title: Bootleg recording

text: According to a 2012 report in "Rolling Stone", many artists have now concluded that the volume of bootlegged performances on YouTube in particular is so large that it is counterproductive to enforce it, and they should use it as a marketing tool instead. Music lawyer Josh Grier said that most artists had "kind of conceded to it". Justin Bieber has embraced the distribution of video clips via Twitter to increase his fanbase.


title: Bootleg recording

text: Australian psychedelic rock band King Gizzard and the Lizard Wizard have a unique approach to bootlegging. An entire section of their official website is devoted to releasing bootlegs of their shows. The band permits the distribution and sale of bootlegs, so long as they are given copies to distribute via torrenting and as hard copies on vinyl and CD.


title: Graham Kerr

text: Graham Kerr (born 22 January 1934) is an English cooking personality who is best known for his television cooking show "The Galloping Gourmet" from December 30, 1968 to September 14, 1973.


title: Graham Kerr

text: Kerr was born in Brondesbury, London. His Scottish parents were established hoteliers. As a result, much of his childhood was spent among European chefs. On the pronunciation of his family name, Kerr wrote in "The Graham Kerr Cookbook" that "my name is pronounced "care" — not "cur" or "car" as in the case of Bill Kerr and Deborah Kerr.


title: Graham Kerr

text: As a youth, he attended Michael Hall School, a Waldorf (Rudolf Steiner education) school situated at Kidbrooke Park in Forest Row, East Sussex. Although he dropped out of school at age 14 and began training in kitchens, he returned years later and attended the independent school Brighton Technical College and another school in Devon.


title: Graham Kerr

text: Kerr became trainee manager at the Roebuck Hotel in Forest Row, East Sussex, England, when he was 15 years old. After five years in the British Army as catering adviser, he became general manager of the Royal Ascot Hotel.


title: Graham Kerr

text: Kerr moved to New Zealand in 1958, becoming chief catering adviser for the Royal New Zealand Air Force.


title: Graham Kerr

text: He moved into television in New Zealand when being recruited by NZBC producer Shirley Maddock. In 1959, he began hosting the television show "Entertaining with Kerr", in which he appeared dressed in military uniform. His recipes were also delivered on radio and in magazines, and the first edition of a related book, "Entertaining with Kerr", was sold out in eight days. During these early years Kerr won a Penguin Award as 'Personality of the Year'.


title: Graham Kerr

text: Shortly after the NZTV series was launched, promoter Anthony Hollows introduced Kerr to his business partner, rising New Zealand entertainment promoter and artist manager Harry M. Miller. Miller was at first sceptical of taking Kerr on, having just lost heavily on a disastrous promotion of a folk music concert, but Hollows was insistent, and after seeing Kerr in action, Miller immediately saw his potential. Miller (who was well established across the Tasman Sea as a concert promoter) was confident that he could launch Kerr in Australia. Kerr signed on as Miller's first management client, and the relationship proved enormously important and financially rewarding to both men. Miller was instrumental in launching Kerr in Australia, and Kerr's breakthrough in turn laid the foundation for Miller's own success as a leading player in the Australian and New Zealand entertainment industry over the next 20 years.


title: Graham Kerr

text: In 1964 Kerr moved to Sydney, and through his Australian contacts, Miller was soon able to sign Kerr to present a regular cooking show on Channel 10, also called "Entertaining with Kerr", as part of the TEN Network, Australia's recently established third commercial television outlet. Although Kerr's initial fee was modest, Miller wisely balanced that against the value of the exposure, certain that Kerr would make an impact. The show quickly became a huge national success, leading to daily radio spots, newspaper and magazine columns, personal appearances, and lucrative product endorsements. Miller also cited winemaker and critic Len Evans as being especially helpful to Kerr in these early days. Miller soon scored another coup when he signed the multinational food company Nestlé as Kerr's first major sponsor.


title: Graham Kerr

text: At some point, Kerr's television ratings took a dive, and the series was cancelled. However, his radio show continued. On the recommendation of the wife of a board member, who listened to Kerr's radio show, the Australian Dairy Board signed Kerr to what Miller described as an endorsement contract "of staggering proportions," and Kerr was soon back on national television.


title: Graham Kerr

text: In his autobiography, "My Story", Miller recounted that "the sweetest contract I offered Graham was one he refused to sign." In the mid-1960s Union Carbide, the manufacturers of Glad Wrap approached Miller with a lucrative offer for Kerr to become its national endorser. All Kerr had to do was make a few commercials, pose for a few photos, and use the product on his cooking show. Sensing the huge potential of the new product, Miller cannily negotiated for a multiyear contract in which Kerr was to receive a royalty of about 0.5c on every unit sold instead of a flat fee. To Miller's astonishment, however, Kerr was unimpressed by Glad Wrap, and despite Miller's strenuous effort to demonstrate its enormous usefulness, Kerr remained unconvinced.


title: Graham Kerr

text: Miller and Kerr parted ways in the late-1960s after Kerr received a lucrative offer from Fremantle of Canada. Although his management contract with Miller still had several years to run, Kerr and Miller agreed to a negotiated buy-out; the two parted ways amicably, and remained good friends.


title: Graham Kerr

text: Kerr's new series for Fremantle, "The Galloping Gourmet" (December 30, 1968–September 14, 1973) was named for his onscreen persona. It was recorded in Ottawa at CJOH-TV and produced by his wife Treena Kerr. The origin of his Galloping Gourmet persona stemmed from "The Galloping Gourmets", a 1967 book he co-authored with wine expert Len Evans. The nickname was the result of a 35-day worldwide trek to the finest restaurants around the globe. The show was taped in front of a live audience. The title was echoed in the opening of each episode, where Kerr entered the stage area by running in and leaping over a chair in the dining room set (a stunt conceived by Treena). Many episodes featured a prerecorded segment with Kerr in a part of the world wherein that episode's dish originated.


title: Graham Kerr

text: The series was known for its lighthearted humour, tomfoolery, and the copious use of clarified butter, cream, and fat. A famous line of Kerr's on the show was his response to someone's criticism of his cooking: "Madam, you could go outside and get run over by a bus, and just think what you would have missed!" He also liberally featured wine, serving it with most meals, using it in his dishes, and waxing poetic about its virtues. He would also raise a glass of wine to his lips (to which he referred as a "Short Slurp") as a cue to the director to cut to commercials, then would bring it back up to his lips right before the show came back on. This gave the impression to some viewers that he was drinking heavily during the taping. In reality he drank very little.


title: Graham Kerr

text: In an ongoing feature of the show, Kerr would make his way into the audience as the closing credits began and select an audience member (usually female) whom he would invite onstage with him to enjoy whatever dish he had just prepared. Another recurring feature at the end of each show would be a close-up of Kerr as he sampled the dish he had just cooked. To "oohs and ahs" from the audience, he would pull a face as though he was in ecstasy from tasting his latest creation.


title: Graham Kerr

text: "The Galloping Gourmet" was a hit, and earned two Emmy Award nominations. During its run, Kerr became a worldwide sensation and wrote an abundance of cookbooks. However, he was pilloried by many of the elite of the food world of the time, including influential food writer Michael Field, who called Kerr "the Liberace of the food world," and James Beard, who wrote that Kerr "has very little respect for food."


title: Graham Kerr

text: The show was dubbed in French and aired on Télévision de Radio-Canada starting September 6, 1971, under the title "Le Gourmet farfelu".


title: Graham Kerr

text: From 1969 to 1972 Kerr also made guest appearances on "Monitor", a long-running NBC radio variety programme.


title: Graham Kerr

text: Some near-tragedies caused Kerr to suspend his television career, thus ending the show. In April 1971, Kerr and his wife Treena were involved in a car crash in California. As a result of the accident, he suffered a dislocated spine and a weakened left arm. As therapy, Kerr wore a bracelet to strengthen the weakened arm. In January 1972, Treena was at first diagnosed with lung cancer. That diagnosis turned out to be incorrect; it was later determined she had tuberculosis. Although a part of a lung was removed, she made a full recovery. However, she became addicted to painkillers as well as several other medications.


title: Graham Kerr

text: In 1975, Treena became a born-again Christian after being encouraged by an employee; Kerr also became religious at the same time.


title: Graham Kerr

text: Kerr returned to television in 1975 with a daily syndicated five-minute series, "Take Kerr", which featured a particular recipe for each show. This programme reflected his newfound embrace of both Christianity and healthful eating, with lighter-calorie recipes and Christian elements, including the use of the hymn "This Is the Day the Lord Has Made" as a theme song. The programme lasted four series. One Christian element on the show, an inclusion of a passage from the Bible in the closing credits, was strongly resisted by one of the stations on which the show aired, and indirectly caused Kerr to lose millions of dollars in potential revenue owing to his unwillingness to compromise. This series was later repeated on CNN during its first year or two.


title: Graham Kerr

text: In a 1975 interview publicizing "Take Kerr", Kerr renounced the show "The Galloping Gourmet", saying that "What I did wasn't art, it was a crime," given the increasing rate of obesity in the United States. He also apologized for two of his trademarks on that show, his wine drinking and his double entendres. He stated that he was trying to convince TV stations to remove reruns of the show from syndication.


title: Graham Kerr

text: After his wife Treena's stroke, then heart attack in 1986, Kerr was prompted to create a new style of cooking that he dubbed "Minimax". This new method of food preparation minimized ("Mini-") fat and cholesterol while it maximized ("-max") aroma, colour, texture, and taste. Minimax led to "The Graham Kerr Show", originally produced at KING-TV in Seattle and later syndicated to local stations during the 1990–91 season, followed by a run on the Discovery Channel. From 1992 to 1995, Kerr starred on the PBS show "Graham Kerr's Kitchen", which again embraced the low-fat, "minimax" approach.


title: Graham Kerr

text: Minimax also led to three successful cookbooks: "Graham Kerr's Smart Cooking", "Graham Kerr's Minimax Cookbook", and "Graham Kerr's Creative Choices (A Minimax Book)" along with corresponding series on public television: "Graham Kerr's Kitchen", "Graham Kerr's Swifty Seasoned", and "The Best of Graham Kerr".


title: Graham Kerr

text: In 1995, he appeared in "Cooking in Concert: Julia Child & Graham Kerr", a PBS TV special with Julia Child.


title: Graham Kerr

text: In 1996, Kerr, in his book of that year called "Swiftly Seasoned", created the concept of a "Moulded Ethnic Vegetable," a baked combination of starches and vegetables seasoned with flavours characteristic of different ethnic cuisines. The "MEV," as he referred to it in recipes, was intended to remedy what he perceived as a lack of focus in vegetarian meals; according to Kerr, while omnivorous cuisine generally has a central focus in a meat dish, vegetarian plates are often little more than collections of side dishes, and the MEV was an attempt to provide a central focus for such meals. The MEV was not a widely successful concept, and a business venture to manufacture and sell a muffin tin–like MEV baking pan was not successful. (While it was generally intended to be vegetarian, Kerr did incorporate meats into some MEV recipes in later books.)


title: Graham Kerr

text: Since the late 1990s, Graham Kerr appeared in a series of radio and television features for the "5 A Day" programme of the National Cancer Institute, called "Do Yourself a Flavor", emphasizing the use of fruits and vegetables in recipes. Kerr's earlier series, including "The Galloping Gourmet", has aired in the US on Food Network and Cooking Channel. He has worked with Bastyr University and many businesses looking for innovation, better health and good taste.


title: Graham Kerr

text: In 1997–98, Kerr recorded a series "The Gathering Place" in Toronto. A total of 130 one-hour episodes were recorded. The series featured guests who were prominent authorities in various health fields. Kerr included videos shot on location on a worldwide voyage aboard the ship "Queen Elizabeth 2" ("QE2").


title: Graham Kerr

text: In 1965, Kerr was awarded the gold medal at the Culinary Olympics in Frankfurt, Germany, for "The Graham Kerr Cookbook by the Galloping Gourmet".


title: Graham Kerr

text: In 2003, he received an honorary doctorate for culinary arts and nutrition from Johnson & Wales University in Providence, Rhode Island. Also in 2003, Kerr was awarded an Honorary Life Member of the American Dietetic Association.


title: Graham Kerr

text: Celebrity chefs Emeril Lagasse and Charlie Trotter, as well as John Williams, the Executive Chef at the Ritz have all stated that they were fans of "The Galloping Gourmet" as children.


title: Graham Kerr

text: Kerr married Treena Van Doorne, an English actress, on 22 September 1955. They first met when they were both 11 years old. They had three children together: Tessa (born 1956), Andrew (born 1960), and Kareena (born 1968). Treena Kerr died on 17 September 2015, five days before their 60th wedding anniversary.


title: Graham Kerr

text: Kerr resided in Mount Vernon, Washington, for several years. He moved to Warm Beach, Washington, in 2015 and tours the area.


title: Graham Kerr

text: In addition, seven volumes of "Television Cookbooks", featuring recipes from "The Galloping Gourmet" series, were published from 1969 to 1971 by Fremantle International, the show's syndicator. Four versions were known to exist—a regular version and three additional versions released in conjunction with KABC-TV in Los Angeles, CBC Television in Canada, and the BBC in Britain. The Fremantle and KABC versions were hardcover, and the CBC and BBC versions, though identical in content, were softcover and GBC–bound, with different covers (with the BBC version under the title "Entertaining with Kerr"). These cookbooks were generally sold by mail order through the television series.


title: Graham Kerr

text: In 1972, the cookbooks were re-released with new colour covers and sold in bookshops. This new version was sold by Paperback Library but, despite the publisher's name, the books were hardcover.


title: Yulia Navalnaya

text: Yulia Borisovna Navalnaya (; ; born 24 July 1976) is a Russian public figure, economist and the wife of the Russian opposition leader Alexei Navalny. She has been described in media as the "First Lady" of the Russian opposition.


title: Yulia Navalnaya

text: Navalnaya was born Yulia Borisovna Abrosimova on 24 July 1976 in Moscow, Soviet Union, in the family of scientist Boris Aleksandrovich Abrosimov (1952—1996). Her mother worked for the Ministry of Light Industry; her parents divorced when Navalnaya was in fifth grade, and her mother married a second time, to an employee of the USSR State Planning Committee. In 2020, journalist Oleg Kashin said that Navalnaya's father is the currently living Boris Borisovich Abrosimov, the secretary of the Russian embassy in Great Britain, associated with the special services, and her aunt is Elena Borisovna Abrosimova, one of the authors of the Russian constitution. Navalny, in response to this, published a death certificate for his father-in-law, dated 1996.


title: Yulia Navalnaya

text: Navalnaya graduated from the Faculty of International Economic Relations of the Plekhanov Russian Economic Academy, later did an internship abroad, studied in graduate school, and worked for some time in a Moscow banks.


title: Yulia Navalnaya

text: In the summer of 1998, while on vacation in Turkey, Navalnaya met Alexei Navalny, a lawyer, also a resident of Moscow. In 2000, she and Navalny got married, and she later gave birth to two childrendaughter Daria (2001) and son Zakhar (2008). She helped her husband's parents in their business related to basket weaving. After 2007, Navalnaya did not officially work anywhere, calling herself "the main one in matters of everyday life and raising children". In 2000, Navalnaya, together with her husband, joined the Yabloko party, which she left in May 2011.


title: Yulia Navalnaya

text: After 2007, Alexei Navalny gained fame in Russia as a blogger and opposition politician. Navalnaya became the first secretary and assistant to her husband. The family's life became noticeably more public, so that Navalnaya was in the spotlight as the "first lady of the Russian opposition". Observers note that she never tried to position herself as an independent figure: Navalnaya always behaves like a devoted wife and companion ("the Decembrist's wife"), ready for harsh statements and decisive actions if her husband needs it, but not directly related to politics. She spoke at a number of rallies; she called the head of the National Guard of Russia Viktor Zolotov, who in September 2018 challenged Alexei Navalny to a "duel", as a "thief, coward and impudent bandit".


title: Yulia Navalnaya

text: Navalnaya attracted close public attention in the late summer and early fall of 2020, when her husband was urgently hospitalized in Omsk, Russia on suspicion of poisoning. She demanded that Navalny be released to Germany for treatment, and even turned directly to Russian President Vladimir Putin. After German experts confirmed Navalny's poisoning, Russian physician Leonid Roshal said that no poisonous substance was found in Navalny's samples in Russia and suggested creating a Russian-German team on this matter. Navalnaya accused him of acting "not as a doctor, but as the voice of the state." She followed her husband to Berlin, was next to him at the Charité hospital, and Navalny later posted a message "Yulia, you saved me". "Novaya Gazeta" and its audience named Navalnaya its 2020 Hero of the Year. Key European media outlets closely followed her activity and quoted her posts on social networks.


title: Yulia Navalnaya

text: In January 2021, Navalnaya returned to Russia with her husband. After Navalny was detained at the border control, she made a statement that the arrest and the closure of the airport in Vnukovo were a manifestation of the Russian authorities' fear of Navalny. "Alexei said that he is not afraid", she said. "— And I'm not afraid either. And I urge you all not to be afraid." Later, Navalnaya accused the security officials of "persecut[ing] [her] as the wife of an enemy of the people." She wrote on Instagram: "The Year of '37 has come, and we did not notice." On 21 January, Navalnaya announced that she would go attend the 2021 Russian protests to demand the release of her husband. On 23 January, she was detained, but released the same evening.


title: Yulia Navalnaya

text: In 2015, Navalnaya was ranked 67th in the top hundred most influential women in Russia by Echo of Moscow. After Alexei Navalny received a suspended sentence, the opinion was expressed that Navalnaya could nominate herself for the presidency instead of him. According to Russian public figure Ksenia Sobchak, in 2018 she offered this option to Navalny, but he rejected it saying "votes are not handed over".


title: Yulia Navalnaya

text: In September 2020, after the poisoning of Navalny, opinions began to appear that Navalnaya is now beginning to play an independent political role and may become the "Russian Tsikhanouskaya" — the leader of the entire opposition. Political analyst Konstantin Kalachev said that Navalnaya's role has changed: "From the wife of a politician, she is herself becoming a politician"; "she has charisma and charm, and can easily replace her husband if necessary". Political strategist Abbas Gallyamov compared Navalnaya to Corazon Aquino, the wife of the main opposition leader in the Philippines who opposed the regime of the dictator that ruled for twenty years. There are also opinions that such a turn of events is unlikely.


title: Yulia Navalnaya

text: In January 2021, the pro-Kremlin channel Tsargrad TV threatened to publish intimate files of Alexei Navalny unless Navalnaya promised "not to become Tsikhanouskaya in Russia" and "not to play political games".


title: Yulia Navalnaya

text: Russian writer Dmitry Bykov said that Navalnaya reminds him of the heroine of Lyudmila Petrushevskaya: she "faces circumstances stronger than her, but some miracle helps her to defeat the world's evil."


title: X-Men: The Animated Series

text: X-Men, also known as X-Men: The Animated Series, is an animated superhero television series which debuted on October 31, 1992, in the United States on the Fox Kids Network. "X-Men" was Marvel Comics' second attempt at an animated X-Men TV series after the pilot, "", was not picked up.


title: X-Men: The Animated Series

text: In 1991, Margaret Loesch became head of Fox Children's Network. Having championed the "Pryde of the X-Men" pilot in 1989, she was quick to set up an order for 13 episodes of "X-Men". Saban Entertainment was contracted to produce the show and hired a small studio Graz Entertainment to produce the episodes as it did not have sufficient staff at the time to handle production in house. Graz employed the creative staff, wrote and designed each episode, and drew the storyboards. The voice work was done using Canadian studios and South Korean studio AKOM was hired to animate the episodes. "X-Men" was originally to premiere over the Labor Day weekend in September; due to production delays, it was pushed to the end of October. When the animation team AKOM turned in the first episode, it contained hundreds of animation errors, which AKOM refused to fix. Because of time constraints, the episode was aired in an unfinished form. The second episode was turned in just before a deadline, with 50 scenes missing and only a single day reserved for editing. The "Night of the Sentinels" two-part episode originally aired as a "sneak preview" on October 31.


title: X-Men: The Animated Series

text: Because of the production delays and animation errors in these two episodes, Fox threatened to sever AKOM's contracts. When Fox re-aired the pilot in early 1993, the errors were corrected. The series earned top ratings throughout its first season, and was renewed for a second season of 13 episodes. Throughout the series run, producers had to deal with quality control issues including attempts to cut costs, requests to change the tone of the series to something more child-friendly as well to integrate toys being sold into the show.


title: X-Men: The Animated Series

text: The show was originally planned to run for 65 episodes. Given its success and Marvel's bankruptcy, Saban funded the additional eleven episodes at a much-reduced budget. Philippine Animation Studio and Hong Ying Animation also contributed some of the animation for this series.


title: X-Men: The Animated Series

text: The series was added to the Disney+ streaming service when it launched on November 12, 2019, with a revival subsequently announced to be in development.


title: X-Men: The Animated Series

text: The show features X-Men similar in look and line-up to the early 1990s "" drawn by Jim Lee (specifically, the Blue Team established in the early issues of ""), composed of Cyclops, Wolverine, Rogue, Storm, Beast, Gambit, Jubilee, Jean Grey, Professor X, as well as an original character, Morph (an adaptation of previous X-Men member Changeling).


title: X-Men: The Animated Series

text: The series deals with social issues, including divorce ("Proteus"), Christianity ("Nightcrawler" and "Bloodlines"), the Holocaust ("Enter Magneto", "Deadly Reunions", "Days of Future Past" and "The Phalanx Covenant") and AIDS hysteria ("Time Fugitives"), and feelings of loneliness ("No Mutant Is an Island"). Television was satirized in the episodes "Mojovision" and "Longshot".


title: X-Men: The Animated Series

text: "X-Men" crossed over with the animated series "Spider-Man", when Spider-Man seeks out the X-Men's help to stave off his progressing mutation. In the abbreviated form of the Secret Wars storyline, the Beyonder and Madame Web selected Spider-Man to lead a team of heroes including Storm against a group of villains. An earlier draft of "Secret Wars" involved all of the X-Men, but transporting the voice cast from Canada to Los Angeles, where production for the "Spider-Man" animated series was based, had been too costly in previous crossovers, so the episode was re-written to include only Storm, whose actress, Iona Morris, lived in Los Angeles. Hulk and She-Hulk were excluded from the episodes because the "Incredible Hulk" animated series featuring the characters was airing on rival network UPN.


title: X-Men: The Animated Series

text: The first season of the show brought the X-Men into conflict with human conspirators building mutant-exterminating Sentinel robots, Magneto and his attempts to instigate a human-mutant war, and the powerful mutant Apocalypse's plans to eradicate the weak, both human and mutant alike. Other storylines including X-Men member Morph's death at the hands of Sentinels, Beast's incarceration, and an assassination attempt on US senator Kelly by Apocalypse's minions to turn human sentiment against the mutants.


title: X-Men: The Animated Series

text: The second season sees Cyclops and Jean get married and become the targets of Mister Sinister, who hopes to use the genetically perfect combination of their DNA to create an army of obedient mutants. Morph returns, having been rescued by Sinister and brainwashed into forcing the X-Men apart. The season also features the growing rift between humans and mutants, spearheaded by the Friends of Humanity, an anti-mutant group who lead the persecution of all mutants. Apocalypse also returns, developing a deadly plague to be blamed on mutants, fueling mutant hatred. A parallel narrative of Professor X and Magneto being lost in the Savage Land runs throughout this season.


title: X-Men: The Animated Series

text: The third season focuses on the cosmic force, the Phoenix, which merges with Jean Grey and eventually turns her into the malevolent and powerful Dark Phoenix. The season also introduced the Shi'ar Empire who want to stop the Dark Phoenix, including Lilandra and Gladiator. Other storylines include the introduction of Wolverine's former lover turned mercenary, Lady Deathstrike, former X-Men member Iceman, and the villainous Shadow King.


title: X-Men: The Animated Series

text: Volume 5 of the "Official Handbook of the Marvel Universe A-Z Hardcovers" lists the X-Men cartoon as part of the Marvel multiverse, inhabiting Earth-92131. Also, the plague-infested future that Bishop tried to prevent in Season 2 is listed as Earth-13393 while Cable's release of the immediate cure of the plague is listed as Earth-121893.


title: X-Men: The Animated Series

text: Although the majority of the series' stories are original, a number of storylines and events from the comics are loosely adapted in the series, such as:


title: X-Men: The Animated Series

text: The series' voice acting was recorded in Toronto studios, with Dan Hennessey serving as voice director. Toronto voice actors had been already used for the 1960s Marvel Comics cartoons.


title: X-Men: The Animated Series

text: The original opening sequence features the X-Men demonstrating their mutant abilities to a now very distinctive instrumental theme (written by Ron Wasserman). This intro is used throughout the first four seasons. A modified version is eventually introduced in season five, episode one ("Phalanx Covenant, Part One"). In this new intro, the beginning of the theme is slightly changed. When UPN began airing repeats on Sunday mornings, an alternate credits sequence was used: a high-quality Japanese-animated version of the original opening. This modified version occasionally appears in the digital streaming release of the show, which was used for re-runs on Toon Disney.


title: X-Men: The Animated Series

text: In Italy, the series was aired in 1994 on Canale 5, and the intro and outro sequences were replaced by a new sequence and a new theme-song "Insuperabili X-Men", sung by Marco Destro and Pietro Ubaldi (Hank McCoy Italian voice actor).


title: X-Men: The Animated Series

text: "X-Men" originally aired on TV Tokyo from 1994 through 1995. For the TV Tokyo dub of the series, the intro was replaced with a new, Japanese-animated sequence as well as a new theme called "Rising" (ライジング), by the band Ambience (アンビエンス). Starting with episode 42, a second new intro was used, featuring the song "Dakishimetai Dare Yori Mo" (抱きしめたい誰よりも...). The end credits sequence was also changed: it featured shots of American "X-Men" comic books set to the song "Back to You" (バック･トウ･ユー), also by Ambience.


title: X-Men: The Animated Series

text: The TV Tokyo dub was directed by Yoshikazu Iwanami and featured scripts rewritten to include a more humorous, self-satirical tone as well as an emphasis on comical adlibbing (a hallmark of Iwanami's dubbing style). Episodes were edited for time so that new segments could be added to the end which promoted the "" video game from Capcom. The dub actors would pretend to play the game as their characters and make humorous asides and remarks. "X-Men" was dubbed a second time in the early 2000s for broadcast on Toon Disney (Japan). This dub was more faithful to the original English scripts and episodes were not cut for time. The Toon Disney version used the original American intro and end credits rather than the unique ones created for the TV Tokyo version.


title: X-Men: The Animated Series

text: Two versions of the episode "No Mutant is an Island" exist with completely different animation. The first version was aired for Toon Disney re-runs and can be seen in digital streaming services such as Amazon Video, aired on Fox Kids in the United States, and uses the remixed intro theme from Season 5. The second version is available on region 1 DVD, aired on Fox Kids overseas, and uses the default intro theme from Seasons 1–4.


title: X-Men: The Animated Series

text: The show was both acclaimed and commercially successful. Along with "", the series success helped launch numerous comic book shows in the 1990s.


title: X-Men: The Animated Series

text: In its prime, "X-Men" garnered very high ratings for a Saturday morning cartoon, and like "Batman: The Animated Series", it received wide critical praise for its portrayal of many different storylines from the comics. Haim Saban credits the success of the series in assisting him to sell his next project to Fox, the live action series "Mighty Morphin Power Rangers".


title: X-Men: The Animated Series

text: The show has been hailed as a pioneer in crafting mature, serialized storylines for an animated series, as well as paving the way for the 2000 X-Men feature film. In 2009, IGN ranked "X-Men" as the 13th greatest animated show of all time in their Top 100 list.


title: X-Men: The Animated Series

text: By 2019, there were talks ongoing with Disney+ to revive the series. In November 2021, a revival titled X-Men '97 was revealed to premiere on the service in 2023, which will continue the plot of the series. Beau DeMayo will serve as head writer, with most of the surviving cast members of the original series reprising their roles, including Dodd, Zann, Buza, Disher, Potter, Sealy-Smith, Hough, and Britton. They will be joined by Jennifer Hale, Anniwaa Buachie, Ray Chase, Matthew Waterson, JP Karliak, Holly Chou, Jeff Bennett, and A. J. Locascio; Court will not be reprising her role as Jubilee, and will instead voice another character as she asked for Jubilee to be voiced by an Asian actress. The series will be produced by Marvel Studios, but will not take place within the Marvel Cinematic Universe.


title: X-Men: The Animated Series

text: X-Men Adventures was a comic book spin-off of the animated series. Beginning in November 1992, it adapted the first three seasons of the show; in April 1996, it became Adventures of the X-Men, which contained original stories set within the same continuity. The comic book lasted until March 1997, shortly after the show's cancellation by the Fox Network.


title: X-Men: The Animated Series

text: Additionally, stories featuring the same characters were print through the 19 issues run of "Spider-Man Magazine", published between March 1994 and March 1997, alongside stories inspired by the animated series "Spider-Man".


title: X-Men: The Animated Series

text: The comic book series X-Men '92 was first released as one of the many tie-in titles for Marvel's 2015 "Secret Wars" event, and continued in its second volume as a regular series in early 2016, starring characters of the TV show's reality.


title: X-Men: The Animated Series

text: In January 2022 Marvel announced a new series inspired by the cartoon, X-Men '92: House of XCII. Scheduled for publication in April of that same year, the series will explore an alternate universe where the events of Jonathan Hickman's "House of X and Powers of X" happened decades earlier, in the '90s of the original show.


title: X-Men: The Animated Series

text: In 2017, series developer and showrunner Eric Lewald released the book "Previously on X-Men: The Making of an Animated Series", which features his interviews with 36 of the staff and voice cast behind the TV series, as well as Lewald's personal experiences on the series' development and production.


title: X-Men: The Animated Series

text: In 2020, Eric Lewald and Julia Lewald released the book "X-Men: The Art and Making of The Animated Series", which features previously unseen concept art, storyboards, character models, background layouts, animation cels, and other production/promotional materials, along with new interviews with the series principal artists and production staff.


title: X-Men: The Animated Series

text: The series was credited for being responsible for the beginning development of the 2000 "X-Men" film. Fox Kids owner 20th Century Fox was impressed by the success of the TV show, and producer Lauren Shuler Donner purchased the film rights for them in 1994. The film's success led to the beginning of a film franchise which includes a series of sequels, prequels, and spin-offs for two decades up to 2020, when the series came to an end due to Disney's acquisition of Fox, with the character rights reverting to Marvel Studios.


title: X-Men: The Animated Series

text: In the 2022 Marvel Cinematic Universe film "Doctor Strange in the Multiverse of Madness", produced by Marvel Studios, the theme song from the TV series (orchestrated by Danny Elfman and credited as "X-Men Theme Song") is played when Charles Xavier (portrayed by Patrick Stewart) first appears; in the film, unlike his previous performances as the character in Fox's "X-Men" franchise, Stewart's Xavier is visually redesigned to match his animated counterpart, complete with his iconic green suit, blue and black tie, and yellow hoverchair.


title: X-Men: The Animated Series

text: In the "Ms. Marvel" episode "No Normal", set in the MCU, the theme song from the "X-Men" animated series is played when Kamala Khan discovers that her abilities stem from a "mutation".


title: X-Men: The Animated Series

text: On October 9, 2019, Hungarian immigrant Zoltan Krisko filed a lawsuit against Marvel Entertainment Group, Haim Saban, Shuki Levy, UMG Recordings, the current distributor of Disney Music Group and Fox Corporation. He claims the song was plagiarized from the theme song to the 1984–91 Hungarian action-adventure television series "Linda", which was composed by Gyorgy Vukan.


title: Camisole

text: A camisole is a sleeveless undergarment or innerwear typically worn by women, normally extending to the waist. The camisole is usually made of satin, nylon, silk, or cotton.


title: Camisole

text: Historically, "camisole" referred to jackets of various kinds, including overshirts (worn under a doublet or bodice), women's négligées, and sleeved jackets worn by men.


title: Camisole

text: In modern usage, a camisole or "cami" is a loose-fitting sleeveless undergarment which covers the top part of the body but is shorter than a chemise. A camisole normally extends to the waist but is sometimes cropped to expose the midriff, or extended to cover the entire pelvic region. Camisoles are manufactured from light materials, commonly cotton-based, occasionally satin or silk, or stretch fabrics such as lycra, nylon, or spandex.


title: Camisole

text: A camisole typically has thin "spaghetti straps" and can be worn over a brassiere or without one. Since 1989, some camisoles have come with a built-in underwire bra or other support which eliminates the need for a bra among those who prefer not to wear one. Starting around the 2000s, camisoles have been known to be used as outerwear.


title: Camisole

text: A variety of sleeveless body shaping undergarments have been derived from the camisole shape, offering medium control of the bust, waist, or abdomen. Such "control camisoles" are the most casual of shaping garments, covering the torso from above the chest to at or below the waist. They look similar to tight-fitting cotton or silk camisoles, but the straps are usually wider, the hems longer, and the stretchy, shiny fabric provides a smoothing touch.


title: She: A History of Adventure

text: She, subtitled A History of Adventure, is a novel by the English writer H. Rider Haggard, published in book form in 1887 following serialisation in "The Graphic" magazine between October 1886 and January 1887. "She" was extraordinarily popular upon its release and has never been out of print.


title: She: A History of Adventure

text: The story is a first-person narrative which follows the journey of Horace Holly and his ward Leo Vincey to a lost kingdom in the African interior. They encounter a native people and a mysterious white queen named Ayesha who reigns as the all-powerful "She" or "She-who-must-be-obeyed". Haggard developed many of the conventions of the lost world genre which countless authors have emulated.


title: She: A History of Adventure

text: Haggard was "part of the literary reaction against domestic realism that has been called a romance revival." Other writers following this trend were Robert Louis Stevenson, George MacDonald, and William Morris. Haggard was inspired by his experiences living in South Africa for seven years (1875–82) working at the highest levels of the British colonial administration. In the figure of She, the novel notably explored themes of female authority and feminine behaviour. Its representation of womanhood has received both praise and criticism.


title: She: A History of Adventure

text: Horace Holly, a young Cambridge University professor, is visited by Vincey, a colleague who, convinced that he will soon die, charges him with the task of raising his young son, Leo. He gives Holly a locked iron box, with instructions that it is not to be opened until Leo's 25th birthday. Holly agrees. Vincey is found dead the next day, and Holly raises the boy as his own. When the box is opened they discover the ancient "Sherd of Amenartas". Holly, Leo and their servant, Job, follow instructions on the Sherd and travel to eastern Africa. After surviving a shipwreck, they and their Arab captain, Mahomed, journey into the African interior where they are captured by the savage Amahagger people. The adventurers learn that the natives are ruled by a fearsome white queen who is worshipped as "Hiya" or ""She-who-must-be-obeyed"".


title: She: A History of Adventure

text: Billali, chief of one of the Amahagger tribes, takes charge of the three men, introducing them to the ways of his people. One of the Amahagger maidens, Ustane, takes a liking to Leo and, by kissing him and embracing him publicly, weds him according to Amahagger custom. Leo, likewise, grows very fond of her.


title: She: A History of Adventure

text: Billali leaves to report the white men's arrival to the queen. In his absence, some of the Amahagger become restless and seize Mahomed, intending to eat him as part of a ritual "hot pot". Holly shoots and kills several of the Amahagger, accidentally killing Mahomed in the process. Leo is gravely wounded in a struggle, and Ustane saves his life by throwing herself onto his prostrate body. Billali returns and declares that the three men are under the queen's protection. Ustane faithfully attends to Leo, but his condition worsens.


title: She: A History of Adventure

text: The men are taken to the home of the queen near the ruins of the lost city of Kôr, a once mighty civilisation that predated the Egyptians. In a series of catacombs originally built as tombs, Holly is presented to the queen, a white sorceress named Ayesha whose beauty is so great that it enchants any man who beholds it. Ayesha, veiled and behind a partition, warns Holly that the power of her splendour arouses both desire and fear. When she shows herself, Holly is enraptured and prostrates himself before her. Ayesha reveals that she has learned the secret of immortality and that she possesses other supernatural powers including the ability to read the minds of others, as well as healing wounds and curing illness, but she is unable to see into the future. She tells Holly that she has lived in Kôr for more than two millennia, awaiting the reincarnated return of her lover, Kallikrates (whom she had slain in a fit of jealous rage).


title: She: A History of Adventure

text: The next evening Ayesha visits Leo, intending to heal him. But upon seeing his face she declares him to be the reincarnation of Kallikrates. Ayesha now orders Ustane to leave and never to set eyes on Leo again. When Ustane refuses, Ayesha strikes her dead with magic. Leo becomes bewitched, and despite the murder of their friend neither Holly nor Leo can free themselves from Ayesha's power. Ayesha shows Leo the perfectly preserved body of Kallikrates, which she has kept with her, and then dissolves the remains with a powerful acid, confident that Leo is indeed the reincarnation of her former lover.


title: She: A History of Adventure

text: Ayesha takes the men to see the Pillar of Fire, passing through the ruins of Kôr into the heart of an ancient volcano. She is determined that Leo should bathe in the fire to become immortal and remain with her forever. Arriving at great cavern, Leo doubts the safety of entering the fire. To allay his fears, Ayesha herself steps into the flame, but with this second immersion her life-preserving power is lost and she begins to wither and revert to her true age. The sight is so shocking that Job dies in fright. Before dying, Ayesha tells Leo, "Forget me not. I shall come again!"


title: She: A History of Adventure

text: In 1875, Haggard was sent to Cape Town, South Africa as secretary to Sir Henry Bulwer, the lieutenant-governor of Natal. Haggard wrote in his memoirs of his aspirations to become a colonial governor himself, and of his youthful excitement at the prospects. The major event during his time in Africa was Britain's annexation of the Transvaal in 1877. Haggard was part of the expedition that established British control over the Boer republic, and which helped raise the Union flag over the capital of Pretoria on 24 May 1877. Writing of the moment, Haggard declared:


title: She: A History of Adventure

text: Haggard had advocated the British annexation of the Boer republic in a journal article entitled "The Transvaal", published in the May 1877 issue of "Macmillan's Magazine". He maintained that it was Britain's "mission to conquer and hold in subjection, not from thirst of conquest but for the sake of law, justice, and order". However, Boer resistance to annexation and the resulting Anglo-Zulu War caused the government in London to withdraw from pursuing sovereignty over the South African interior. Haggard considered this to be a "great betrayal" by Prime Minister Gladstone and the Liberal Party, which "no lapse of time ever can solace or even alleviate". He became increasingly disillusioned with the realities of colonial Africa. Victorian scholar Patrick Brantlinger notes in his introduction to "She": "Little that Haggard witnessed matched the romantic depictions of 'the dark continent' in boys' adventure novels, in the press, and even in such bestselling explorers' journals as David Livingstone's "Missionary Travels and Researches in South Africa" (1857)."


title: She: A History of Adventure

text: During his time in South Africa, Haggard developed an intense hatred for the Boers, but also came to admire the Zulus. However, his admiration of the Zulus did not extend to other African peoples; rather, he shared many of the assumptions that underlay contemporary politics and philosophy, such as those expressed by James Hunt, the President of the Anthropological Society of London: "the Negro is inferior intellectually to the European...[and] can only be humanised and civilised by Europeans. The analogies are far more numerous between the Negro and apes, than between the European and apes." The Victorian belief in the inherent inferiority of the 'darker races' made them the object of a civilising impulse in the European Scramble for Africa. Although disenchanted with the colonial effort, Haggard remained committed to this ideology. He believed that the British "alone of all the nations in the world appear to be able to control coloured races without the exercise of cruelty".


title: She: A History of Adventure

text: Rider Haggard returned to Britain in 1881. At the time, England was increasingly beset by the social and cultural anxieties that marked the "fin de siècle". One of the most prominent concerns was the fear of political and racial decline, encapsulated in Max Nordau's "Degeneration" (1895). Barely half a century earlier, Thomas Babington Macaulay had declared "the history of England" to be "emphatically the history of progress", but late-Victorians living in the wake of Darwinian evolutionary theory had lost the earlier positivism of their age. Uncertainty over the immutability of Britain's historical identity, what historian Tim Murray has called the "threat of the past", was manifested in the Victorian obsession with ancient times and archaeology. Haggard was greatly interested in the ruins discovered at Zimbabwe in the 1870s. In 1896, he provided the preface to a monograph that detailed a history of the site, declaring:


title: She: A History of Adventure

text: By the time that Haggard began writing "She", society had more anxiety about the role of women. Debates regarding "The Woman Question" dominated Britain during the "fin de siècle", as well as anxieties over the increasing position and independence of the "New Woman". Alarm over social degeneration and societal decadence further fanned concerns over the women's movement and female liberation, which challenged the traditional conception of Victorian womanhood. The role and rights of women had changed dramatically since the early part of the century, as they entered the workforce, received better education, and gained more political and legal independence. Writing in 1894, Haggard believed that marriage was the natural state for women: "Notwithstanding the energetic repudiations of the fact that confront us at every turn, it may be taken for granted that in most cases it is the natural mission of women to marry; that – always in most cases – if they do not marry they become narrowed, live a half life only, and suffer in health of body and of mind." He created the character of "She-who-must-be-obeyed" "who provided a touchstone for many of the anxieties surrounding the New Woman in late-Victorian England".


title: She: A History of Adventure

text: According to Haggard's daughter Lilias, the phrase "She-who-must-be-obeyed" originated from his childhood and "the particularly hideous aspect" of one rag-doll: "This doll was something of a fetish, and Rider, as a small child, was terrified of her, a fact soon discovered by an unscrupulous nurse who made full use of it to frighten him into obedience. Why or how it came to be called She-Who-Must-Be-Obeyed he could not remember." Haggard wrote that "the title "She"" was taken "from a certain rag doll, so named, which a nurse at Bradenham used to bring out of some dark recess in order to terrify those of my brothers and sisters who were in her charge."


title: She: A History of Adventure

text: In his autobiography, Haggard writes of how he composed "She" in six weeks in February and March 1886, having just completed "Jess", which was published in 1887. Haggard claimed that this was an intensely creative period: the text "was never rewritten, and the manuscript carries but few corrections". Haggard went on to declare: "The fact is that it was written at white heat, almost without rest, and that is the best way to compose." He admitted to having had no clear story in mind when he began writing:


title: She: A History of Adventure

text: Various scholars have detected a number of analogues to "She" in earlier literature. According to Brantlinger, Haggard certainly read the stories of Edward Bulwer-Lytton, in particular "A Strange Story" (1862), which includes a mysterious veiled woman called "Ayesha", and "The Coming Race" (1871), which is about the discovery of a subterranean civilisation. Similarly, the name of the underground civilisation in "She", known as Kôr, is derived from Norse mythological romance, where the deathbed of the goddess Hel is called Kör, which means "disease" in Old Norse. In "She", a plague destroyed the original inhabitants of Kôr.


title: She: A History of Adventure

text: According to Haggard, he wrote the final scene of Ayesha's demise while waiting for his literary agent, A. P. Watt, to return to his office. Once he had completed it he entered Watt's office and threw the manuscript "on the table, with the remark: 'There is what I shall be remembered by'".


title: She: A History of Adventure

text: A reference to "She" appears in Lieutenant George Witton's book "Scapegoats of the Empire; The True Story of the Bushveldt Carbineers" (1907):


title: She: A History of Adventure

text: "She" was first published as a serial story in "The Graphic", a large folio magazine printed weekly in London, between October 1886 and January 1887. The serialisation was accompanied with illustrations by E. K. Johnson. An American edition was published by Harper & Bros. in New York on 24 December 1886; this included Johnson's illustrations. On 1 January 1887 a British edition was published by Longmans, Green, & Co., without any illustrations. It featured significant textual revisions by Haggard. He made further revisions for the British edition of 1888, which included new illustrations by Maurice Greiffenhagen and C. H. M. Kerr. In 2006 Broadview published the first edition of "She" since 1887 to reproduce the "Graphic" serial text.


title: She: A History of Adventure

text: Haggard contended that romances such as "She" or "King Solomon's Mines" were best left unrevised because "wine of this character loses its bouquet when it is poured from glass to glass". However, he made a number of alterations to the "Graphic" version of "She" before its publication as a novel in 1887. One of the most significant was to the third chapter concerning the sherd, which was substantially expanded from the original to include the tale of Amenartas in uncial and cursive Greek scripts. Facsimile illustrations were also included of an antique vase, made up by Haggard's sister-in-law Agnes Barber to resemble the sherd of Amenartas. A number of footnotes were also included containing historical references by the narrator. Haggard was keen to stress the historicity of the narrative, improving some of the information about geography and about ancient civilisations in Chapters 4, 13, and 17.


title: She: A History of Adventure

text: The 1887 edition of the novel also features a substantially rewritten version of the "hotpot" scene in Chapter 8, when Mahomed is killed. In the original serialisation the cannibal Amahagger grow restless and hungry, and place a large heated pot over Mahomed's head, enacting the hotpotting ritual before eating him. Haggard's stories were criticised at the time for their violence, and he toned this scene down, so that Mahomed dies when Holly shoots him accidentally in the scuffle with the Amahagger. Comparing the serial and novel editions of "She", Stauffer describes the more compact narrative of the original as a reflection of the intense burst of creativity in which Haggard composed the story, arguing that "the style and grammar of the "Graphic" [edition] is more energetic and immediate", although, as he noted, it is also "sometimes more flawed".


title: She: A History of Adventure

text: Haggard continued to revise "She" for later editions. The "New Edition" of 1888 contains more than 400 minor alterations. The last revision by Haggard was in 1896.


title: She: A History of Adventure

text: "She" is one of the foundational works of fantasy literature, coming around the time of "The Princess and the Goblin" (1858) by George MacDonald, William Morris' "The Wood Beyond the World" and "The Well at the World's End", and the short stories of Lord Dunsany. It is marked by a strong element of "the marvelous" in the figure of Ayesha, a two-thousand-year-old sorceress, and the 'Spirit of the World', an undying fire that confers immortality. Indeed, Haggard's story is one of the first in modern literature to feature "a slight intrusion of something unreal" into a very real world – a hallmark of the fantasy genre. Similarly, the carefully constructed "fantasy history" of "She" foreshadows the use of this technique that characterises later fantasies such as "The Lord of the Rings" and "The Wheel of Time" series, and which imparts a "degree of security" to the secondary world. However, the story of "She" is firmly ensconced in what fantasy theorists call 'primary world reality', with the lost kingdom of Kôr, the realm ruled by the supernatural She, a fantastic "Tertiary World" at once directly part of and at the same time indirectly set apart from normative "primary" reality. Along with Haggard's prior novel, "King Solomon's Mines", "She" laid the blueprints for the "lost world" subgenre in fantasy literature, as well as the convention of the "lost race". As Brantlinger has noted of the novel's importance to the development of the "secondary world" in fantasy literature: "Haggard may seem peripheral to the development of science fiction, and yet his African quest romances could easily be transposed to other planets and galaxies". In his history of science fiction, "Billion Year Spree", Brian Aldiss notes the frequency with which Ayesha's death in the Pillar of Fire has been imitated by later science fiction and fantasy writers: "From Haggard on, crumbling women, priestesses, or empresses – all symbols of women as Untouchable and Unmakeable – fill the pages of many a scientific romance".


title: She: A History of Adventure

text: "She" is part of the adventure subgenre of literature which was especially popular at the end of the 19th century, but which remains an important form of fiction to the present day. Along with works such as "Treasure Island" (1883) and "Prince Otto" (1885) by Robert Louis Stevenson, and Jules Verne's "A Journey to the Center of the Earth" (1871) and "Around the World in Eighty Days" (1875), "She" had an important formative effect on the development of the adventure novel. Indeed, Rider Haggard is credited with inventing the romance of archaeological exploration which began in "King Solomon's Mines" and crystallised in "She". One of the most notable modern forms of this genre is the "Indiana Jones" movie series, as well as the Tarzan novels by Edgar Rice Burroughs and recently Alan Moore's "The League of Extraordinary Gentlemen" (2000). In such fictional narratives, the explorer is the hero, with the drama unfolding as they are cast into "the nostrum of the living past". Holly and Leo are prototypes of the adventurer, who has become a critical figure in modern fiction.


title: She: A History of Adventure

text: "She" is also one of the central texts in the development of Imperial Gothic. Many late-Victorian authors during the "fin de siècle" employed Gothic conventions and motifs in their writing, stressing and alluding to the supernatural, the ghostly, and the demonic. As Brantlinger has noted, "Connected to imperialist adventure fiction, these interests often imply anxieties about the stability of Britain, of the British Empire, or, more generally, of Western civilisation". Novels like "Dracula" and "Strange Case of Dr Jekyll and Mr Hyde" present depictions of repressed, foreign, and demonic forces at the heart of the imperial polity. In "She" the danger is raised in the form of Ayesha herself:


title: She: A History of Adventure

text: She's threat to replace Queen Victoria with herself echoes the underlying anxiety over European colonialism emblematic of the Imperial Gothic genre. Indeed, Judith Wilt characterises the narrative of "She", in which the penetration into Africa (represented by Holly, Leo, and Job) suddenly suffers a potential "counter-attack" (from Ayesha), as one of the archetypal illustrations of the "reverse colonialism" motif in Victorian Gothic. Similarly, "She" marks one of the first fictional examples to raise the spectre of the natural decline of civilisation, and by extension, British imperial power, which would become an increasingly frequent theme in Gothic and invasion literature until the onset of World War I.


title: She: A History of Adventure

text: Rider Haggard's writing style was much criticised in reviews of "She" and his other works. His harshest critic was Augustus Moore, who wrote: "God help English literature when English people lay aside their Waverley novels, and the works of Defoe, Swift, Thackeray, Charlotte Brontë, George Eliot, and even Charles Reade, for the penny dreadfuls of Mr Haggard." He added: "The man who could write 'he spoke to She' can have no ear at all." A more common sentiment was expressed in the anonymous review of "She" in "Blackwood's Edinburgh Magazine": "Mr Rider Haggard is not an exquisite workman like Mr [Robert Louis] Stevenson, but he has a great deal of power in his way, and rougher qualities which are more likely, perhaps, to 'take the town' than skill more delicate."


title: She: A History of Adventure

text: Modern literary criticism has tended to be more circumspect. As Daniel Karlin has noted, "That Haggard's style is frequently bathetic or clumsy cannot be denied; but the matter is not so easily settled." Stauffer cites the passage in which Holly meditates as he tries to fall asleep as emblematic of "the charges against" Haggard's writing. In this scene Holly lies down and


title: She: A History of Adventure

text: The passage concludes with a wry remark from Holly: "I at last managed to get to sleep, a fact for which anybody who reads this narrative, if anybody ever does, may very probably be thankful." According to Stauffer, "the disarming deflation of the passage goes a long way toward redeeming it, and is typical of the winning contradictions of the narrator's style". Tom Pocock in "Rider Haggard and the Lost Empire" has also highlighted the "literary framework" that Haggard constructs throughout much of the narrative, referencing Keats, Shakespeare and Classical literature to imbue the story with a "Gothic sensibility". Yet as Stauffer notes, "Ultimately, however, one thinks of Haggard's plots, episodes, and images as the source of his lasting reputation and influence."


title: She: A History of Adventure

text: "She" is set firmly in the imperialist literature of the late-Victorian period. The so-called "New Imperialism" marking the last quarter of the 19th century witnessed a further expansion of European colonies, particularly on the African continent, and was characterised by a seeming confidence in the merits of empire and European civilisation. Thus "She" "invokes a particularly British view of the world" as Rider Haggard projects concepts of the English self against the foreign otherness of Africa. One example occurs when Holly is first ushered into the presence of Ayesha, walking into the chamber behind a grovelling Billali who warns Holly to follow his example, or "a surety she will blast thee where thou standest". "She" stresses quintessential British qualities through the "adventure" of empire, usually in contrast to foreign barbarism. The notion of imperialism is further compounded by the figure of She, who is herself a foreign colonising force. "In a sense then", Stauffer writes, "a single property line divides the realm of Queen Victoria and that of "She-who-must-be-obeyed", two white queens who rule dark-skinned natives of the African continent."


title: She: A History of Adventure

text: Like many of his Victorian contemporaries, Rider Haggard proceeded "on the assumption that whites are naturally superior to blacks, and that Britain's imperial extensions into Africa [were] a noble, civilising enterprise". Although Haggard wrote a number of novels that portray Africans in a comparatively realistic light, "She" is not among their number. Even in "King Solomon's Mines", the representation of Umbopa (who was based on an actual warrior) and the Kukuanas drew upon Haggard's knowledge and understanding of the Zulus. In contrast, "She" makes no such distinctions. Ayesha, the English travellers and the ancient inhabitants of Kôr are all white embodiments of civilisation, while the darker Amahagger, as a people, illustrate notions of savagery, barbarity and superstition. Nonetheless, the "racial politics of the novel are more complex than they first appear", given that Ayesha is in origin an ancient Arabian; Leo is descended from, and physically resembles, a blond Hellenistic Greek; and Holly is said to resemble a baboon, an animal that Victorians typically associated with black Africans. Critics such as Wendy Katz, Patricia Murphy and Susan Gubar have discussed what they perceive as a strong racist undercurrent in "She", but Andrew takes note of the ways in which "the novel suggests deeper connections among the races, an ancient genealogy of ethnicities and civilizations in which every character is a hybrid".


title: She: A History of Adventure

text: There is a strong Social Darwinian pseudo-scientific undercurrent framing the representation of race in "She", stemming from Haggard's own interests in evolutionary theory and archaeology. In particular, the theme of racial degeneration appears in the novel. Moving into the "fin de siècle", late Victorians were increasingly concerned about cultural and national decline resulting from racial decay. In "She", this evolutionary concept of degeneration through miscegenation is manifested in Ayesha and the Amahagger. Haggard represents the Amahagger as a debased mixture of ethnicities, "a curious mingling of races", originally descended from the inhabitants of Kôr but intermarried with Arabs and Africans. Racial hybridisation of any kind "entailed degeneration" to Victorians, a "decline from the pure blood" of the initial races, and thus "an aspect of their degeneration is the idea that the Amahagger have lost whatever elements of civilization their Kôr ancestors may have imparted to them". Ayesha proudly proclaims her own racial purity as a quality to be admired: "for Arabian am I by birth, even 'al Arab al Ariba' (an Arab of the Arabs), and of the race of our father Yárab, the son of Khâtan ... of the true Arab blood". However, Judith Wilt has argued that the novel's starkest evocation of the evolutionary principle occurs in the regressive demise of Ayesha. Stepping into the Pillar of Fire, the immortal She begins to wither and decay, undergoing what Wilt describes as the "ultimate Darwinian nightmare": evolution in reverse.


title: She: A History of Adventure

text: When Rider Haggard first conceived of "She" he began with the theme of "an immortal woman inspired by an immortal love". Although ostensibly a romance, the novel is part of the wider discourse regarding women and womanhood in late-Victorian Britain. Many scholars have noted how "She" was published as a book in 1887, the year of Queen Victoria's Golden Jubilee, and Adrienne Munich argues that Haggard's story "could fittingly be considered an ominous literary monument to Victoria after fifty years of her reign". Indeed, in her devotion to Kallikrates (two thousand years after his death), Ayesha echoes the long-lasting fidelity of Victoria to her husband, Albert. However, unlike the "benign" Victoria, the question of female authority is realised to the extreme in the figure of "She-who-must-be-obeyed", whose autonomous will seemingly embodies Victorian anti-feminist fears of New Women desiring 'absolute personal independence coupled with supreme power over men'. Haggard constantly emphasises this anxiety over female authority in "She", so that even the rationally minded and misogynistic Holly, who has put his "heart away from such vanity as woman's loveliness", ultimately falls upon his knees and worships Ayesha "as never woman was worshipped". Similarly, although the masculine and chivalric Leo is determined to reject Ayesha for killing the devoted native girl Ustane, he too quickly falls under her will.


title: She: A History of Adventure

text: In her role as the seductive "femme fatale", Ayesha is part of "a long tradition of male fantasy that includes Homer's Circe, Shakespeare's Cleopatra, and Keats's 'La Belle Dame sans Merci'". Brantlinger identifies the theme of "the white (or at least light-skinned) queen ruling a black or brown-skinned savage race" as "a powerfully erotic one" with its opposite being "the image of the helpless white woman captured by savages and threatened, at least, with rape". The figure of She both inspires male desire and dominates male sovereignty, represented in her conquest of the 'enlightened' Victorians Holly and Leo. The two Englishmen embody the powers of manhood, with Leo a reflection of masculine physicality and Holly a representation of man's intellectual strength, but both are conquered by the feminine powers of She, who rules as much through sex-appeal as through sorcery, immortality, and will. Thus, Steven Arata describes her as "the veiled woman, that ubiquitous nineteenth-century figure of male desire and anxiety, whose body is Truth but a Truth that blasts". Similarly, Sarah Gilbert sees the theme of feminine sexuality and authority realised in Ayesha as critical to the novel's success: "Unlike the women earlier Victorian writers had idealised or excoriated, She was neither an angel nor a monster. Rather, She was an odd but significant blend of the two types – an angelically chaste woman with monstrous powers, a monstrously passionate woman with angelic charms".


title: She: A History of Adventure

text: After its publication in 1887 "She" became an immediate success. According to "The Literary World" "Mr. Rider Haggard has made for himself a new field in fiction". Comparing the novel to "King Solomon's Mines" the review declared: "The book before us displays all the same qualities, and we anticipate for it a similar popularity. There is even more imagination in the later than in the earlier story; it contains scenes of greater sensuous beauty and also of more gruesome horror". The "Public Opinion" was equally rapturous in its praise:


title: She: A History of Adventure

text: The fantasy of "She" received particular acclaim from Victorian readers and critics. The review appearing in "The Academy" on 15 January was impressed by the "grown-up" vision of the novel, declaring "the more impossible it gets the better Mr. Haggard does it... his astonishing imagination, and a certain "vraisemblance" ["verisimilitude" (French)] makes the most impossible adventures appear true". This sentiment was echoed in "The Queen: The Lady's Newspaper", with the reviewer pronouncing that "this is a tale in the hands of a writer not so able as Mr. Haggard might easily have become absurd; but he has treated it with so much vividness and picturesque power as to invest it with unflagging interest, and given to the mystery a port of philosophic possibility that makes us quite willing to submit to the illusion.


title: She: A History of Adventure

text: "The Spectator" was more equivocal in its appraisal of "She". The review described the narrative as "very stirring" and "exciting" and of "remarkable imaginative power", adding: "The ingenuity of the story... is as subtle as ever romancer invented, and from the day when Leo and Holly land on the coast of Africa, to the day when the Pillar of Fire is revealed to them by the all but immortal 'She-who-must-be-obeyed', the interest of the tale rises higher and higher with every new turn in its course". However, the review took issue with the characterisation of She and the manner of her demise: "To the present writer there is a sense of the ludicrous in the end of "She" that spoiled, instead of concluding with imaginative fitness, the thread of the impossible worked into the substance of this vivid and brilliantly told story". Haggard was moved to respond to the criticism of Ayesha's death, writing that "in the insolence of her strength and loveliness, she lifts herself up against the Omnipotent. Therefore, at the appointed time she is swept away by It... Vengeance, more heavy because more long delayed, strikes her in her proudest part – her beauty".


title: She: A History of Adventure

text: A number of reviews were more critical of Haggard's work. Although the reviewer of "She" in "Blackwood's Edinburgh Magazine" considered it better than "King Solomon's Mines", he opined, "Mr. Rider Haggard has not proved as yet that he has anything that can be called imagination at all... It might be wrought up into an unparalleled stage effect: but it is rather a failure in pen and ink. The more fearful and wonderful such circumstances are intended to be, the more absurd is the failure of them". Even more scathing was Augustus Moore in the May edition of "Time: A Monthly Miscellany", who declared: "In Mr Haggard's book I find none of the powerful imagination, the elaborate detail, the vivid English which would entitle his work to be described as a romance... [rather] it seems to me to be the method of the modern melodrama". Moore was particularly dismissive of the novel's style and prose: "Mr Haggard cannot write English at all. I do not merely refer to his bad grammar, which a boy at a Boarding School would deserve to be birched for... It can only have been written by a man who not only knew nothing, but cared nothing for 'English undefiled'." Haggard's English was a common source of criticisms, but Moore was even dismissive of the character of She who widely garnered universal praise. "Ayesha", Moore declares, "is about as impressive as the singing chambermaid who represents the naughty fairy of a pantomime in tights and a tow wig". Concluding his review, Moore wondered at the success that had greeted "She":


title: She: A History of Adventure

text: Despite such criticism, the reception that met "She" was overwhelmingly positive and echoed the sentiments expressed by anthropologist and literary critic Andrew Lang before the story's first publication: "I think "She" is one of the most astonishing romances I ever read. The more impossible it is, the better you do it, till it seems like a story from the literature of another planet".


title: She: A History of Adventure

text: The book "" stated that "She" was "one of the great classics of fantastic fiction" and "as vital now as when it was first printed".


title: She: A History of Adventure

text: Feminist literary historians have tended to define the figure of She as a literary manifestation of male alarm over the "learned and crusading new woman". In this view, Ayesha is a terrifying and dominant figure, a prominent and influential rendering of the misogynistic "fictive explorations of female authority" undertaken by male writers that ushered in literary modernism. Ann Ardis, for instance, views the fears Holly harbours over Ayesha's plan to return to England as being "exactly those voiced about the New Woman's entrance in the public arena". According to the feminist interpretation of the narrative, the death of She acts as a kind of teleological "judgement" of her transgression of Victorian gender boundaries, with Ardis likening it to a "witch-burning". However, to Rider Haggard, "She" was an investigation into love and immortality and the demise of Ayesha the moral end of this exploration:


title: She: A History of Adventure

text: Indeed, far from being a radical or threatening manifestation of womanhood, recent academics have noted the extent to which the character of She conforms to traditional conceptions of Victorian femininity; in particular her deferring devotion to Kallikrates/Leo, whom she swears wifely obedience to at the story's climax: "'Behold!' and she took his [Leo's] hand and placed it upon her shapely head, and then bent herself slowly down till one knee for an instant touched the ground – 'Behold! in token of submission do I bow me to my lord! Behold!' and she kissed him on the lips, 'in token of my wifely love do I kiss my lord'." Ayesha declares this to be the "first most holy hour of completed womanhood".


title: She: A History of Adventure

text: "She" is one of the most influential novels in modern literature. Several authors, including Rudyard Kipling, Henry Miller, Graham Greene, J.R.R. Tolkien and Margaret Atwood, have acknowledging its importance to their own and others' writing. With more than 83 million copies sold, the novel is one of the best-selling fictional works of all time and has been translated into 44 languages. According to Stauffer, ""She" has always been Rider Haggard's most popular and influential novel, challenged only by "King Solomon's Mines" in this regard". The novel is cited in the psychoanalytical theories of Sigmund Freud and Carl Jung, the latter describing the character of She as a manifestation of the anima figure.


title: She: A History of Adventure

text: The novel has had a lasting impact on the fantasy genre in particular, directly giving rise to the "lost civilisation" tales of Edgar Rice Burroughs and Sir Arthur Conan Doyle, and the creation of mythologised locations such as Shangri-la. Tolkien recognised the importance of "She" to his own fantasy works, especially in its foregrounding of a fictional history and narrative. Some scholars have also argued that She may have had a formative influence on Galadriel in "The Lord of the Rings": Ayesha's reflecting pool seems to be a direct precursor of Galadriel's mirror. Other characters in Tolkien's Legendarium also seem to have been influenced, including Shelob (who is referred to as "She" and "Her" in the text), and the escape of the Fellowship of the Ring across the chasm in Moria may be reminiscent of the escape across the chasm near the end of "She". Similarly, the "hot pot" ritual of Haggard's Amahagger people appears to have been an inspiration or predecessor of the death of Viserys Targaryen in George R. R. Martin's "A Game of Thrones"; and Daenerys Targaryen, Cersei Lannister, and especially Melisandre of Asshai, priestess of the god R'hllor, might be seen as characters in the tradition beginning with Ayesha. Indeed, Haggard's characterisation of Ayesha became the prototype of the female antagonist in modern fantasy literature, most famously realised in the figure of the White Witch, Jadis, in C. S. Lewis's "The Chronicles of Narnia".


title: She: A History of Adventure

text: Kor and Ayesha appear in Alan Moore's "Nemo: Heart of Ice". The name Ayesha is used in Marvel comics for the female superheroine Ayesha, leader of the Sovereign race, also known as Kismet. Her portrayal in the film "Guardians of the Galaxy Vol. 2" 2017 as a beautiful, powerful yet ruthless and cold empress in a grand court recalls Haggard's characterisation of Ayesha.


title: She: A History of Adventure

text: At the World's Columbian Exposition in Chicago in 1893 the H. Jay Smith Exploring Company presented an exhibit of artefacts from the American Southwest featuring objects and human remains of the Basketmaker and Cliff Dweller (Ancestral Puebloan) Cultures. The exhibit featured a mummy that had been preserved naturally by the southwestern climate and that was given the name "She".


title: She: A History of Adventure

text: "She" has been adapted for the cinema at least eleven times, beginning with the 1899 short film "The Pillar of Fire", directed by Georges Méliès, followed by another short film directed by Edwin S. Porter in 1908. An American 1911 version starred Marguerite Snow, a British-produced version appeared in 1916, and in 1917 Valeska Suratt appeared in a production for Fox which is lost. In 1925 a silent film of "She", starring Betty Blythe, was produced with the active participation of Rider Haggard, who wrote the intertitles. The film combines elements from all the books in the series.


title: She: A History of Adventure

text: A decade later, another cinematic version of the novel was released, featuring Helen Gahagan, Randolph Scott and Nigel Bruce. This 1935 adaptation was set in the Arctic, rather than Africa, and depicts the ancient civilisation of the story in an Art Deco style, with music by Max Steiner.


title: She: A History of Adventure

text: The 1965 film "She" was produced by Hammer Film Productions, and starred Ursula Andress as Ayesha and John Richardson as her reincarnated love, with Peter Cushing as Holly, Christopher Lee as Billali and Bernard Cribbins as Job.


title: She: A History of Adventure

text: A post-apocalyptic film version of the same title, directed by Avi Nesher, was released in the United States in 1985.


title: She: A History of Adventure

text: In 2001, another adaption was released direct to video with Ian Duncan as Leo Vincey, Ophélie Winter as Ayesha and Marie Bäumer as Roxane.


title: She: A History of Adventure

text: Tim McInnerny starred as Holly (renamed Ludwig Holly) with Mia Soteriou as Ayesha and Oliver Chris as Leo in a two-part adaptation on BBC Radio 4's "Classic Serial", originally broadcast on 2 July and 9 July 2006.


title: She: A History of Adventure

text: In 2007, a rock-opera/musical version of "She" was recorded live at the Wyspianski Theatre, Katowice, Poland by Clive Nolan and was released on DVD. In February 2012, the Nolan version of "She" had its first UK performance at the Playhouse in Cheltenham.


title: She: A History of Adventure

text: According to "Financial Times" reviewer James Lovegrove, Juliet E. McKenna's 2012 "She-who-thinks-for-herself," is "a cunning, funny... feminist rewrite" of "She".


title: Ruby Tuesday (song)

text: "Ruby Tuesday" is a song recorded by the Rolling Stones in 1966, released in January 1967. The song became the band's fourth number-one hit in the United States and reached number three in the United Kingdom as a double A-side with "Let's Spend the Night Together". The song was included in the American version of "Between the Buttons" (in the UK, singles were often excluded from studio albums).


title: Ruby Tuesday (song)

text: "Rolling Stone" magazine ranked the song number 310 on their list of the 500 Greatest Songs of All Time.


title: Ruby Tuesday (song)

text: The Rolling Stones recorded "Ruby Tuesday" around November 1966 at Olympic Studios, during the sessions for their album "Between the Buttons". The song was produced by Andrew Loog Oldham. Brian Jones plays a countermelody on an alto recorder, while the double bass was played jointly by bassist Bill Wyman and guitarist Keith Richards; Wyman did the fingerings while Richards bowed the instrument.


title: Ruby Tuesday (song)

text: "That's a wonderful song," Mick Jagger told Jann Wenner in 1995. "It's just a nice melody, really. And a lovely lyric. Neither of which I wrote, but I always enjoy singing it." Wyman states in "Rolling with the Stones" that the lyrics were completely written by Richards with help from Jones on the musical composition. However, Marianne Faithfull recalls it differently; according to her, Jones presented an early version of this melody to the rest of the Rolling Stones. According to Victor Bockris, Richards came up with the basic track and the words and finished the song with Jones in the studio.


title: Ruby Tuesday (song)

text: "Ruby Tuesday" was released as the B-side to "Let's Spend the Night Together" in January 1967. Due to the controversial nature of the A-side's lyrics, "Ruby Tuesday" earned more airplay and ended up charting higher in the US. The song topped the American "Billboard" Hot 100 chart, while reaching number three in the UK's Record Retailer chart, which listed "Let's Spend The Night Together"/"Ruby Tuesday" as a double A-side.


title: Ruby Tuesday (song)

text: "Ruby Tuesday" was included on the US version of the 1967 album "Between the Buttons", while being left out of the British edition, as was common practice with singles in the UK at that time. That summer, the song appeared on the US compilation album "Flowers". Due to its success, the song became a staple of the band's compilations, being included on "Through the Past, Darkly (Big Hits Vol. 2)" (1969), "Hot Rocks 1964–1971" (1971), "" (1975), and "30 Greatest Hits" (1977), and, in mono, on "" (1989).


title: Ruby Tuesday (song)

text: "Ruby Tuesday" was first played live on Brian Jones' last concert tour The Rolling Stones European Tour 1967. The next time was on the Steel Wheels/Urban Jungle Tour in 1989/1990. A concert rendition from this tour was featured on the band's 1991 live album "Flashpoint" and released as a single. This live version was recorded in Japan in 1990 and can be seen on the video release "Live at the Tokyo Dome". The B-side was "Play with Fire (live)" recorded in 1989 but not included on the "Flashpoint" album.


title: Ruby Tuesday (song)

text: American folk and pop singer Melanie recorded "Ruby Tuesday" for her 1970 album "Candles in the Rain". Her version was released as a single in the UK, where it became a Top Ten hit that year. It also reached number seven in New Zealand. She recorded a second cover version for her 1978 album "Ballroom Streets".


title: Ruby Tuesday (song)

text: Samuel E. Beall III used the title of the song when he started his restaurant chain Ruby Tuesday. The name was suggested by one of several fraternity brothers who were co-investors.


title: Allium tricoccum

text: Allium tricoccum (commonly known as ramp, ramps, ramson, wild leek, wood leek, or wild garlic) is a North American species of wild onion or garlic widespread across eastern Canada and the eastern United States. Many of the common English names for this plant are also used for other "Allium" species, particularly the similar "Allium ursinum", which is native to Europe and Asia.


title: Allium tricoccum

text: "Allium tricoccum" is a perennial growing from an ovoid-conical shaped bulb that is 2–6 cm long. Plants typically produce a cluster of 2–6 bulbs that give rise to broad, flat, smooth, light green leaves, that are 20–30 cm long including the narrow petioles, often with deep purple or burgundy tints on the lower stems. The bulbs are white and surrounded by brownish to grayish sheathing. Each cluster of bulbs gives rise to one flowering stem. The flowers are arranged into an umbel that has an erect scape that is typically 10–40 cm long. The inflorescence has two ovate bracts that enclose the flowers before they open and fall away at anthesis. The flowering stem is persistent after fruiting. The flowering most commonly occurs after the leaves have died back, unlike the similar "Allium ursinum", in which leaves and flowers can be seen at the same time. Ramps grow in close groups strongly rooted just beneath the surface of the soil. Flowering occurs in June or July into August. The flowers have white, cream or yellowish tepals which are 4–7mm long. The stamens are about as tall as the tepals and the filaments of the stamens have widened bases and are inserted on the corolla. After flowering and fertilization green fruits are produced that are three-lobed and open by way of three valves. The seeds are round, black, and shiny.


title: Allium tricoccum

text: "Allium tricoccum" was first named as such in 1789 by the Scottish botanist William Aiton, in "Hortus Kewensis", a catalog of plants cultivated in London's Kew botanic garden. The species had been introduced to Britain in 1770. The specific epithet "tricoccum" refers to the possession of three seeds.


title: Allium tricoccum

text: This treatment is followed by other sources, although the two taxa are frequently treated as two species, "Allium tricoccum" and Allium burdickii. "A. tricoccum" var. "burdickii" was first described by Clarence Robert Hanes in 1953; the epithet "burdickii" is in honor of Justin Herbert Burdick (1851–1939), a Midwestern physician and manufacturer who pointed out differences between what were then regarded as different "races" in letters to Asa Gray. The variety was raised to a full species by Almut Gitter Jones in 1979.


title: Allium tricoccum

text: The two varieties are distinguished by several features. "A. tricoccum" var. "tricoccum" is generally larger than "A. tricoccum" var. "burdickii": the bulbs are larger, the leaves are usually wide rather than wide and the umbels typically have 30–50 flowers rather than 12–18. Additionally, the leaf stalks (petioles) and leaf sheaths are usually red or purplish in var. "tricoccum" and white in var. "burdickii". The leaves of var. "burdickii" also have less distinct stalks than those of var. "tricoccum".


title: Allium tricoccum

text: "Allium tricoccum" var. "tricoccum" is found in woods with rich soils with moist ground in depressions, and along streamside bluffs, and on colluvial slopes. "Allium tricoccum" var. "burdickii" is found growing in dry soils of upland woods.


title: Allium tricoccum

text: In Canada, ramps are considered rare delicacies. Since the growth of ramps is not as widespread there as in Appalachia and because of human activity, ramps are a threatened species in Quebec. "Allium tricoccum" is a protected species under Quebec legislation. A person may have ramps in his or her possession outside the plant's natural environment, or may harvest it for the purposes of personal consumption in an annual quantity not exceeding 50 bulbs or 50 plants, provided those activities do not take place in a park within the jurisdiction of the National Parks Act. The protected status also prohibits any commercial transactions of ramps; this prevents restaurants from serving ramps as is done in the United States. Failure to comply with these laws is punishable by a fine. However, the law does not always stop poachers, who find a ready market across the border in Ontario (especially in the Ottawa area), where ramps may be legally harvested and sold.


title: Allium tricoccum

text: Ramps are considered a species of "special concern" for conservation in Maine, Rhode Island, and commercially exploited in Tennessee.


title: Allium tricoccum

text: According to West Virginia University botanist Earl L. Core, the widespread use in southern Appalachia of the term "ramps" (as opposed to "wild leek" which is used in some other parts of the United States) derives from Old English:


title: Allium tricoccum

text: The name ramps (usually plural) is one of the many dialectical variants of the English word ramson, a common name of the European bear leek ("Allium ursinum"), a broad-leaved species of garlic much cultivated and eaten in salads, a plant related to our American species. The Anglo-Saxon ancestor of ramson was "hramsa", and "ramson" was the Old English plural, the –n being retained as in oxen, children, etc. The word is cognate with "rams", in German, Danish, Swedish, and Norwegian, and with the Greek "kromuon", garlic [...]. Wright’s "English Dialect Dictionary" (1904) lists as variants "rame, ramp, ramps, rams, ramsden, ramsey, ramsh, ramsies, ramsy, rommy", and "roms", mostly from northern England and Scotland.


title: Allium tricoccum

text: "Allium tricoccum" is popular in the cuisines of the rural uplands of its native region. Both the white lower leaf stalks and the broad green leaves are edible. It is regarded as an early spring vegetable with a strong garlic-like odor and a pronounced onion flavor. Ramps also have a growing popularity in restaurants throughout North America.


title: Allium tricoccum

text: The plant's flavor, a combination of onions and strong garlic, is adaptable to numerous cooking styles. In central Appalachia, ramps are most commonly fried with potatoes in bacon fat or scrambled with eggs and served with bacon, pinto beans and cornbread. Ramps can also be pickled or used in soups and other foods in place of onions and garlic.


title: Allium tricoccum

text: Chicago received its name from a dense growth of ramps near Lake Michigan in Illinois Country observed in the 17th century. The Chicago River was referred to by the plant's indigenous name, according to explorer Robert Cavelier, sieur de La Salle, and by his comrade, the naturalist and diarist Henri Joutel. The plant, called "shikaakwa" ("chicagou") in the Miami-Illinois language spoken by the local indigenous Miami people, was once thought to be "Allium cernuum", the nodding wild onion, but research in the early 1990s showed the correct plant was the ramp.


title: Allium tricoccum

text: The ramp has strong associations with the folklore of the central Appalachian Mountains. Fascination and humor have fixated on the plant's extreme pungency. Jim Comstock, editor and co-owner of the "Richwood News Leader", introduced ramp juice into the printer's ink of one issue as a practical joke, invoking the ire of the U.S. Postmaster General.


title: Allium tricoccum

text: The inhabitants of Appalachia have long celebrated spring with the arrival of the ramp, believing it to be a tonic capable of warding off many winter ailments. Indeed, ramp's vitamin and mineral content did bolster the health of people who went without many green vegetables during the winter.


title: Allium tricoccum

text: The Menominee, Cherokee, Iroquois, Potawatomi and Ojibwa all consume the plant in their traditional cuisines.


title: Allium tricoccum

text: The Cherokee also eat the plant as a spring tonic, for colds and for croup. They also use the warm juice for earaches. The Ojibwa use a decoction as a quick-acting emetic. The Iroquois also use a decoction of the root to treat worms in children, and they also use the decoction as a spring tonic to "clean you out". Some Native Americans also used juice from the crushed bulbs to treat insect stings.


title: Barneys New York

text: Barneys New York Inc. is an American luxury brand founded in New York City in 1923. It has introduced major designers including Armani, Azzedine Alaïa, Comme des Garçons, Christian Louboutin, and Ermenegildo Zegna to the US market.


title: Barneys New York

text: Barneys New York was sold in November 2019 to Authentic Brands Group for $271.4 million. "The New York Times" reported that Authentic Brands Group's strategy is "essentially betting that the future of retail lies with abstract values."


title: Barneys New York

text: On Friday, January 15, 2021, Saks Fifth Avenue unveiled a 54,000-square-foot space on the fifth floor of its flagship in New York, titled Barneys at Saks. The collaboration is aimed at continuing Barneys New York tradition of unearthing and promoting emerging designers.


title: Barneys New York

text: On Monday, January 25, 2021, Saks Fifth Avenue unveiled the first standalone Barneys at Saks store at a 14,000-square-foot location in Greenwich, Connecticut.


title: Barneys New York

text: Barney Pressman initially opened a men's discount clothing store. His first store was in a space with of frontage at Seventh Avenue and West 17th Street in Manhattan in 1923. He raised the $500 to pay the lease by pawning his wife's engagement ring. Barney's Clothes were stocked with 40 brand name suits and a big sign with a slogan, "No Bunk, No Junk, No Imitations". Barney's sold clothing at discounted prices by purchasing showroom samples, retail overstocks, and manufacturers' closeouts at auctions and bankruptcy sales. He also offered free alterations and free parking to attract customers. And this first of its kind store landed Barney Pressman on many TV and Radio shows.


title: Barneys New York

text: Pressman claimed to be the first Manhattan retailer to use radio and television, beginning with "Calling All Men to Barney's" radio spots in the 1930s that parodied the introduction of the Dick Tracy show. He sponsored radio programs featuring Irish tenors and bands playing jigs to advertise Irish woolens. Women encased in barrels gave away matchbooks with the store name and address. He also chartered a boat to take 2,000 of his customers from Manhattan to Coney Island.


title: Barneys New York

text: In a 1973 interview with "Business Week", Fred Pressman, Barney Pressman's son, stated that he became "convinced that the discount route definitely was not for us. My father and I have always hated cheap goods ... I didn't want to sell low-end merchandise. Now, many of those who chose to are verging on bankruptcy." Fred Pressman's obituary in "The New York Times" stated:


title: Barneys New York

text: With his father's blessing, Fred Pressman slowly transformed the store from a salty discount house that sold roast beef sandwiches in its pub to a purveyor of Italian designers with a cafe serving Perrier and light salads. He began to discard the types of suits that his father was prone to unearthing at auctions and bankruptcy sales, peppering the racks instead with then-obscure and top-name designers both, but continued to offer touches like free alterations that gave Barneys its reputation.


title: Barneys New York

text: Pressman is quoted as saying, "The best value you can offer a customer is personal attention to every detail, and they will return again and again. Ultimately, the customer cares the most about how he or she is treated." Pressman died in July 1996.


title: Barneys New York

text: In 1970, Barney's built a fifth story onto its original building and a five-story addition. The original store was renamed America House and the addition was named International House. The expanded store occupied the entire Seventh Avenue block (between 16th and 17th streets), with of selling space and 20 individual shops.


title: Barneys New York

text: International House, Fred Pressman promised, would feature complete collections of European designers, "from denim pants to $250 suits", not just a watered-down "potpourri of fabrics and models". The renovated America House, he said, would hold merchandise from "manufacturers who are in effect designers".


title: Barneys New York

text: By 1973, the store was stocking 60,000 suits. It carried the full lines of designers such as Bill Blass, Pierre Cardin, Christian Dior, and Hubert de Givenchy. It became the first clothing store in the U.S. to stock the full line of Giorgio Armani, after signing an agreement in 1976. Barneys is widely credited to have introduced Giorgio Armani to the American market.


title: Barneys New York

text: Women's clothing was introduced in 1976 on the third floor of the International House. In the following year, the women's store relocated to The Penthouse, a new top-level enclosure. Barney's also added housewares, cosmetics, and gift departments to the store. Also in 1977, Barney's in-store restaurant was renamed The Cafe and began selling salads, soup and sandwiches.


title: Barneys New York

text: The company dropped the apostrophe in Barney's in 1981. In 1981, the women's penthouse became a duplex. Barneys imported 80% of the women's and 40% of the men's merchandise. The $25 million, women's store finally opened in 1986 in a row of six townhouses and two larger adjacent buildings across the store along 17th Street. The addition included a unisex beauty salon and restaurant, antiques, and accessories, gifts, and housewares departments. It accounted for about one-third of Barneys' sales of some $90 million the following year.


title: Barneys New York

text: In 1988, Barneys opened a men's store in the World Financial Center. The store abandoned its Seventh Avenue flagship in 1993, moving to a , Kohn Pedersen Fox-designed Manhattan store on Madison Avenue at East 61st Street. It was the largest new store in New York City since the Great Depression. The building has 22 floors with 14 floors of offices above the nine-story store. The wood floors, a marble mosaic on the lobby floor, gold-leaf ceilings, and lacquered walls of the new Barneys store cost $267 million.


title: Barneys New York

text: In 1989, the store formed a holding company with Japanese department store Isetan to operate stores in both countries. The first Tokyo store opened in November 1990. The agreement also called for the holding company to spend $250,000 to open 30 smaller stores of approximately . The earliest of these smaller format stores opened in Costa Mesa, California in 1990.


title: Barneys New York

text: Barneys opened its first department store outside Manhattan in Chicago, in 1993, followed by another large store in Beverly Hills, California, in 1994.


title: Barneys New York

text: In 1995, the Pressman family intended to close the investment relationship with Isetan consolidating the Barneys retail business and Isetan investment in the United States real estate for the Barneys flagship stores in New York, Chicago, and Beverly Hills. At the conclusion of this consolidation, the real estate investment and the retail businesses would be held in one company.