monosodium glutamate.


title: Slim Jim (snack food)

text: Slim Jim has launched several spin-off products of its main brand. These products are often of higher quality than the original Slim Jim, using premium meats. Such products include both tender steak strips and beef jerky.


title: Slim Jim (snack food)

text: The tender steak strips come in three flavors. Its companion beef jerky comes in four flavors: an original flavor, two spicy flavors, and one smokin' apple flavor.


title: UEFA Champions League Anthem

text: The UEFA Champions League Anthem, officially titled simply "Champions League", is the official anthem of the UEFA Champions League, written by English composer Tony Britten in 1992, and based on George Frideric Handel's "Zadok the Priest". It was also the official anthem of the UEFA Women's Champions League from its creation in 2001 to the 2021 creation of an independent anthem. The complete anthem is about three minutes long, and has two short verses and the chorus. The lyrics are in UEFA's three official languages: English, French, and German. The chorus is set to the exclamations " The champions!"


title: UEFA Champions League Anthem

text: The anthem is played inside the stadium before the start of each UEFA Champions League match, in addition to the beginning and end of television broadcasts of the games. Special vocal versions of the anthem have been performed live at the UEFA Champions League Final. UEFA's official website states, "the anthem is now almost as iconic as the trophy."


title: UEFA Champions League Anthem

text: In 1991, UEFA instructed its commercial partner Television Event and Media Marketing (TEAM) to develop new ways of branding the European Cup (which would be renamed the UEFA Champions League in 1992). This process resulted in the Champions League's anthem, as well as its "starball" logo and distinctive house colours.


title: UEFA Champions League Anthem

text: The anthem was written by English composer Tony Britten in 1992, adapted from George Frideric Händel's anthem "Zadok the Priest", which is traditionally performed at the coronation of British monarchs. In a 2013 newspaper interview, Britten stated that "I had a commercials agent and they approached me to write something anthemic and because it was just after The Three Tenors at the World Cup in Italy so classical music was all the rage. Hooliganism was a major, major problem and UEFA wanted to take the game into a completely different area altogether. There's a rising string phase which I pinched from Handel and then I wrote my own tune. It has a kind of Handelian feel to it but I like to think it's not a total rip-off." The composing process took "just a matter of days". Britten also mentioned that he does not own the rights to the anthem, which are retained by UEFA, but he receives royalties when it is used.


title: UEFA Champions League Anthem

text: For the recording used in television transmissions of UEFA Champions League matches and events, the piece was performed by London's Royal Philharmonic Orchestra and sung by the Academy of St Martin in the Fields Chorus. The chorus is in UEFA's three official languages: English, French, and German.


title: UEFA Champions League Anthem

text: The anthem's chorus is played before each UEFA Champions League game as the two teams are lined up, as well as at the beginning and end of television broadcasts of the matches, and when the winning team lifted the trophy after the final. Special vocal versions have been performed live at the Champions League Final with lyrics in other languages, changing over to the host country's language for the chorus. These versions were performed by Andrea Bocelli (Italian) (Rome 2009, Milan 2016 and Cardiff 2017), Juan Diego Flórez (Spanish) (Madrid 2010), All Angels (Wembley 2011), Jonas Kaufmann and David Garrett (Munich 2012), Mariza (Lisbon 2014, unlike the previous final performers, Mariza sang the main lyric of the anthem), and Nina Maria Fischer and Manuel Gomez Ruiz (Berlin 2015). In the 2013 final at Wembley Stadium, the chorus was played twice. In the 2018 and 2019 finals, held in Kyiv and Madrid respectively, the instrumental version of the chorus was played, by 2Cellos (2018) and Asturia Girls (2019), while the 2020 and 2021 finals used the pre-recorded anthem's chorus instead, without any live performances due to the COVID-19 pandemic. The 2022 final similarly used a standard pre-recorded version of the anthem.


title: UEFA Champions League Anthem

text: The complete anthem is about three minutes long, and has two short verses and the chorus. In addition to the anthem, there is also entrance music, which contains parts of the anthem itself, which is played as teams enter the field. The anthem has been released commercially in its original version on iTunes and Spotify with the title of Champions League Theme. Also, the Academy of St Martin in the Fields chorus can be heard singing the influential piece "Zadok the Priest" on the 2002 album "World Soccer Anthems". In 2018, composer Hans Zimmer remixed the anthem with rapper Vince Staples for EA Sports' "FIFA" video game "FIFA 19", with it also featuring in the game's reveal trailer.


title: Justified (album)

text: Justified is the debut solo studio album by American singer Justin Timberlake. It was released on November 5, 2002, by Jive Records. The album was written and recorded in a six-week period as Timberlake's band NSYNC was on hiatus. Half of the tracks were originally written for Michael Jackson by the Neptunes and later modified. For his solo album, Timberlake began to adopt a more mature image as an R&B artist opposed to the previous pop music recorded by the group. The majority of the album was produced by the Neptunes (credited as "Williams and Hugo") and Timbaland, and features guest appearances by Janet Jackson, Clipse, and Bubba Sparxxx.


title: Justified (album)

text: "Justified" received generally positive reviews from critics, who complimented the mature progression of Timberlake's material, although some criticized its lyrical content. The album earned Timberlake four Grammy Award nominations, including Album of the Year, and won the award for Best Pop Vocal Album. "Justified" debuted at number two on the US "Billboard" 200 and sold 439,000 copies in its first week. It was certified three-times platinum by the Recording Industry Association of America (RIAA), having sold over 3.9 million copies in the US. As of 2012, the album has sold over 10 million copies worldwide.


title: Justified (album)

text: Four singles were released from "Justified". The lead single "Like I Love You" peaked at number 11 on the US "Billboard" Hot 100, while the follow-up singles "Cry Me a River" and "Rock Your Body" peaked within the top five on the chart. "Like I Love You", "Cry Me a River", and "Rock Your Body" peaked at number two in the United Kingdom and in the top ten in Australia (with "Rock Your Body" topping the Australian chart), Ireland, Netherlands, and Belgium. To promote the album, Timberlake performed on several television shows and award ceremonies, including the 2002 MTV Video Music Awards, where he made his solo debut appearance. Furthermore, Timberlake embarked on two concert tours—"The Justified World Tour" and the "Justified and Stripped Tour"—with Christina Aguilera accompanying him on the latter.


title: Justified (album)

text: Following the conclusion of their Celebrity Tour in April 2002, boy band NSYNC went on a hiatus, during which lead singer Justin Timberlake continued work on what would be his debut solo album. The album was said to be "more than halfway completed" by early 2002. With the album, he wanted to portray a more mature image as an R&B performer, rather than a boy band pop artist. He revealed minimal information regarding the producers and artists involved with "Justified" during its early recording stage, with his management and record label also reluctant to share any information. However, MTV News reported that production duo The Neptunes were working on multiple tracks, while rapper P. Diddy and singer Mario Winans contributed to one track. Other known producers involved included Mike City, Raphael Saadiq and Rodney Jerkins, though between June and July, none of the aforementioned producers had attended any studio sessions. Explaining his involvement with the project, Jerkins said at the 2002 BET Awards that he "just got a call about working on the project" and that whenever Timberlake wanted his assistance, it would "be done". The majority of tracks for "Justified" were originally intended for Michael Jackson. Jackson turned down the tracks, so the songs were modified for Timberlake's album.


title: Justified (album)

text: Brian McKnight's manager stated that his client had already recorded tracks with the singer, while rapper Nelly explained to the reporters that both him and Timberlake had discussed a collaboration effort. Early in 2002, Angie Stone revealed that Timberlake "loves the "Mahogany Soul" album" with him further saying to her "your CD's in my car right now, you have to work on my solo project". These assertions were later partially denied by a Jive spokesperson who announced that the material produced from the collaboration would not appear on the finalized record.


title: Justified (album)

text: "Justified" was written and recorded in a six-week period. According to Timberlake, the "creative spurt" was reminiscent of "that period of time back in the 1960s and '70s when musicians got together and just jammed and worked out of inspiration. There was no heavy calculation or belaboring songs and mixes. Everything flowed pretty easily and naturally." Recording sessions took place at various studios in the United States, including the Westlake Recording Studios in Los Angeles, Manhattan Center Studios in New York City and Master Sound Recording Studios and Windmark Recording in Virginia Beach.


title: Justified (album)

text: The Neptunes told MTV News that the duo and Timberlake drove in a car listening to Earth, Wind & Fire albums for inspiration, with the background of the band's music being what the production duo wanted to implement into "Justified" musical content. The production duo commented that despite not being content with sampling music, for inspiration, they also listened to both "Off the Wall" (1979) and "Thriller" (1982), albums by Jackson. Their intentions were to create music that was similar to Jackson's work without "recycling them". One of the two members of The Neptunes, Chad Hugo, commented that they just wanted to re-create "that sense of those timeless, classic songs, without any of the 'bling, bling, hit me on my two-way' style of the new R&B. It has elements of the old and the new." The producer further went on to say that people wanted Timberlake to be conformed to being part of boy band NSYNC, with the former insisting that the singer is an immaculate vocalist. Hugo acknowledged Timberlake's break-up with singer Britney Spears, saying that some of the album's music could be directed towards it.


title: Justified (album)

text: The opening track on "Justified", "Señorita" is a Spanish oriented song that features R&B influences; in it Timberlake sings about a girl with brown eyes. "Like I Love You" is a funk influenced song consisted of live drums, tiny guitar strum accompanied with the singer's breathy tenor. According to Ben Ratliff of "Rolling Stone", "it's minimalism influenced by Michael Jackson". The third track on the album, "(Oh No) What You Got" was described by Sal Cinquemani of Slant Magazine as a bit racy for the audience who expected a more boy-band-oriented record. Regarding the fourth song, Russell Bailie of "The New Zealand Herald" wrote that although the album "manages to skirt teen-pop sugariness for the most part, though it does offer quality mush on numbers such as 'Take It From Here'." "Cry Me a River" is a funk and R&B song with an instrumentation that features beatboxing, synthesizers, Arabian-inspired riffs and Gregorian chants. Lyrically, the song is about a brokenhearted man who moves on from his past.


title: Justified (album)

text: The sixth track, "Rock Your Body", incorporates tinny, "keyboard-set-to-emulate-clavichord" synthesizers of The Neptunes' late 90s productions, overlaid with "keys and a propulsive drum vamp". The seventh track of the album is "Nothin' Else"; which according to David Merryweather of Drowned in Sound is a "slinky" and "smooth" song that is similar to the works of American musician Stevie Wonder. Influenced by Jackson's musical style and Van McCoy's 1975 single "The Hustle", "Last Night" is played with a xylophone. "Still On My Brain", the ninth track on the album, is a slow jam, similar to the songs performed by Timberlake's former band 'NSYNC. "(And She Said) Take Me Now" which features singer Janet Jackson, is a disco, '80s funk and dub song that contains racy lyrics. Similar to the previous song, the eleventh track of the album has racy lyrics; on it Timberlake "cockily" sings the line, "I could think of a couple positions for you". "Let's Take a Ride" is the twelfth song on the album, on which, according to "Uncut" magazine, Timberlake "offers to deliver you from your humdrum existence". The record concludes with "Never Again", a ballad, on which Timberlake becomes "downright maudlin and snippy".


title: Justified (album)

text: "Like I Love You" featuring Clipse was released as the album's lead single. It was released as a CD single in August 2002 in Germany and the US. The song was written by Justin Timberlake and The Neptunes, who also produced the track. It received positive reviews from critics, who praised its production and use of instrumentals. "Like I Love You" charted at number eleven on the US "Billboard" Hot 100, and in the top five in the UK, Denmark, Netherlands and Ireland. The song was nominated for Best Rap/Sung Collaboration at the 45th Grammy Awards.


title: Justified (album)

text: "Justified" second single is "Cry Me a River", and was released through contemporary and rhythmic radio on November 24, 2002, and as a 12" vinyl on December 23 in the US. The song was written by Timberlake, Scott Storch and Timbaland and produced by the latter. "Cry Me a River" debuted at number 44 on the "Billboard" Hot 100 on the issue dated December 21, 2002, and eventually peaked at number three. In other countries, the song achieved similar success, reaching number two in Australia and the UK, and the top five in several other territories. "Cry Me a River" has been certified gold in Australia by the Australian Recording Industry Association (ARIA), denoting shipments of 70,000 units, and certified silver in France. It won a Grammy Award for Best Male Pop Vocal Performance at the 2004 ceremony, while the accompanying music video won two MTV Video Music Awards: Best Male Video and Best Pop Video. The song is listed on "Rolling Stone"'s The 500 Greatest Songs of All Time.


title: Justified (album)

text: "Rock Your Body" was released as the album's third single, and was released on May 6, 2003, as a CD single in the US. It was written by Timberlake and The Neptunes, and produced by the latter. The song topped the charts in Australia for one week, became Timberlake's third single to reach number two in the UK, and reached the top five in Denmark, Ireland, New Zealand and the US. "Rock Your Body" was certified platinum in Australia by the ARIA. It received a gold certification in the US by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 units.


title: Justified (album)

text: "Señorita" is "Justified" fourth single, released through rhythmic radio on July 8, 2003. It was written by Timberlake and The Neptunes, while being produced by the latter. It reached number 27 on the Hot 100, and achieved its highest peak in Australia and New Zealand, where it reached number six and four, respectively.


title: Justified (album)

text: Timberlake performed "Like I Love You" at the 2002 MTV Video Music Awards prior to the album's release. The day of "Justified"'s release, Timberlake appeared on TRL and performed "Like I Love You" and "Cry Me a River" live in Times Square. TV specials included a sit-down interview with Barbara Walters on 20/20, an episode of MTV Launch that followed the making of "Justified", and the TV concert special, "Justin Timberlake: Down Home in Memphis". Timberlake performed "Cry Me a River" at the 13th annual "Billboard" Music Awards, held on December 9, 2002, at the MGM Grand Garden Arena in Las Vegas. He was accompanied by a string section and a 20-member choir. He performed "Cry Me a River" on a promotional concert held at House of Blues in West Hollywood, California on June 17, 2003. On February 1, 2004, the singer performed "Rock Your Body" at the Super Bowl XXXVIII halftime show with singer Janet Jackson. At the moment Timberlake sang the lyric "Bet I'll have you naked by the end of this song," he ripped off part of Jackson's costume, momentarily exposing her right breast on live television. Timberlake distanced himself from the controversy while Jackson faced much criticism. He later commented that "America's harsher on women...[and] unfairly harsh on ethnic people." He performed "Señorita" live on the sketch comedy show "Saturday Night Live" in October 2003, where he served as host and musical guest, and at the 2004 Grammy Awards. Magazine covers included "Rolling Stone", which dubbed him the "New King of Pop", "Entertainment Weekly", "VIBE magazine," "The Advocate", and "Details".


title: Justified (album)

text: Timberlake did a joint tour in North America with Christina Aguilera entitled the Justified and Stripped Tour, to support both "Justified" and Aguilera's 2002 album, "Stripped". Timberlake's and Aguilera's managers suggested to both singers to go on a conjoint tour. Timberlake agreed with the suggestion, saying that "It would be fun to be on tour with somebody who's that talented". Timberlake's further reasoning for touring with Aguilera was due to both singers wanting to "break the mold of what people look at as teen pop and move into a different direction". For the tour, Timberlake wanted to transform arenas into clubs, stating that he wants people "to feel like they're a part of the show and it's a party", remarking that anybody caught sitting down would get booted. For the tour, Timberlake performed with eight dancers, a 14-piece band which included four backup singers, three horn players and a DJ. The tour commenced on June 4, 2003, in Phoenix, Arizona and concluded on September 2, 2003, in Saint Paul, Minnesota. The tour grossed approximately $45 million.


title: Justified (album)

text: In September 2003, McDonald's announced Timberlake as a new spokesmen for their "I'm Lovin' It" campaign. Timberlake recorded "I'm Lovin' It", to be featured in adverts for the franchise, later expanded and released as a single in December 2003. McDonald's later announced they will sponsor a tour for Timberlake, following his successful North American tour with Christina Aguilera, entitled the Justified World Tour. Timberlake stated "I love what McDonald's is doing with the new 'i'm lovin' it' campaign and it's cool to be part of it [...] We share the same crowd -- people who like to have fun -- and that's what this new partnership and my European concert tour is all about." The tour began with Timberlake playing intimate gigs at clubs and theatres in the United States and Australia before expanding to arenas in Europe. The tour commenced on May 7, 2003, in Sheffield, England and concluded on June 19, 2004, in Brisbane, Australia. Jive Records released two DVD specials for Justified, "Justified: the Videos" and "".


title: Justified (album)

text: "Justified" received generally positive reviews from critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album has received an average score of 68, based on 14 reviews. Ben Ratliff of "Rolling Stone" was receptive to The Neptunes's production, and noted both "Like I Love You" and "Cry Me a River" as standout tracks. Ratliff also commented that Justin Timberlake has successfully "vaulted over the canyon" to adulthood. "Slant Magazine" critic Sal Cinquemani believed that Timberlake meshes with The Neptunes "so well he virtually relinquishes his personality to the super-duo—he could very well be the third member of N.E.R.D." Cinquemani noted the similarities between "Justified" tracks to the work of musician Michael Jackson, saying that the album should have been Jackson's tenth and final studio album, "Invincible" (2001). BBC Music's Denise Boyd praised "Like I Love You", while also commending "Cry Me a River" for its lyrical content and "Rock Your Body", which he notes contains Michael Jackson and Stevie Wonder influences. In "Entertainment Weekly", David Browne wrote how the album should have been the outcome of Jackson's tenth studio album, as "the ultramodern R&B-pop hybrid". Browne described "Justified" as "cohesive", favoring the album to NSYNC's previous two efforts: "Celebrity" (2001) and "No Strings Attached" (2000).


title: Justified (album)

text: Robert Christgau wrote of Timberlake in "The Village Voice", "though his talent and character were there for all to see, who knew he'd turn out this heady or beatwise?" The newspaper's Christopher O'Connor commended The Neptunes' production, while praising "Like I Love You" and the Janet Jackson collaboration "(And She Said) Take Me Now", saying how the songs show that Timberlake "has the balls to pursue the A-plus list." O'Connor showed ambivalence towards "Right for Me" and "Cry Me a River", noting the former as "awkward" and the latter as "a lousy Aaliyah impression." Tyler Martin from "Stylus Magazine" deemed "Señorita" and "Like I Love You" as the record's highlights, while writing that the album does not maintain Timberlake's masculine persona, but still "paints a picture of a complicated young man, growing into adulthood". "NME" Alex Needham was less enthusiastic, writing that Timberlake's lyrics are "soppy platitudes that may or may not be about Britney". Caroline Sullivan of "The Guardian" believed the only noticeable tracks are "Cry Me a River" and "Rock Your Body", noting the latter as "predictable", while criticising the album's lyrics as being "suggestive mumbling". AllMusic's Stephen Thomas Erlewine commented that Timberlake "shamelessly borrows from Jacko, from the "Thriller"-era", going on to criticize his vocals as to lack substance, with his falsetto lacking character, though calling him a "technically skilled vocalist."


title: Justified (album)

text: "Justified" was ranked second on "The Face"s "Recordings of the Year", and 46 on "Village Voice"s "Pazz + Jop 2003". "Justified" was listed at number 37 on "The A.V. Club" Best music of the decade list. The album was also included in the book "1001 Albums You Must Hear Before You Die". It was also included on "The Guardian"s list of "1000 albums to hear before you die," calling the artist "the quintessential modern crossover act." In 2009 MTV Base included the album among the 100 "Greatest Albums Ever", which ranked 15 after the public poll. In 2014, writers from "Paste" considered it the 7th best solo debut, and in 2017 from Cleveland.com, the best boy band solo debut. "Justified" ranked 5 on "NME"s greatest debut albums turning 15 in 2017, with the author saying "perhaps a few more listens would have changed NME's mind at the time." In 2019, "The Guardian" ranked it number 87 in their list of "The 100 best albums of the 21st century," saying: "Timberlake's Neptunes/Timbaland-helmed debut was slick, sexy and most importantly, convincing."


title: Justified (album)

text: "Justified" earned Timberlake three American Music Award nominations, including Favorite Pop/Rock Album, Favorite Pop/Rock Male Artist and Fan Choice Award. Timberlake won the award for Favorite Pop/Rock Album. At the 45th Grammy Awards, Timberlake had one nomination for Best Rap/Sung Collaboration for "Like I Love You". The following year, "Justified" earned Timberlake nominations for Album of the Year and Best Pop Vocal Album, while "Cry Me a River" was nominated for Best Male Pop Vocal Performance. Timberlake won the latter two awards. For "Justified", Timberlake won Best Male, Best Pop and Best Album at the 2003 MTV Europe Music Awards. "Justified" won the International Album award at the 2004 Brit Awards.


title: Justified (album)

text: At the 2003 BET Awards, he received two nominations for Best R&B Male Artist and Best New Artist. Among others, it was nominated Best Album at the MOBO Award, International Album of the Year at the NRJ Music Awards, and Foreign Album of the Year at the Danish Music Awards.


title: Justified (album)

text: For a 2018 "Billboard" article, writers Taylor Weatherby and Nina Braca said the album "may possibly be the most iconic debut album from a former band member in pop music history", describing it as "[a] bona-fide success that foreshadowed Timberlake's superstardom to come" and "at the same time, a declaration of independence from his poppier beginnings." From the same magazine, Dan Weiss deemed "Justified" as Timberlake's "classic album." Writers from "Consequence of Sound" deemed it "the standard for former teen pop stars' bids to be taken seriously" when comparing it to other debut solo albums released later, and "Herald Sun" considered it a "boy band to men blueprint." British singer-songwriter Ed Sheeran cited the album as an inspiration for his 2014 single "Sing", and Shawn Mendes for his 2018 song "Lost in Japan". One Direction's Liam Payne, talking about his debut solo album, stated he was focusing on making a record like "Justified". In 2009, Filipina singer Nina covered "Never Again" for her acoustic radio show and album, "Renditions of the Soul."


title: Justified (album)

text: "Justified" debuted at number two on the "Billboard" 200, selling 439,000 copies in its opening week. The album was expected to top the chart, replacing the "8 Mile" soundtrack (2002). Instead the soundtrack sold 507,000 copies, due to being propelled by Eminem's "Lose Yourself". The following week, "Justified" sold 188,770 copies and fell two positions to number four. In its third week, the album sold 110,000 copies and remained within the top ten on the chart. The album appeared on the "Billboard" 200 chart for seventy-two weeks, and eventually went on to sell 3.5 million copies in the US. It has been certified three times platinum by the Recording Industry Association of America (RIAA), for shipments of three million copies. As of 2018, the album has accumuladed 4.6 million album-equivalent units in the US, combining sales and equivalent streams. "Justified" debuted and peaked at number two on the US Top R&B/Hip-Hop Albums chart. The album charted on the "Billboard" 200 and Top R&B/Hip-Hop Albums 2003 year-end charts, reaching number eleven and twenty-six, respectively.


title: Justified (album)

text: Internationally, "Justified" received a similar response. In the United Kingdom, "Justified" debuted at number six, and eventually peaked at number one on the week of November 16, 2002, remaining atop for seven non-consecutive weeks. The album has appeared on the chart for eighty-four weeks; it has been certified five times platinum by the British Phonographic Industry (BPI) for shipments of 1.5 million copies. As of March 2015, "Justified" is the 41st best-selling album of the millennium in the United Kingdom. In Canada, the album peaked at number three and has been certified two times platinum by Music Canada. "Justified" debuted and peaked at number four in Denmark and the Netherlands, remaining on the charts for forty and seventy-two weeks, respectively. The album peaked at number five in New Zealand for one week, appearing on the chart for thirty-six weeks, and receiving a two times platinum certification by the Recording Industry Association of New Zealand (RIANZ) for shipping 15,000 units. "Justified" peaked in the top ten in Belgium, Australia and Norway. The album charted within the top thirty and forty in several other countries. As of June 2012, the album has sold over 10 million copies worldwide.


title: Justified (album)

text: In 2003, "Justified" was ranked as the 11th most popular album of the year on the "Billboard" 200. According to "Billboard", as of 2022, "Justified" is one of the 15 best-performing 21st-century albums without any of its singles being number-one hits on the "Billboard" Hot 100.


title: Fleischer Studios

text: Fleischer Studios () is an American animation studio founded in 1929 by brothers Max and Dave Fleischer, who ran the pioneering company from its inception until its acquisition by Paramount Pictures, the parent company and the distributor of its films. In its prime, Fleischer Studios was a premier producer of animated cartoons for theaters, with Walt Disney Productions being its chief competitor in the 1930s. Today, the company is again family owned and oversees the licensing and merchandising for its characters.


title: Fleischer Studios

text: Fleischer Studios characters included Koko the Clown, Betty Boop, Bimbo, Popeye the Sailor, and Superman. Unlike other studios, whose characters were anthropomorphic animals, the Fleischers' most successful characters were humans (with the exception of Bimbo, a black-and-white cartoon dog). The cartoons of the Fleischer Studio were very different from those of Disney, both in concept and in execution. As a result, they were rough rather than refined and consciously artistic rather than commercial, but in their unique way, their artistry was expressed through a culmination of the arts and sciences. This approach focused on surrealism, dark humor, adult psychological elements, and sexuality. Furthermore, the environments were grittier and urban, often set in squalid surroundings, reflecting the Great Depression as well as German Expressionism.


title: Fleischer Studios

text: The Fleischer Studio was built on Max Fleischer's novelty film series "Out of the Inkwell" (1919-1927). The novelty was based largely on the results of the "rotoscope", invented by Fleischer to produce realistic animation. The first "Out of the Inkwell" films were produced through The Bray Studio. They featured Fleischer's first character, "The Clown," which became known as Ko-Ko the Clown in 1924.


title: Fleischer Studios

text: In 1921, The Bray Studio ran afoul with legal issues, having contracted for more films than it could deliver to its distributor, Goldwyn Pictures. The Fleischer Brothers left and began their own studio Out of the Inkwell Films with Dave as director and production supervisor, and Max as producer, at 129 East 45th Street, later to 1600 Broadway, Times Square, midtown Manhattan, New York City. In 1924, animator, Dick Huemer came to the Out of the Inkwell Films studio and redesigned "The Clown" for more efficient animation. Huemer's new design and experience as an animator moved them away from their dependency on the rotoscope for fluid animation. In addition to defining the clown, Huemer established the Fleischer style with its distinctive thick and thin ink lines. In addition, Huemer created Ko-Ko's companion, Fitz the Dog, who would evolve into Bimbo in 1930.


title: Fleischer Studios

text: Throughout the 1920s, Fleischer was one of the leading producers of animation with clever moments and numerous innovations. These innovations include the "Rotograph", an early "Aerial Image" photographic process for compositing animation with live action backgrounds. Other innovations included "Ko-Ko Song Car-Tunes" and sing-along shorts (featuring the famous "bouncing ball"), a precursor to karaoke.


title: Fleischer Studios

text: In 1924, distributor Edwin Miles Fadiman and Hugo Riesenfeld formed the Red Seal Pictures Corporation. Riesenfeld was the theatrical manager of the Strand, Rivoli, and Rialto theaters on Broadway. Because the Out of the Inkwell films were a major part of the program in Riesenfeld's theaters, the Fleischers were invited to become partners. The Red Seal Company committed to an ambitious release schedule of 26 films with The Inkwell Studio as the primary supplier. The following year, Red Seal released 141 films that included documentaries, short comedy subjects, and live-action serials. Carrie of the Chorus, also known as Backstage Comedies, was one of the Red Seal series that featured Max's daughter, Ruth in a supporting role. Ray Bolger made his screen debut in this series and dated Ruth for a short time.


title: Fleischer Studios

text: Red Seal released cartoon novelty series such as "The Animated Hair" Cartoons by Cartoonist "Marcus," and Inklings. "The Animated Hair" series resembled the on-screen hand drawing gimmick established in Out of the Inkwell. In this case, "Marcus" produced high-quality ink line portraits of celebrities and political figures. Then through stop motion animation techniques, the lines and forms would break away to entertainingly re-form the portrait into another. Inklings was similar in concept to the "Animated Hair" films, but was more of a visual puzzle novelty using a variety of progressive scratch-off/reveal techniques and rearranged animated cutouts to change the images.


title: Fleischer Studios

text: It was during this time that Lee de Forest started filming his Phonofilms experiments featuring several of the major Broadway headliners. The Red Seal company began acquiring more theaters outside of New York and equipped them with sound equipment produced by Lee de Forest, displaying "talkies" three years before the sound revolution began. Because of Max's interest in technology, Riesenfeld introduced him to deForest. And it was through this partnership that Max produced a number of the Ko-Ko Song Car-tunes as sound releases. Of the 36 song films produced between 1924 and 1927, 12 were produced as sound films beginning in 1926 with standard silent versions as well. The first sound release was "Mother Pin a Rose on Me". Other sound releases included "Darling Nellie Gray", "Has Anybody Here Seen Kelly?", "When the Midnight Choo-Choo Leaves for Alabam"', "Coming Through the Rye", "My Wife's Gone to the Country", "Margie, Oh, How I Hate to Get Up in the Morning", "Sweet Adeline," "Old Black Joe", "Come Take A Trip in My Airship", and "By the Light of the Silvery Moon".


title: Fleischer Studios

text: Red Seal owned 56 theaters, extending as far west as Cleveland, Ohio. But after only two years of operation, Red Seal was broke. Max (Fleischer) sought an appointment of receiver in bankruptcy in October 1926. Just as the situation looked hopeless, Alfred Weiss appeared from the horizon with a Paramount contact.


title: Fleischer Studios

text: The Paramount deal provided financing and distribution. But due to legal complications of the bankruptcy, the title to "Out of the Inkwell" was changed to "The Inkwell Imps" (1927-1929) and the studio was renamed Inkwell Studios. One year into the relationship, the Fleischer Brothers discovered mismanagement under Weiss and left before the end of the "Imps" contract. Out of the Inkwell Films, Inc. filed bankruptcy in January 1929. In March, Max formed Fleischer Studios with Dave as his partner. Operations were first set up at the Carpenter-Goldman Laboratories in Queens. With a skeleton staff, Fleischer Studios started out doing industrial films, most notably, "Finding His Voice", a technical demonstration film explaining Western Electric's Variable Density recording and reproduction system. Max Fleischer secured a new contract with Paramount to produce a revival of the "Bouncing Ball" song films, re-branded as "Screen Songs", with "The Sidewalks of New York" as the first release on February 5, 1929.


title: Fleischer Studios

text: The early experiments with sound synchronization gave Fleischer Studios experience in perfecting the post-production method of recording, aided by several inventions by founder, Max Fleischer. And with the conversion to sound, Paramount needed more sound films, and cartoons could be produced faster than feature films. As the "Screen Songs" returned Fleischer to the established song film format, a new sound series, "Talkartoons" replaced the silent "Inkwell Imps", the first being "Noah's Lark" released on October 25, 1929. Earlier entries in the series were one-shot cartoons, until the appearance of "Bimbo" as of the fourth entry. Bimbo evolved through several redesigns in each cartoon for the first year. While the intent was to develop him as the star of the series, it was the cameo appearance of a Helen Kane caricature in the seventh entry, "Dizzy Dishes" that took center stage. Audience reactions to the New York preview were so great that Paramount encouraged the continued development of the most famous character to come from the Fleischer Studio by that time, Betty Boop. While originated as a hybrid human/canine character, Betty Boop was transformed into the human character she is known as by 1932. Having become the main attraction of the "Talkartoons", she was given her own series, which ran until 1939.


title: Fleischer Studios

text: The "Jazz Baby" Flapper character, Betty Boop lifted the spirits of Depression Era audiences with her paradoxical mixture of childlike innocence and sexual allure. Being a musical novelty character, she was a natural for theatrical entertainment. Several of her early cartoons were developed as promotional vehicles for some of the top Black Jazz performers of the day including Louis Armstrong ("I'll Be Glad When You're Dead You Rascal, You"), Don Redman ("I Heard"), and most notably, the three cartoons made with Cab Calloway, "Minnie the Moocher", "Snow White", and "The Old Man of the Mountain". This was considered a bold action in light of the Jim Crow policies active in the South where such films would not be shown.


title: Fleischer Studios

text: In 1934, the Hays Code resulted in severe censorship for films. This affected the content of all of Paramount's films as well, which tended to reflect a more "mature" tone in the features of the Marx Brothers, W.C. Fields, and most of all, Mae West. As a result, each of these stars was released as Paramount changed the content of its films to reflect a more "general audience" in order to comply with the new Code and stay in business. Paramount had also gone through three reorganizations from bankruptcy between 1931 and 1936. The new management under Barney Balaban set out to make more general audience films of the type made at MGM, but for lower budgets. This change in content policy affected the content of cartoons that Fleischer was to produce for Paramount, which urged emulation of the Walt Disney product.


title: Fleischer Studios

text: Paramount acquiesced to the release of the Color Classics series starting in 1934. But with the exclusivity of the three-color process still held by Disney, Fleischer Studios used the available two-color processes, Cinecolor, a two-emulsion red and blue process, and Two-color Technicolor, using red and green. By 1936, the Disney exclusivity had expired, and Fleischer Studios used the three-color process in its color cartoons beginning with "Somewhere in Dreamland" and continued using it for the remainder of its active years.


title: Fleischer Studios

text: The Fleischer Studio's greatest success came with the licensing of E.C. Segar's comic strip character Popeye the Sailor beginning in 1933. "Popeye" eventually became the most popular series the studio ever produced, and its success surpassed Walt Disney's Mickey Mouse cartoons, documented by popularity polls. And with the availability of full spectrum color, the Fleischer Studios produced three two-reel "Popeye" featurettes, "Popeye the Sailor Meets Sindbad the Sailor" (1936), "Popeye the Sailor Meets Ali Baba's Forty Thieves" (1937), and "Popeye the Sailor Meets Aladdin's Wonderful Lamp" (1939). This series of longer-format cartoons were an indication of the emergence of the animated feature film as a commercially viable project beginning with Walt Disney's "Snow White and the Seven Dwarfs" (1937).


title: Fleischer Studios

text: The Fleischer Studios had reached its zenith by 1936, with four series and 52 annual releases. Due to the phenomenal success of the Popeye cartoons, Paramount demanded more, and the Fleischer Studio experienced rapid expansion in order to balance out the increased workload. The crowded conditions, production speedups, drawing quotas, and internal management problems resulted in a labor strike beginning in May 1937 which lasted for five months. This strike was a test case, the first launched in the motion picture industry, and produced a nationwide boycott of Fleischer cartoons for the duration.


title: Fleischer Studios

text: Max Fleischer had been petitioning Paramount for three years about producing an animated feature. Paramount vetoed his proposals until the proven success of Disney's "Snow White and the Seven Dwarfs" (1937). Paramount now wanted an animated feature for a 1939 Christmas release. This request came at the time of preparations for relocating to Miami, Florida. While the relocation had been a consideration for some time, its final motivation was made a reality due to lower corporate tax structures and an alleged escape from the remaining hostility from the strike.


title: Fleischer Studios

text: The new Fleischer Studio opened in October 1938, and production on its first feature, "Gulliver's Travels" (1939), went from the development stage begun in New York to active production in Miami. The score was by Paramount staff composer, Victor Young and recorded at the Paramount west coast facilities. While limited to only 60 theaters in a one-month release, "Gulliver's Travels" earned more than $3 million, in spite of exceeding its original $500,000 estimated cost. Accordingly, a second feature was ordered for the Christmas period, "Mr. Bug Goes to Town" (1941).


title: Fleischer Studios

text: The personal relationship between Max and Dave Fleischer deteriorated during the Miami period due to complications associated with the pressures of finishing the studio's first feature film and Dave's very public adulterous affair with his secretary, Mae Schwartz. Max and Dave stopped speaking to each other altogether by the end of 1939, communicating solely by memo.


title: Fleischer Studios

text: Dave gained total control of production in 1940, relegating Max to business affairs and research. The studio was in need of new products going into the new decade, but the new shorts series that debuted in 1939 and 1940, "Gabby", "Stone Age Cartoons", and "Animated Antics", were unsuccessful. Theater operators complained, with the "Popeye" cartoons having the only value.


title: Fleischer Studios

text: Paramount acquired the rights to comic book superhero "Superman" in 1941, and the Fleischers were assigned to work on a series of animated "Superman" shorts. The first entry, "Superman", had a budget of $50,000, the highest ever for a Fleischer theatrical short, and was nominated for an Academy Award.


title: Fleischer Studios

text: The animated "Superman" series, with its action-adventure and science fiction fantasy content, was a huge success, but that did not help the studio out of its financial trouble. It was penalized $350,000 for going over budget on "Gulliver's Travels", and the revenues earned from the rentals of the "Popeye" cartoons had to be used to offset the loss of $250,000 incurred by the rejection of cartoons in 1940.


title: Fleischer Studios

text: While profits dwindled, Paramount continued to advance money to Fleischer Studios to continue the production of cartoons with its focus mainly on "Popeye", "Superman", and "Mr. Bug Goes to Town", a new feature film for the 1941 Christmas season; all in hope of rekindling the studio. On May 24, 1941, Paramount demanded reimbursement on the penalties still owed after 18 months and assumed full ownership of Fleischer Studios, Inc. The Fleischers remained in control of production until November 1941. "Mr. Bug Goes to Town", intended for release in December 1941, was not released until February 1942, and never recouped its costs.


title: Fleischer Studios

text: In spite of living up to his contractual obligations and delivering the film, Max Fleischer was asked to resign. Dave Fleischer had resigned the month before, and Paramount finished out the last five months of the Fleischer contract without the Fleischer brothers. The last cartoon produced at the credited Fleischer Studios was the "Superman" cartoon "Terror on the Midway". Paramount formed a new company, Famous Studios, as a successor to Fleischer Studios effective July 3, 1942.


title: Fleischer Studios

text: With the exception of the "Superman" and "Popeye" cartoons, Paramount's cartoon library of releases prior to October 1950 was originally sold to U.M. & M. TV Corporation in 1955. A condition of the purchase required the removal of the Paramount logos and copyright lines from the main titles.


title: Fleischer Studios

text: As soon as the Fleischer library was sold to television, Max Fleischer noticed that some of the cartoons were being shown without his name in the credits, which was a violation of his original contracts. On June 17, 1956, Max Fleischer filed suit against Paramount and its TV distribution partners, seeking $2,750,000 in damages. The infringement on his name was corrected on all subsequent prints exhibited on television.


title: Fleischer Studios

text: Before U.M.& M. had finished the title alterations, the company was bought by National Telefilm Associates. NTA placed their logo at the heads and tails of the films and blacked out references to Paramount, Technicolor, Cinecolor, and Polacolor. The majority of the Fleischer cartoons were off the air by the mid 60s when the original copyrights were due for renewal. NTA failed to renew the copyrights, which placed the majority of the Fleischer film library (including the "Color Classics" series, the "Screen Songs" series, and "Gulliver's Travels") into the public domain. "Mr. Bug Goes to Town", various "Betty Boop" cartoons, and the 1938 "Color Classic", "The Tears of an Onion", are among the few films that remain under copyright to Melange Pictures, LLC.


title: Fleischer Studios

text: In the mid-1970s, NTA converted 85 black and white "Betty Boop" cartoons to color through Fred Ladd's Color Systems company. The process was done by having the cartoons traced and re-colored by Korean animators. These were packaged in 1976 under the title "Betty Boop for President". This was refashioned as a compilation feature, "Hooray for Betty Boop", and ran on HBO in 1980.


title: Fleischer Studios

text: Paramount has reacquired ownership of the original Fleischer film library (through their acquisition of Republic Pictures) and continues to own the theatrical rights.


title: Fleischer Studios

text: The "Popeye" series, a property licensed from King Features Syndicate, was acquired by Associated Artists Productions (a.a.p.), which later became part of United Artists (for info on the "Popeye" retitling, see the a.a.p. article) and Metro-Goldwyn-Mayer. Turner Entertainment, after briefly owning MGM outright, settled for ownership of the library, including the "Popeye" cartoons, in 1986. A small number of "Popeye" cartoons have also entered the public domain.


title: Fleischer Studios

text: "Superman", the other series based on licensing, reverted to National Comics after Paramount's rights to the character expired. TV syndication rights were initially licensed to Flamingo Films, distributors of the 1950s "Superman" TV series. All 17 entries in this series entered the public domain in the late 1960s, when National failed to renew their copyrights.


title: Fleischer Studios

text: Nevertheless, the "Superman" and "Popeye" cartoons are now under the ownership of Warner Bros. Entertainment Inc.; Warner bought the original film elements to the "Superman" series in 1969, after becoming a sibling (and later the parent) to DC Comics.


title: Fleischer Studios

text: Most of the Fleischer color titles have been widely available on video since the 1980s, often on inexpensive videotapes sold in supermarkets and discount stores. Both animation fans and the UCLA Film and Television Archive have worked to release high-quality restored editions of the Fleischer cartoons. These have also been made available on pay-cable, home video and DVD. Many of these restored versions now include the original front-and-end Paramount titles.


title: Fleischer Studios

text: Most of the silent Fleischer titles from the "Out of the Inkwell"/"Inkwell Imps" series have entered the public domain.


title: Fleischer Studios

text: An official "Betty Boop" VHS set, "Betty Boop Confidential", was released by Republic Pictures in 1995, included several black-and-white "Betty Boop" cartoons as well as Betty's only color appearance, "Poor Cinderella".


title: Fleischer Studios

text: There have been several video releases for the "Superman" series. These include a 1991 VHS set produced by Bosko Video, titled "The Complete Superman Collection: Golden Anniversary Edition - The Paramount Cartoon Classics of Max & Dave Fleischer" released as two volumes which featured transfers from 35mm prints. It was reissued on DVD as "The Complete Superman Cartoons — Diamond Anniversary Edition" in 2000 by Image Entertainment, and "Superman Adventures" in 2004 by Platinum Disc Corporation.


title: Fleischer Studios

text: A third (and more "official") compilation using restored and remastered materials was released in November 2006 by Warner Home Video as part of their DVD box set of Superman films. In 2009, Warner gave these Superman shorts their own stand-alone 2-disc DVD release, "Max Fleischer's Superman: 1941-1942".


title: Fleischer Studios

text: Olive Films, under exclusive license from Melange/Viacom, acquired the rights to the 66 non-public domain Betty Boop cartoons, and released four volumes of "Betty Boop" DVDs and Blu-rays.


title: Fleischer Studios

text: Warner Home Video has released all of the Fleischer Popeye cartoons in three volumes as part of the "Popeye the Sailor" DVD collection.


title: Fleischer Studios

text: VCI Entertainment/Kit Parker Films' DVD compilation of all the "Color Classics" (except "The Tears of an Onion"), entitled "Somewhere In Dreamland", was released in 2003. It includes only a fraction of shorts remastered from 35mm film, but otherwise taken from the best available sources Kit Parker could provide VCI, and digitally recreating the original front-and-end Paramount titles, Animation archivist Jerry Beck served as consultant for this box set, as well as providing audio commentary for select shorts.


title: Fleischer Studios

text: VCI Entertainment also released a DVD compilation of all the public domain "Popeye" cartoons (both Fleischer and Famous) entitled "Popeye the Sailor Man Classic Cartoons: 75th Anniversary Collector's Edition" in 2004.


title: Fleischer Studios

text: In Japan, "Mr. Bug Goes to Town" was released on DVD in April 2010 by Walt Disney Studios Home Entertainment as part of the Studio Ghibli's Ghibli Museum Library collection.


title: Fleischer Studios

text: In 1985, DC Comics named Fleischer Studios as one of the honorees in the company's 50th anniversary publication "Fifty Who Made DC Great" for its work on the Superman cartoons.


title: Fleischer Studios

text: Today, Fleischer Studios continues to hold to the rights to Betty Boop and associated characters such as Koko the Clown, Bimbo and Grampy. It is headed by Max's grandson Mark Fleischer, who oversees merchandising activities. Fleischer Studios utilizes King Features Syndicate to license Fleischer characters for various merchandise.


title: Fleischer Studios

text: In 2021, after decades of being shown in altered and worn prints, the Fleischer estate (in co-operation with Paramount Pictures) finally launched an initiative to formally restore the entire classic animation library from the surviving original negatives, beginning with "Somewhere in Dreamland"; the restored cartoon had its premiere on the MeTV network in December, that same year.


title: Fleischer Studios

text: The loose, improvisatory animation, frequently surreal action generally termed "The New York Style", (particularly in films such as "Snow White" and "Bimbo's Initiation"), grungy atmosphere, and racy pre-Code content of the early Fleischer Studios cartoons have been a major influence on many underground and alternative cartoonists. Kim Deitch, Robert Crumb, Jim Woodring, and Al Columbia are among the creators who have specifically acknowledged their inspiration. Much of Richard Elfman's 1980 cult film "Forbidden Zone" is a live action pastiche of the early Fleischer Studios style. The Fleischer style was also used in the 1995 animated series "The Twisted Tales of Felix the Cat". The studio's art style and surreal atmosphere was a central influence on the indie game "Cuphead", with the studio being described as "magnetic north" for the game's art style.


title: DOCSIS

text: Data Over Cable Service Interface Specification (DOCSIS) is an international telecommunications standard that permits the addition of high-bandwidth data transfer to an existing cable television (CATV) system. It is used by many cable television operators to provide cable Internet access over their existing hybrid fiber-coaxial (HFC) infrastructure.


title: DOCSIS

text: DOCSIS was originally developed by CableLabs and contributing companies, including Arris, BigBand Networks, Broadcom, Cisco, Comcast, Conexant, Correlant, Cox, Harmonic, Intel, Motorola, Netgear, Terayon, Time Warner Cable, and Texas Instruments.


title: DOCSIS

text: In 1994, 802.14 was chartered to develop a media access control over an HFC. In 1995, Multimedia Cable Network System (MCNS) was formed. The original partners were TCI, Time Warner Cable, Comcast, and Cox. Later, Continental Cable and Rogers joined the group. In June 1996, SCTE formed the Data Standards Subcommittee to begin work on establishing national standards for high-speed data over cable plant. July 1997: SCTE DSS voted in the affirmative on document DSS 97-2. This standard is based on the well-known DOCSIS specification. The standard was also submitted to International Telecommunication Union Telecommunications Standardization Sector (ITU-T) and has been adopted as ITU-T J.112 Annex B.


title: DOCSIS

text: As frequency allocation bandwidth plans differ between United States and European CATV systems, DOCSIS standards earlier than 3.1 have been modified for use in Europe. These modifications were published under the name EuroDOCSIS. The differences between the bandwidths exist because European cable TV conforms to PAL/DVB-C standards of 8 MHz RF channel bandwidth and North American cable TV conforms to NTSC/ATSC standards which specify 6 MHz per channel. The wider channel bandwidth in EuroDOCSIS architectures permits more bandwidth to be allocated to the downstream data path (toward the user). EuroDOCSIS certification testing is executed by Belgian company Excentis (formerly known as tComLabs), while DOCSIS certification testing is executed by CableLabs. Typically, customer premises equipment receives "certification", while CMTS equipment receives "qualification".


title: DOCSIS

text: The ITU Telecommunication Standardization Sector (ITU-T) has approved the various versions of DOCSIS as international standards. DOCSIS 1.0 was ratified as ITU-T Recommendation J.112 Annex B (1998), but it was superseded by DOCSIS 1.1 which was ratified as ITU-T Recommendation J.112 Annex B (2001). Subsequently, DOCSIS 2.0 was ratified as ITU-T Recommendation J.122. Most recently, DOCSIS 3.0 was ratified as ITU-T Recommendation J.222 (J.222.0, J.222.1, J.222.2, J.222.3).


title: DOCSIS

text: Note: While ITU-T Recommendation J.112 Annex B corresponds to DOCSIS/EuroDOCSIS 1.1, Annex A describes an earlier European cable modem system ("DVB EuroModem") based on ATM transmission standards. Annex C describes a variant of DOCSIS 1.1 that is designed to operate in Japanese cable systems. The ITU-T Recommendation J.122 main body corresponds to DOCSIS 2.0, J.122 Annex F corresponds to EuroDOCSIS 2.0, and J.122 Annex J describes the Japanese variant of DOCSIS 2.0 (analogous to Annex C of J.112).


title: DOCSIS

text: DOCSIS provides great variety in options available at Open Systems Interconnection (OSI) layers 1 and 2, the physical and data link layers.


title: DOCSIS

text: The first three versions of the DOCSIS standard support a downstream throughput with 256-QAM of up to 42.88 Mbit/s per 6 MHz channel (approximately 38 Mbit/s after overhead), or 55.62 Mbit/s per 8 MHz channel for EuroDOCSIS (approximately 50 Mbit/s after overhead). The upstream throughput possible is 30.72 Mbit/s per 6.4 MHz channel (approximately 27 Mbit/s after overhead), or 10.24 Mbit/s per 3.2 MHz channel (approximately 9 Mbit/s after overhead).


title: DOCSIS

text: DOCSIS 3.1 supports a downstream throughput with 4096-QAM and 25 kHz subcarrier spacing of up to 1.89 Gbit/s per 192 MHz OFDM channel. The upstream throughput possible is 0.94 Gbit/s per 96 MHz OFDMA channel.


title: DOCSIS

text: Maximum raw throughput including overhead, (maximum payload throughput after overhead). Tables assume 256-QAM modulation for downstream and 64-QAM for upstream on DOCSIS 3.0, and 4096-QAM modulation for OFDM/OFDMA (first downstream/upstream methods) on DOCSIS 3.1, although real-world data rates may be lower due to variable modulation depending on SNR. Higher data rates are possible but require higher order QAM schemes which require higher downstream modulation error ratio (MER). DOCSIS 3.1 was designed to support up to 8192-QAM/16,384-QAM, but only support of up through 4096-QAM is mandatory to meet the minimum DOCSIS 3.1 standards.


title: DOCSIS

text: For DOCSIS 3.0, the theoretical maximum throughput for the number of bonded channels are listed in the table below.


title: DOCSIS

text: Note that the number of channels a cable system can support is dependent on how the cable system is set up. For example, the amount of available bandwidth in each direction, the width of the channels selected in the upstream direction, and hardware constraints limit the maximum amount of channels in each direction.


title: DOCSIS

text: Note that the maximum downstream bandwidth on all versions of DOCSIS depends on the version of DOCSIS used and the number of upstream channels used if DOCSIS 3.0 is used, but the upstream channel widths are independent of whether DOCSIS or EuroDOCSIS is used.


title: DOCSIS

text: Traditional DOCSIS upstream in North America uses the 5–42 MHz frequency range. The 5–65 MHz range is used by EuroDOCSIS. This is known as a "low-split" or "sub-split" design, capable of a total shared capacity of ~108 Mbps upstream (assuming 4 SC-QAM upstream channels).


title: DOCSIS

text: In recent years, cable operators have begun to increase the amount of bandwidth dedicated to the upstream. The two most popular options for this include a "mid-split" or "high-split".


title: DOCSIS

text: A mid-split increases the upstream frequency range to 5–85 MHz, supporting a total shared upstream capacity of ~450 Mbps (assuming 4 SC-QAM + OFDMA channels).


title: DOCSIS

text: A high-split increases the upstream frequency range to 5–204 MHz, supporting a total shared upstream capacity of ~1.5 Gbps (assuming 4 SC-QAM + OFDMA channels).


title: DOCSIS

text: DOCSIS 4.0 in both full-duplex (FDX) and extended spectrum DOCSIS (ESD) configurations will support upstream speeds surpassing 5 Gbps.


title: DOCSIS

text: A DOCSIS architecture includes two primary components: a cable modem located at the customer premises, and a cable modem termination system (CMTS) located at the CATV headend. Cable systems supporting on-demand programming use a hybrid fiber-coaxial system. Fiber optic lines bring digital signals to nodes in the system where they are converted into RF channels and modem signals on coaxial trunk lines.


title: DOCSIS

text: The customer PC and associated peripherals are termed customer-premises equipment (CPE). The CPE are connected to the cable modem, which is in turn connected through the HFC network to the CMTS. The CMTS then routes traffic between the HFC and the Internet. Using the CMTS, the cable operator (or Multiple Service Operators — MSO) exercises full control over the cable modem's configuration; the CM configuration is changed to adjust for varying line conditions and customer service requirements.


title: DOCSIS

text: DOCSIS 2.0 is also used over microwave frequencies (10 GHz) in Ireland by Digiweb, using dedicated wireless links rather than HFC network. At each subscriber premises the ordinary CM is connected to an antenna box which converts to/from microwave frequencies and transmits/receives on 10 GHz. Each customer has a dedicated link but the transmitter mast must be in line of sight (most sites are hilltop).


title: DOCSIS

text: The DOCSIS architecture is also used for fixed wireless with equipment using the 2.5–2.7 GHz Multichannel Multipoint Distribution Service (MMDS) microwave band in the U.S.


title: DOCSIS

text: DOCSIS includes media access control (MAC) layer security services in its Baseline Privacy Interface specifications. DOCSIS 1.0 used the initial Baseline Privacy Interface (BPI) specification. BPI was later improved with the release of the Baseline Privacy Interface Plus (BPI+) specification used by DOCSIS 1.1 and 2.0. Most recently, a number of enhancements to the Baseline Privacy Interface were added as part of DOCSIS 3.0, and the specification was renamed "Security" (SEC).


title: DOCSIS

text: The intent of the BPI/SEC specifications is to describe MAC layer security services for DOCSIS CMTS to cable modem communications. BPI/SEC security goals are twofold:


title: DOCSIS

text: BPI/SEC is intended to prevent cable users from listening to each other. It does this by encrypting data flows between the CMTS and the cable modem. BPI and BPI+ use 56-bit Data Encryption Standard (DES) encryption, while SEC adds support for 128-bit Advanced Encryption Standard (AES). The AES key, however, is protected only by a 1024-bit RSA key.


title: DOCSIS

text: BPI/SEC is intended to allow cable service operators to refuse service to uncertified cable modems and unauthorized users. BPI+ strengthened service protection by adding digital certificate based authentication to its key exchange protocol, using a public key infrastructure (PKI), based on digital certificate authorities (CAs) of the certification testers, currently Excentis (formerly known as tComLabs) for EuroDOCSIS and CableLabs for DOCSIS. Typically, the cable service operator manually adds the cable modem's MAC address to a customer's account with the cable service operator; and the network allows access only to a cable modem that can attest to that MAC address using a valid certificate issued via the PKI. The earlier BPI specification (ANSI/SCTE 22-2) had limited service protection because the underlying key management protocol did not authenticate the user's cable modem.


title: DOCSIS

text: Security in the DOCSIS network is vastly improved when only business critical communications are permitted, and end user communication to the network infrastructure is denied. Successful attacks often occur when the CMTS is configured for backward compatibility with early pre-standard DOCSIS 1.1 modems. These modems were "software upgradeable in the field", but did not include valid DOCSIS or EuroDOCSIS root certificates.


title: Faith (The Cure album)

text: Faith is the third studio album by English rock band The Cure, released on 17 April 1981 by Fiction Records. The album saw the band continuing in the gloomy vein of their previous album "Seventeen Seconds" (1980), which would conclude with their next album "Pornography" (1982).


title: Faith (The Cure album)

text: Preceded by the single "Primary", the album was well-received by critics and was a commercial success in the UK, peaking at number fourteen on the UK Albums Chart and staying on the chart for eight weeks.


title: Faith (The Cure album)

text: Following the tour for "Seventeen Seconds", The Cure returned to Morgan Studios on 27 September 1980 to record a new album, minus Matthieu Hartley, who had departed due to disagreement with the musical direction of the band. During this session, recordings of songs "All Cats Are Grey" and "Primary" were attempted, but neither ended up on the album. Robert Smith was hoping the tracks would sound "funereal", but instead he said "they just sounded dull". Several other studios were tried: Red Bus, Trident, The Roundhouse and Abbey Road.


title: Faith (The Cure album)

text: Much of "Faith" was written in the studio. At least two songs on the album, "All Cats Are Grey" and "The Drowning Man", were inspired by the "Gormenghast" novels of Mervyn Peake. "Faith" was the first album by the Cure to feature a six-string bass guitar; "All Cats Are Grey" features Smith on keyboards and piano, with no guitar at all.


title: Faith (The Cure album)

text: The instrumental piece "Carnage Visors" (i.e., rose-coloured spectacles; originally available only on the long-play cassette release) is the soundtrack to "Carnage Visors", a short film by Ric Gallup, Simon Gallup's brother, that was screened at the beginning of shows in place of a support band on the 1981 Picture Tour, and featured animation of several dolls in different positions and stances. The film has since disappeared, and only Smith, Lol Tolhurst and Simon Gallup own copies of it, though during a televised interview in the mid-1980s, the host of the program surprised the band by playing a clip of the film on set.


title: Faith (The Cure album)

text: The album's cover, designed by former and future member Porl Thompson, is a veiled picture of the church Bolton Priory, in the fog.


title: Faith (The Cure album)

text: "Faith" was released on 17 April 1981. It reached No. 14 in the UK Albums Chart. The album was remastered in 2005 as part of Universal Music's Deluxe Edition series. The new edition featured "Carnage Visors", demos and live tracks as well as the non-album single "Charlotte Sometimes". It also included a few never-before-released tracks (in demo form, all instrumentals).


title: Faith (The Cure album)

text: "Faith" divided critics upon release. "Sounds" reviewer John Gill wrote that while the more uptempo songs "Primary" and "Doubt" were reminiscent of the Cure's previous work, with a "sense of strong, haunting melody", the remainder of the album marked a stark departure for the band; he noted a "Neu!-ish sense of smudged melody, soft tones flowing around a languorous, groaning bass", and found that the band's new sound evoked 1960s acts such as Pink Floyd and the Doors. Gill remarked that "listening to "Faith" requires a personal act of involvement, the reward being a sense of belonging." "Melody Maker" deemed the record "impressive", praising its "richness and deceptive power". Writer Adam Sweeting described "Faith" as "a sophisticated exercise in atmosphere and production", adding, "It's gloomy but frequently majestic, never using brute force where auto-suggestion will do. You may not love it, but you'll become addicted to it." David Hepworth of "Smash Hits" said that "despite some rather stilted lyrics", the Cure "continue to develop one of the most individual and pleasing styles around." "NME"s review of the album, written by Ray Lowry, was accompanied by a picture of the band and a caption reading: "Gloomy? Gothic? Us?". Lowry wrote that the album "says absolutely nothing meaningful" and dismissed it as "just the modern face of Pink Floydism." "Record Mirror"s Mike Nicholls found that "The Cure remain stuck in the hackneyed doom-mongering that should have died with Joy Division" and panned "Faith" as "hollow, shallow, pretentious, meaningless, self-important and bereft of any real heart or soul".


title: Faith (The Cure album)

text: In a retrospective review, Chris True of AllMusic called "Faith" "a depressing record, certainly, but also one of the most underrated and beautiful albums the Cure put together." In 2010, "Fact" ranked the album as one of the 20 best "goth records ever made".


title: Brad Allan

text: Bradley James Allan (14 February 1973 – 7 August 2021) was an Australian martial artist, action choreographer, actor, and stunt performer. He worked in the Hong Kong film industry as a member of the Jackie Chan Stunt Team and choreographed action scenes in Hollywood films. He is best known for his role as Alan on "Gorgeous" (1999).


title: Brad Allan

text: Brad Allan began boxing and karate training around age 10. He studied Wushu and gymnastics from age 14, spending two years learning under Beijing Wushu Team members Liang Chang-xing and Tang Lai-wei, compatriots of actor Jet Li. He was also trained in a number of other martial arts including Karate, Aikido, Hapkido, Taekwondo, Wing Chun, Boxing, and Kickboxing. He later spent time at the Shanghai Institute of Sport and learned Mandarin. In 1993, he made his first film appearance in the unofficial sequel film "Drunken Master III". He briefly joined the Australian stunt team New Generation Stunts.


title: Brad Allan

text: He was a member of the Australian team at the fourth World Wushu Championships in Rome, in November 1997. Later that year, he heard Jackie Chan was filming "Mr. Nice Guy" in Melbourne and knew some of the Australian crew. He was invited to demonstrate his martial arts style for action film director Cho Wing. Allan made a brief appearance in the film and was signed for a role in Chan's next Hong Kong film, "Who Am I?" (1998), where he would double for Ron Smoorenburg and Michelle Ferre. He was subsequently invited to join Chan's stunt team, 'Sing ga ban', as their first non-Asian member. Allan progressed through the stunt team, and ultimately became team leader.


title: Brad Allan

text: In the 2000s, in addition to being a member of Chan's stunt team, Allan gained action choreography/direction roles in major Hollywood films including "The Chronicles of Riddick" and "".


title: Brad Allan

text: In 2010, Allan teamed up with British director Edgar Wright for the making of "Scott Pilgrim vs. the World" as second unit director. Allan and his team again teamed up with Wright in 2011 and 2012 for "Cuban Fury" and "The World's End", respectively.


title: Brad Allan

text: On 7 August 2021, Allan died at age 48. News of his death was first announced by Chan on social media. One of his final films, "Shang-Chi and the Legend of the Ten Rings", released in September 2021, is dedicated to Allan.


title: Search engine marketing

text: Search engine marketing (SEM) is a form of Internet marketing that involves the promotion of websites by increasing their visibility in search engine results pages (SERPs) primarily through paid advertising. SEM may incorporate search engine optimization (SEO), which adjusts or rewrites website content and site architecture to achieve a higher ranking in search engine results pages to enhance pay per click (PPC) listings and increase the Call to action (CTA) on the website.


title: Search engine marketing

text: In 2007, U.S. advertisers spent US $24.6 billion on search engine marketing. In Q2 2015, Google (73.7%) and the Yahoo/Bing (26.3%) partnership accounted for almost 100% of U.S. search engine spend. As of 2006, SEM was growing much faster than traditional advertising and even other channels of online marketing. Managing search campaigns is either done directly with the SEM vendor or through an SEM tool provider. It may also be self-serve or through an advertising agency.


title: Search engine marketing

text: As of October 2016, Google leads the global search engine market with a market share of 89.3%. Bing comes second with a market share of 4.36%, Yahoo comes third with a market share of 3.3%, and Chinese search engine Baidu is fourth globally with a share of about 0.68%.


title: Search engine marketing

text: Search Engine marketing is also a method of business analytics, which is mainly aimed to provide useful information for organizations to find business opportunity and generate profits. SEM can help organizations to optimize their marketing and gather more audience and create more customers.


title: Search engine marketing

text: As the number of sites on the Web increased in the mid-to-late 1990s, search engines started appearing to help people find information quickly. Search engines developed business models to finance their services, such as pay per click programs offered by Open Text in 1996 and then Goto.com in 1998. Goto.com later changed its name to Overture in 2001, was purchased by Yahoo! in 2003, and now offers paid search opportunities for advertisers through Yahoo! Search Marketing. Google also began to offer advertisements on search results pages in 2000 through the Google AdWords program. By 2007, pay-per-click programs proved to be primary moneymakers for search engines. In a market dominated by Google, in 2009 Yahoo! and Microsoft announced the intention to forge an alliance. The Yahoo! & Microsoft Search Alliance eventually received approval from regulators in the US and Europe in February 2010.


title: Search engine marketing

text: Search engine optimization consultants expanded their offerings to help businesses learn about and use the advertising opportunities offered by search engines, and new agencies focusing primarily upon marketing and advertising through search engines emerged. The term "search engine marketing" was popularized by Danny Sullivan in 2001 to cover the spectrum of activities involved in performing SEO, managing paid listings at the search engines, submitting sites to directories, and developing online marketing strategies for businesses, organizations, and individuals.