title: Raï

text: French colonization of Algeria changed the organization of society, producing a class of poor, uneducated urban men and women. Bedoui singers mostly collaborated with the French colonizers, though one exception from such collaboration was Cheikh Hamada. The problems of survival in a life of poverty were the domain of street musicians who sang bar-songs called zendanis. A common characteristic of these songs included exclamations of the word "raï!" and variations thereof. The word "rai" implies that an opinion is being expressed.


title: Raï

text: In the 1920s, the women of Oran were held to strict code of conduct. Many of those that failed became social outcasts and singers and dancers. They sang medh songs in praise of the prophet Mohammed and performed for female audiences at ceremonies such as weddings and circumcision feasts. These performers included Les Trois Filles de Baghdad, Soubira bent Menad and Kheira Essebsadija. Another group of female social outcasts were called "cheikhas", who were known for their alluring dress, hedonistic lyrics, and their display of a form of music that was influenced from meddhahates and zendani singers. These cheikhas, who sang for both men and women, included people such as Cheikha Remitti el Reliziana, Cheikha Grélo, Cheikha Djenia el Mostganmia, Cheikha Bachitta de Mascara, and Cheikha a; Ouachma el Tmouchentia. The 1930s saw the rise of revolutionary organizations, including organizations motivated by Marxism, which mostly despised these early roots raï singers. At the same time, Arabic classical music was gaining huge popularity across the Maghreb, especially the music of Egypt's Umm Kulthum.


title: Raï

text: When first developed, raï was a hybrid blend of rural and cabaret musical genres, invented by and targeted toward distillery workers, peasants who had lost their land to European settlers, and other types of lower class citizens. The geographical location of Oran allowed for the spread of many cultural influences, allowing raï musicians to absorb an assortment of musical styles such as flamenco from Spain, gnawa music, and French cabaret, allowing them to combine with the rhythms typical of Arab nomads. In the early 1930s, social issues afflicting the Arab population in the colony, such as the disease of typhus, harassment and imprisonment by the colonial police, and poverty were prominent themes of raï lyrics. However, other main lyrical themes concerned the likes of wine, love, and the meaning and experiences of leading a marginal life. From its origins, women played a significant role in the music and performance of raï. In contrast to other Algerian music, raï incorporated dancing in addition to music, particularly in a mixed-gender environment.


title: Raï

text: In the 1930s, Raï, al-andalousm, and the Egyptian classical style influenced the formation of wahrani, a musical style popularized by Blaoui Houari. Musicians like Mohammed Belarbi and Djelloul Bendaoud added these influences to other Oranian styles, as well as Western piano and accordion, resulting in a style called bedoui citadinisé. Revolt began in the mid-1950s, and musicians which included Houari and Ahmed Saber supported the Front de Libération National. After independence in 1962, however, the government of the Houari Boumédienne regime, along with President Ahmed Ben Bella, did not tolerate criticism from musicians such as Saber, and suppression of Raï and Oranian culture ensued. The number of public performances by female raï singers decreased, which led to men playing an increased role in this genre of music. Meanwhile, traditional raï instruments such as the gasba (reed flute), and the derbouka (North african drums) were replaced with the violin and accordion.


title: Raï

text: In the 1960s, Bellamou Messaoud and Belkacem Bouteldja began their career, and they changed the raï sound, eventually gaining mainstream acceptance in Algeria by 1964. In the 1970s, recording technology began growing more advanced, and more imported genres had Algerian interest as well, especially Jamaican reggae with performers like Bob Marley. Over the following decades, raï increasingly assimilated the sounds of the diverse musical styles that surfaced in Algeria. During the 1970s, raï artists brought in influences from other countries such as Egypt, Europe, and the Americas. Trumpets, the electric guitar, synthesizers, and drum machines were specific instruments that were put into music. This marked the beginning of pop raï, which was performed by a later generation which adopted the title of Cheb (male) or Chaba (female), meaning "young," to distinguish themselves from the older musicians who continued to perform in the original style. Among the most prominent performers of the new raï were Chaba Fadela, Cheb Hamid, and Cheb Mami. However, by the time the first international raï festival was held in Algeria in 1985, Cheb Khaled had become virtually synonymous with the genre. More festivals followed in Algeria and abroad, and raï became a popular and prominent new genre in the emergent world-music market. International success of the genre had begun as early as 1976 with the rise to prominence of producer Rachid Baba Ahmed.


title: Raï

text: The added expense of producing LPs as well as the technical aspects imposed on the medium by the music led to the genre being released almost exclusively onto cassette by the early 1980s, with a great deal of music having no LP counterpart at all and a very limited exposure on CD.


title: Raï

text: While this form of raï increased cassette sales, its association with mixed dancing, an obscene act according to orthodox Islamic views, led to government-backed suppression. However, this suppression was overturned due to raï's growing popularity in France, where it was strongly demanded by the Maghrebi Arab community. This popularity in France was increased as a result of the upsurge of Franco-Arab struggles against racism. This led to a following of a white audience that was sympathetic to the antiracist struggle.


title: Raï

text: After the election of president Chadli Bendjedid in 1979, Raï music had a chance to rebuild because of his lessened moral and economic restraints. Shortly afterwards, Raï started to form into pop-raï, with the use of instruments such as electrical synthesizers, guitars, and drum machines.


title: Raï

text: In the 1980s, raï began its period of peak popularity. Previously, the Algerian government had opposed raï because of its sexually and culturally risqué topics, such as alcohol and consumerism, two subjects that were taboo to the traditional Islamic culture.


title: Raï

text: The government eventually attempted to ban raï, banning the importation of blank cassettes and confiscating the passports of raï musicians. This was done to prevent raï from not


title: Raï

text: only spreading throughout the country, but to prevent it from spreading internationally and from coming in or out of Algeria. Though this limited the professional sales of raï, the music increased in popularity through the illicit sale and exchange of tapes. In 1985, Algerian Colonel Snoussi joined with French minister of culture Jack Lang to convince the Algerian state to accept raï. He succeeded in getting the government to return passports to raï musicians and to allow raï to be recorded and performed in Algeria, with government sponsorship, claiming it as a part of Algerian cultural heritage. This not only allowed the Algerian government to financially gain from producing and releasing raï, but it allowed them to monitor the music and prevent the publication of "unclean" music and dance and still use it to benefit the Algerian State's image in the national world. In 1985, the first state-sanctioned raï festival was held in Algeria, and a festival was also held in january 1986 in with Cheb Khaled, Cheb Saharaoui, Chebba Fadela, Cheb Hamid, Cheb Mami and the group Raï NaraÏ in the theater MC93 of Bobigny, France.


title: Raï

text: In 1988, Algerian students and youth flooded the streets to protest state-sponsored violence, the high cost of staple foods, and to support the Peoples' Algerian Army. President Chadli Bendjedid, who held power from 1979 to 1992, and his FLN cronies blamed raï for the massive uprising that left 500 civilians dead in October 1988. Most raï singers denied the allegation, including Cheb Sahraoui, who said there was no connection between raï and the October rebellion. Yet raï's reputation as protest music stuck because the demonstrators adopted Khaled's song "El Harba Wayn" ("To Flee, But Where?") to aid their protesting:


title: Raï

text: In the 1990s, censorship ruled raï musicians. One exiled raï singer, Cheb Hasni, accepted an offer to return to Algeria and perform at a stadium in 1994. Hasni's fame and controversial songs led to him receiving death threats from Islamic fundamentalist extremists. On September 29, 1994, he was the first raï musician to be murdered, outside his parents' home in the Gambetta district of Oran, reportedly because he let girls kiss him on the cheek during a televised concert. His death came amid other violent actions against North African performers. A few days before his death, the Kabyle singer Lounès Matoub was abducted by the GIA. The following year, on February 15, 1995, Raï producer Rachid Baba-Ahmed was assassinated in Oran.


title: Raï

text: The escalating tension of the Islamist anti-raï campaign caused raï musicians such as Chab Mami and Chaba Fadela to relocate from Algeria to France. Moving to France was a way to sustain the music's existence. France was where Algerians had moved during the post-colonial era to find work, and where musicians had a greater opportunity to oppose the government without censorship.


title: Raï

text: Though raï found mainstream acceptance in Algeria, Islamic fundamentalists still protested the genre, saying that it was still too liberal and too contrasting to traditional Islamic values. The fundamentalists claimed that the musical genre still promoted sexuality, alcohol and Western consumer culture, but critics of the fundamentalist viewpoint stated that fundamentalists and raï musicians were ultimately seeking converts from the same population, the youth, who often had to choose where they belonged between the two cultures. Despite the governmental support, a split remained between those citizens belonging to strict Islam and those patronizing the raï scene.


title: Raï

text: Cheb Khaled was the first musician with international success, including his 1988 duet album with jazz musician Safy Boutella album "Kutché", though his popularity did not extend to places such as the United States and Latin America. Other prominent performers of the 1980s included Houari Benchenet, Raïna Raï, Mohamed Sahraoui, Cheb Mami, Cheba Zohra and Cheb Hamid.


title: Raï

text: International success grew in the 1990s, with Cheb Khaled's 1992 album "Khaled". With Khaled no longer in Algeria, musicians such as Cheb Tahar, Cheb Nasro, and Cheb Hasni began singing lover's raï, a sentimental, pop-ballad form of raï music. Later in the decade, funk, hip hop, and other influences were added to raï, especially by performers like Faudel and Rachid Taha, the latter of whom took raï music and fused it with rock. Taha did not call his creation raï music, but rather described it as a combination of folk raï and punk.


title: Raï

text: Another mix of cultures in Arabic music of the late 1990s came through Franco-Arabic music released by musicians such as Aldo.


title: Raï

text: The late 1980s and early 1990s saw a rise in female raï performers. According to authors Gross, McMurray, and Swedenburg in their article "Arab Noise and Ramadan Nights: Raï, Rap, and Franco-Maghrebi Identity," raï musician Chaba Zahouania was forbidden by her family to perform or even appear in public. According to Gross et al., the raï record companies have pushed female artists to become more noticed.


title: Raï

text: In 2000, raï music had international success thanks to Sting's duet with raï singer Cheb Mami on the song "Desert Rose", released January 17, 2000. Sting was widely credited for introducing raï music to Western music audiences, and as such, the song was a success on many charts, reaching No. 2 in Canada, No. 3 in Switzerland, No. 4 in Italy, No. 15 in the UK, and No. 17 in the US. It also reached number 1 on "Billboard"’s Adult Alternative and Hot Dance Single Sales charts respectively.


title: Raï

text: Throughout the course of raï music's development and commercialization in Algeria, there have been many attempts to stifle the genre. From lyrical content to the album cover images, raï has been a controversial music. Religious identity and transnationalism function to define the complexities of Maghrebi identity. This complex identity is expressed through raï music and is often contested and censored in many cultural contexts.


title: Raï

text: In 1962, as Algeria claimed its national independence, expression of popular culture was stifled by the conservative nature of the people. During this time of drastic restriction of female expression, many men started to become raï singers. By 1979, when president Chadli Bendjedid endorsed more liberal moral and economic standards, raï music became further associated with Algerian youth. The music remained stigmatized amongst the Salafi Islamists and the Algerian government. Termed the "raï generation", the youth found raï as a way to express sexual and cultural freedoms. An example of this free expression is through the lyrics of Cheb Hasni in his song "El Berraka". Hasni sang: "I had her ... because when you're drunk that's the sort of idea that runs through your head!" Hasni challenged the fundamentalists of the country and the condemnation of non-religious art forms.


title: Raï

text: Raï started to circulate on a larger scale, via tape sales, TV exposure, and radio play. However, the government attempted to "clean up" raï to adhere to conservative values. Audio engineers manipulated the recordings of raï artists to submit to such standards. This tactic allowed for the economy to profit from the music by gaining conservative audiences. The conservativeness not only affected the way listeners received raï music, but also the way the artists, especially female artists, presented their own music. For instance, female raï artists usually do not appear on their album covers. Such patriarchal standards pressure women to societal privacy.


title: Corinne Cléry

text: Corinne Cléry (born 23 March 1950), also known as Corinne Piccolo, is a French actress. She is known for the films "Moonraker" (1979), "The Story of O" (1975), "Hitch-Hike" (1977) and "Yor, the Hunter from the Future" (1983).


title: Corinne Cléry

text: Cléry was born on 23 March 1950 near Paris and raised in Saint-Germain-en-Laye. She began her acting career in the late 1960s under the name Corinne Piccoli. Her first important film was Joël Le Moigne's "Les Poneyttes" with Johnny Hallyday and DJ Hubert Wayaffe, whom she married at the end of the filming, aged 17.


title: Corinne Cléry

text: Cléry first came to prominence in the movie "Story of O" (1975) ("Histoire d'O"). She also modelled for the cover of French magazine "Lui" in which she is holding a huge copy of the novel upon which the film is based.


title: Corinne Cléry

text: Cléry is also known for playing Bond girl Corinne Dufour, antagonist Hugo Drax's assistant, in the 1979 James Bond film "Moonraker". She also starred with Bond girl Barbara Bach (who played Anya Amasova in "The Spy Who Loved Me") and Richard Kiel (who played Bond villain Jaws) in the film "The Humanoid" (1979). Following "Moonraker", she appeared in several Italian language films. She also starred in the films "Covert Action", "Hitch Hike" with actor David Hess, Sergio Corbucci's "The Con Artists" with Adriano Celentano and Anthony Quinn, and the science fiction film "Yor, the Hunter from the Future".


title: Corinne Cléry

text: Cléry became a housemate in the second season of "Grande Fratello VIP", the Italian adaptation of "Celebrity Big Brother".


title: Popsicle (brand)

text: In 1905 in Oakland, California, 11-year-old Francis William "Frank" Epperson was mixing a powdered flavoring for soft drinks with water. He accidentally left it on the back porch overnight, with a stirring stick still in it. That night, the temperature dropped below freezing, and the next morning, Epperson discovered the drink had frozen to the stick, inspiring the idea of a fruit-flavored "Popsicle".


title: Popsicle (brand)

text: In 1922, he introduced the creation at a fireman's ball, where according to reports it was "a sensation". In 1923, Epperson began selling the frozen pops to the public at Neptune Beach, an amusement park in Alameda, California. By 1924 Epperson had received a patent for his "frozen confectionery" which he called "the Epsicle ice pop". He renamed it to Popsicle, allegedly at the insistence of his children. Popsicles were originally sold in fruity flavors and marketed as a "frozen drink on a stick."


title: Popsicle (brand)

text: Six months after receiving a patent for the Popsicle, Good Humor sued Popsicle Corporation. By October 1925, the parties settled out of court. Popsicle agreed to pay Good Humor a license fee to manufacture what was called frozen suckers from ice and sherbet products. Good Humor reserved the right to manufacture these products from ice cream, frozen custard, and the like.


title: Popsicle (brand)

text: In 1925, Epperson sold the rights to the Popsicle to the Joe Lowe Company of New York. "I was flat and had to liquidate all my assets," he recalled years later. "I haven't been the same since."


title: Popsicle (brand)

text: In April 1939, Popsicle Pete was introduced on the radio program "Buck Rogers in the 25th Century" as having won the "Typical American Boy Contest." The character told listeners that they could win presents by sending wrappers from Popsicle products to the manufacturer. Pete continued to appear in the company's advertising campaigns for 50 years. During the 1940s, Popsicle Pete ads were created by Woody Gelman and his partner Ben Solomon, and appeared on Popsicle brand packages for decades.


title: Popsicle (brand)

text: The Popsicle brand began expanding from its original flavors after being purchased by Good Humor-Breyers in 1989. Under the Popsicle brand, Good Humor-Breyers holds the trademark for both Creamsicle and Fudgsicle. Creamsicle's center is vanilla ice cream, covered by a layer of flavored ice. Fudgsicle, originally sold as Fudgicle, is a flat, frozen dessert that comes on a stick and is chocolate-flavored with a texture somewhat similar to ice cream.


title: Popsicle (brand)

text: Firecrackers are a brand of Popsicles that come in a shape resembling a firecracker. These take a similar appearance to Wells Dairy's Blue Bunny's Bomb Pop. Slow Melt Pops include a small amount of gelatin that helps them stay frozen longer than traditional ice pops. Slow Melt Pops are available in several varieties.


title: Popsicle (brand)

text: Yosicles are a brand of Popsicle that contain yogurt. Revello Bars are chocolate covered ice cream on a stick.


title: Constrained optimization

text: In mathematical optimization, constrained optimization (in some contexts called constraint optimization) is the process of optimizing an objective function with respect to some variables in the presence of constraints on those variables. The objective function is either a cost function or energy function, which is to be minimized, or a reward function or utility function, which is to be maximized. Constraints can be either hard constraints, which set conditions for the variables that are required to be satisfied, or soft constraints, which have some variable values that are penalized in the objective function if, and based on the extent that, the conditions on the variables are not satisfied.


title: Constrained optimization

text: The constrained-optimization problem (COP) is a significant generalization of the classic constraint-satisfaction problem (CSP) model. COP is a CSP that includes an "objective function" to be optimized. Many algorithms are used to handle the optimization part.


title: Constrained optimization

text: where formula_2 and formula_3 are constraints that are required to be satisfied (these are called hard constraints), and formula_4 is the objective function that needs to be optimized subject to the constraints.


title: Constrained optimization

text: In some problems, often called "constraint optimization problems", the objective function is actually the sum of cost functions, each of which penalizes the extent (if any) to which a soft constraint (a constraint which is preferred but not required to be satisfied) is violated.


title: Constrained optimization

text: Many constrained optimization algorithms can be adapted to the unconstrained case, often via the use of a penalty method. However, search steps taken by the unconstrained method may be unacceptable for the constrained problem, leading to a lack of convergence. This is referred to as the Maratos effect.


title: Constrained optimization

text: For very simple problems, say a function of two variables subject to a single equality constraint, it is most practical to apply the method of substitution. The idea is to substitute the constraint into the objective function to create a composite function that incorporates the effect of the constraint. For example, assume the objective is to maximize formula_5 subject to formula_6. The constraint implies formula_7, which can be substituted into the objective function to create formula_8. The first-order necessary condition gives formula_9, which can be solved for formula_10 and, consequently, formula_11.


title: Constrained optimization

text: If the constrained problem has only equality constraints, the method of Lagrange multipliers can be used to convert it into an unconstrained problem whose number of variables is the original number of variables minus the original number of equality constraints. Alternatively, if the constraints are all equality constraints and are all linear, they can be solved for some of the variables in terms of the others, and the former can be substituted out of the objective function, leaving an unconstrained problem in a smaller number of variables.


title: Constrained optimization

text: With inequality constraints, the problem can be characterized in terms of the geometric optimality conditions, Fritz John conditions and Karush–Kuhn–Tucker conditions, under which simple problems may be solvable.


title: Constrained optimization

text: If the objective function and all of the hard constraints are linear and some hard constraints are inequalities, then the problem is a linear programming problem. This can be solved by the simplex method, which usually works in polynomial time in the problem size but is not guaranteed to, or by interior point methods which are guaranteed to work in polynomial time.


title: Constrained optimization

text: If the objective function or some of the constraints are nonlinear, and some constraints are inequalities, then the problem is a nonlinear programming problem.


title: Constrained optimization

text: If all the hard constraints are linear and some are inequalities, but the objective function is quadratic, the problem is a quadratic programming problem. It is one type of nonlinear programming. It can still be solved in polynomial time by the ellipsoid method if the objective function is convex; otherwise the problem may be NP hard.


title: Constrained optimization

text: Allowing inequality constraints, the KKT approach to nonlinear programming generalizes the method of Lagrange multipliers. It can be applied under differentiability and convexity.


title: Constrained optimization

text: Constraint optimization can be solved by branch-and-bound algorithms. These are backtracking algorithms storing the cost of the best solution found during execution and using it to avoid part of the search. More precisely, whenever the algorithm encounters a partial solution that cannot be extended to form a solution of better cost than the stored best cost, the algorithm backtracks, instead of trying to extend this solution.


title: Constrained optimization

text: Assuming that cost is to be minimized, the efficiency of these algorithms depends on how the cost that can be obtained from extending a partial solution is evaluated. Indeed, if the algorithm can backtrack from a partial solution, part of the search is skipped. The lower the estimated cost, the better the algorithm, as a lower estimated cost is more likely to be lower than the best cost of solution found so far.


title: Constrained optimization

text: On the other hand, this estimated cost cannot be lower than the effective cost that can be obtained by extending the solution, as otherwise the algorithm could backtrack while a solution better than the best found so far exists. As a result, the algorithm requires an upper bound on the cost that can be obtained from extending a partial solution, and this upper bound should be as small as possible.


title: Constrained optimization

text: A variation of this approach called Hansen's method uses interval methods. It inherently implements rectangular constraints.


title: Constrained optimization

text: One way for evaluating this upper bound for a partial solution is to consider each soft constraint separately. For each soft constraint, the maximal possible value for any assignment to the unassigned variables is assumed. The sum of these values is an upper bound because the soft constraints cannot assume a higher value. It is exact because the maximal values of soft constraints may derive from different evaluations: a soft constraint may be maximal for formula_12 while another constraint is maximal for formula_13.


title: Constrained optimization

text: This method runs a branch-and-bound algorithm on formula_14 problems, where formula_14 is the number of variables. Each such problem is the subproblem obtained by dropping a sequence of variables formula_16 from the original problem, along with the constraints containing them. After the problem on variables formula_17 is solved, its optimal cost can be used as an upper bound while solving the other problems,


title: Constrained optimization

text: In particular, the cost estimate of a solution having formula_17 as unassigned variables is added to the cost that derives from the evaluated variables. Virtually, this corresponds on ignoring the evaluated variables and solving the problem on the unassigned ones, except that the latter problem has already been solved. More precisely, the cost of soft constraints containing both assigned and unassigned variables is estimated as above (or using an arbitrary other method); the cost of soft constraints containing only unassigned variables is instead estimated using the optimal solution of the corresponding problem, which is already known at this point.


title: Constrained optimization

text: There is similarity between the Russian Doll Search method and dynamic programming. Like dynamic programming, Russian Doll Search solves sub-problems in order to solve the whole problem. But, whereas Dynamic Programming


title: Constrained optimization

text: directly combines the results obtained on sub-problems to get the result of the whole problem, Russian Doll Search only uses them as bounds during its search.


title: Constrained optimization

text: The bucket elimination algorithm can be adapted for constraint optimization. A given variable can be indeed removed from the problem by replacing all soft constraints containing it with a new soft constraint. The cost of this new constraint is computed assuming a maximal value for every value of the removed variable. Formally, if formula_19 is the variable to be removed, formula_20 are the soft constraints containing it, and formula_21 are their variables except formula_19, the new soft constraint is defined by:


title: Constrained optimization

text: Bucket elimination works with an (arbitrary) ordering of the variables. Every variable is associated a bucket of constraints; the bucket of a variable contains all constraints having the variable has the highest in the order. Bucket elimination proceed from the last variable to the first. For each variable, all constraints of the bucket are replaced as above to remove the variable. The resulting constraint is then placed in the appropriate bucket.


title: Spider-Man (1981 TV series)

text: Spider-Man is a 1981–1982 American animated TV series based on the Marvel Comics character of the same name. It is the second Spider-Man cartoon, following the 1967–1970 series.


title: Spider-Man (1981 TV series)

text: The series featured Peter Parker having to balance his alter ego crimefighting with his responsibilities as a university student, a part-time photographer for the "Daily Bugle" and caring for his elderly Aunt May Parker.


title: Spider-Man (1981 TV series)

text: "Note": Neil Ross would reprise his role as Norman Osborn/the Green Goblin for the 1994 "Spider-Man" cartoon series.


title: Spider-Man (1981 TV series)

text: The series was created to launch Marvel Productions, successor of DePatie–Freleng Enterprises, who had previously produced the 1978 "New Fantastic Four" and 1979 "Spider-Woman" animated series (where Spider-Man made two appearances).


title: Spider-Man (1981 TV series)

text: The character design for Peter Parker (as well as other supporting characters including Aunt May and J. Jonah Jameson) was quite faithful to the comic books of the period and hearkened back to the illustrations by John Romita Sr. of the young hero in Spider-Man's newspaper strip adventures from the 1970s. Due to network constraints and demands from parents, characters such as Spider-Man were not allowed to make a fist to strike an opponent, but the show's creators managed to conceal these issues with a focus on action and relatively fluid animation.


title: Spider-Man (1981 TV series)

text: Much like the "Spider-Man" newspaper strip of the late 1970s, Peter Parker's character design did away with the 1960s crew cut for a more modern hairstyle during this time, which the character continued to be portrayed with through the 1980s and early 1990s. Likewise, Parker abandoned the conservative suit and tie of the 1960s comics and previous animated series in favor of dark blue straight-legged linen pants.


title: Spider-Man (1981 TV series)

text: Peter's mask was connected to his costume at the back of the neck, like a hood which he would pull over his head when he changed into Spider-Man.


title: Spider-Man (1981 TV series)

text: All 26 episodes have been released on DVD in the UK by Clear Vision, over four DVD volumes. To avoid confusion with other Spider-Man DVD titles, Clear Vision released the show on DVD under the name "Spider-Man 5000".


title: Spider-Man (1981 TV series)

text: As was the case with "Amazing Friends", the series was later re-aired in the late 1980s as part of the 90-minute "Marvel Action Universe", a syndicated series that was used as a platform for old and new Marvel-produced animated fare (the newer programming featured "", "Dino-Riders" and on occasion, "", which was intended to serve as a pilot for a potential X-Men animated series). The show was last rerun in the US in 1998 as part of the "UPN Kids Action Zone" block alongside several other Marvel shows.


title: Spider-Man (1981 TV series)

text: The rights to all Marvel shows were owned by Marvel themselves, before Disney acquired them in 2008. Currently, there are no plans for a DVD release in the US or elsewhere.


title: Spider-Man (1981 TV series)

text: In Canada, Morningstar Entertainment released the episode "The Vulture Has Landed" on DVD in the set entitled "Spider-Man Vs. The Vulture". The set also contains "The Vulture's Prey" and "The Dark Terrors", both from the 1967 "Spider-Man" TV series. Morningstar also released "Canon of Doom" (on the "Fantastic Four VS. Doctor Doom" set, included in the "Villains Showdown" Gift Set that also includes "Spider-Man Vs. The Vulture"), although the episode is the Bonus episode on the disc. "Arsenic And Aunt May" was also released in the "Heroes" box set. All the Morningstar DVDs were mastered from VHS/Betamax copies that were released by Prism Video in 1985 as part of their Marvel Video Library series.


title: Spider-Man (1981 TV series)

text: The series was available for streaming on Netflix from 2011 to 2013. The series became available on the Disney+ streaming service at its U.S. launch on November 12, 2019.


title: The Haunting Hour: The Series

text: R. L. Stine's The Haunting Hour: The Series is an original anthology horror-fantasy television series which is based on the 2007 movie "" and the anthologies "" and "Nightmare Hour" by R.L. Stine, that originally aired on The Hub Network from October 29, 2010 to October 11, 2014. The only story taken from "The Haunting Hour" anthology was "My Imaginary Friend", and the only story unused from "The Nightmare Hour" was "Make Me a Witch". The fourth season's seven remaining episodes ran on Discovery Family from October 18, 2014 to November 29, 2014. The series was produced by Front Street Pictures, The Hatchery, Incendo Films, and Endemol.


title: The Haunting Hour: The Series

text: On July 9, 2012, it was announced that "R. L. Stine's The Haunting Hour" was one of four original series from The Hub that won the CINE Golden Eagle Award for high quality production and storytelling.


title: The Haunting Hour: The Series

text: The series received critical acclaim throughout its run and is considered to be the best children's horror anthology show as well as one of the best horror anthologies in general with praise given to the acting (from both the child and adult actors), production value, dark tone, direction, storytelling, gothic atmosphere and style, scares and effects.


title: The Haunting Hour: The Series

text: On December 8, 2014, it was confirmed by Stine via Twitter that Discovery Family cancelled the show after its run of four seasons.


title: The Haunting Hour: The Series

text: Prior to the broadcast of the series, series creator R. L. Stine reported via Twitter saying "The Haunting Hour: The Series" was similar to his previous series "Goosebumps". The series was filmed in Vancouver, British Columbia, Canada.


title: The Haunting Hour: The Series

text: Like "Goosebumps", every episode features a different cast in a scary situation that would involve ghosts, aliens, witches, zombies, and monsters. However, the storylines are much darker than its aforementioned predecessor and some episodes serve as very dark morality tales. Unlike the "Goosebumps" series, the threat of death is not implied, being both clear and permanent. In addition, death in the show is not limited to antagonists and minor characters with some stories even ending with the main protagonist(s) being killed. However, there are some episodes that have happy endings similar to most of the episodes of "Are You Afraid of the Dark?" which had this formula.


title: The Haunting Hour: The Series

text: "Made Of Matches" is a song performed, written and produced by American actress, singer and songwriter Debby Ryan. It was released as a digital download on March 29, 2011, as a promotional single in the United States by The Hatchery label. The song is featured in the episode "Wrong Number" that Ryan also appears in. It was not included on any studio album or soundtrack.


title: The Haunting Hour: The Series

text: A midtempo pop rock song, "Made of Matches" exhibits elements of alternative rock and pop. Built on a beat, multi-tracked harmonies, the song's instrumentation includes slow-bouncing electric guitar and drums.


title: The Haunting Hour: The Series

text: In an interview with "Cambio", Ryan commented about writing a song for the first time "It's very much my heart. 'Made of Matches' was kind of the first time I've really expressed myself through Music personally". On April 6, 2011, Ryan commented on Twitter that "Writing has always been a release for me, and lately I've fallen in love with the music production. Knitting together my stories and feelings."


title: The Haunting Hour: The Series

text: The official music video for the song premiered on The Hub on February 4, 2011. The video was directed by Neill Fearnley with scenes from the episode "Wrong Number."


title: The Haunting Hour: The Series

text: In 2001 Stine released "The Haunting Hour: Chills in the Dead of Night", a collection of 10 short stories featuring illustrations by various artists. A reviewer for the "Tampa Bay Times" wrote favorably of the collection and stated that it would be best for children over the age of eight. "Booklist" was also favorable.


title: The Haunting Hour: The Series

text: This, along with the 2007 film and the 1999 horror collection "Nightmare Hour", helped form the basis of the television series. Of "The Haunting Hour", only "My Imaginary Friend" was adapted into an episode.


title: French Flanders

text: French Flanders () is a part of the historical County of Flanders in present-day France where a dialect of Dutch was or still is traditionally spoken. The region lies in the modern-day region of Hauts-de-France and roughly corresponds to the arrondissements of Lille, Douai and Dunkirk on the northern border with Belgium. Together with French Hainaut and the Cambrésis, it makes up the French Department of Nord.


title: French Flanders

text: French Flanders is mostly flat marshlands in the coal-rich area just south of the North Sea. It consists of two regions:


title: French Flanders

text: Once a part of ancient and medieval Francia from the inception of the Frankish kingdom (descended from the Empire of Charlemagne) under the Merovingian monarchs such as Clovis I, who was crowned at Tournai, Flanders gradually fell under the control of the English and then Spanish, becoming part of the Spanish Netherlands and retained by Spain at the end of the Eighty Years' War. When French national military power returned under the Bourbons with King Louis XIV "The Sun King" (1638–1715), a part of historically French Flanders was returned to the Kingdom.


title: French Flanders

text: The region now called "French Flanders" was once part of the feudal state County of Flanders, then part of the Southern Netherlands. It was separated from the county (part of Habsburgs' Burgundian inheritance) in 1659 due to the Peace of the Pyrenees, which ended the French-Spanish conflict in the Thirty Years War (1618–1648), and other parts of the region were added in successive treaties in 1668 and 1678. The region was ceded to the Kingdom of France, and became part of the province of Flanders and Hainaut. The bulk became part of the modern French administrative Nord department, although some western parts of the region, which separated in 1237 and became the County of Artois before the cession to the French, are now part of Pas-de-Calais.


title: French Flanders

text: During World War II, 'French Flanders' referred to all of Nord-Pas de Calais, which was first attached to the military administration of German-occupied Belgium, then part of under a Reichskommissar, and finally part of a theoretical Reichsgau of Flanders.


title: French Flanders

text: Rich in coal, facing the North Sea, bordered by usually powerful neighbors, French Flanders has been fought over numerous times in the thousand years between the Middle Ages and World War II.


title: French Flanders

text: The traditional language of northern French Flanders (Westhoek), related to the Dutch language, is known as West Flemish, specifically, a subdialect known as French Flemish, spoken by around 20,000 daily speakers and 40,000 occasional users. The traditional language of Walloon Flanders (part of Romance Flanders) is Picard (and its dialects, such as or "Rouchi"). Many schools in this region teach Flemish to schoolchildren, partially in an effort to revive the language.


title: French Flanders

text: In 2008, the success of the movie "Bienvenue chez les Ch'tis" illuminated this part of France to a wide audience.


title: Liaodong Peninsula

text: The Liaodong Peninsula (also Liaotung Peninsula, ) is a peninsula in southern Liaoning province in Northeast China, and makes up the southwestern coastal half of the Liaodong region. It is located between the mouths of the Daliao River (the historical lower section of the Liao River) in the west and the Yalu River in the east, and encompasses the territories of the whole sub-provincial city of Dalian and parts of prefectural cities of Yingkou, Anshan and Dandong.


title: Liaodong Peninsula

text: The word "Liaodong" literally means "Liao region's east", referring initially to the Warring States period Yan commandery of Liaodong, which encompassed an area from modern Liaoning-Jilin border in the north to the Chongchon River on the Korean Peninsula in the south, and from just east of the Qian Mountains to a now-disappeared large wetland between the western banks of middle Liao River and the base of Yiwulü Mountain, historically known as the "Liao Mire" (遼澤, "Liáo zé") roughly in between the modern Xinmin, Liaozhong, Tai'an, Panshan and Beizhen). The modern usage of "Liaodong" however simply refers to the half of Liaoning province to the left/east bank of the Liao/Daliao River.


title: Liaodong Peninsula

text: The Liaodong Peninsula lies on the northern shore of the Yellow Sea, dividing the Liaodong Bay (the largest of the three bays of the Bohai Sea) to its west from the Korea Bay to its east. It forms the southern part of a mountain belt that continues northward in the Changbai Mountains. The part of the mountain range on the peninsula is known as the Qianshan Mountains, named after Qian Mountain in Anshan, which includes Dahei Mountain in Dalian.


title: Liaodong Peninsula

text: The Liaodong region was settled since prehistoric times by Neolithic people such as Xinle culture. It later came under the rule of the Gojoseon kingdom, which encompassed the northern Korean Peninsula and the region southeast of the Liao River. In the late 4th century BC, the expanding Chinese State of Yan conquered this region from Gojoseon, and established the Liaodong Commandery.


title: Liaodong Peninsula

text: After the fall of the Yan state, the region was taken over by the short-lived Qin Dynasty, and then its prominent successor Han Dynasty. After the Han Dynasty fragmented at the turn of the 3rd century, the region changed hands between various warlord states such as the Gongsun Yuan, the nomadic Wuhuan, and Cao Wei, before eventually falling under the reunified Western Jin dynasty.


title: Liaodong Peninsula

text: However, after the Western Jin fell from the Uprising of the Five Barbarians and during the subsequent chaotic Sixteen Kingdoms periods, the region was ruled by Former Yan, Former Qin, Later Yan and later Goguryeo, before being reconquered by the Tang Dynasty.


title: Liaodong Peninsula

text: In 698 AD, Wu Zhou's defeat at the Battle of Tianmenling allowed the newly founded Balhae to rule the region for the next two centuries, before they were supplanted by the Khitan Liao Dynasty, and followed by the Jin dynasty, Yuan dynasty, Ming dynasty and Qing dynasty.


title: Liaodong Peninsula

text: The peninsula was an important area of conflict during the First Sino-Japanese War (1894–1895). Defeat precipitated decline in the Qing dynasty which was exploited by colonial powers who extracted numerous concessions. The peninsula was ceded to Japan, along with Taiwan and Penghu, by the Treaty of Shimonoseki of 17 April 1895. However the ceding of Liaodong peninsula was rescinded after the Triple Intervention of 23 April 1895 by Russia, France and Germany. In the aftermath of this intervention, the Russian government pressured the Qing dynasty to lease Liaodong and the strategically important Lüshunkou (Port Arthur) for use by the Russian Navy.


title: Liaodong Peninsula

text: As in the First Sino-Japanese War, the Liaodong peninsula was the scene of major fighting in the Russo-Japanese War (1904–1905), including the bloody Siege of Port Arthur. As a consequence of the Treaty of Portsmouth (5 September 1905), which ended the Russo-Japanese War, both sides agreed to evacuate Manchuria and return it to China, with the exception of the Liaodong Peninsula leased territory which was transferred to Japan, which was to administer it as the Kwantung Leased Territory.


title: Liaodong Peninsula

text: After Japan lost World War II, and the People's Republic of China was established in 1949, Liaodong was again under unified Chinese rule, where it has been to this day.


title: Syrian brown bear

text: The Syrian brown bear (Ursus arctos syriacus or Ursus arctos arctos) is a relatively small subspecies of brown bear native to the Middle East and the Caucasus mountain range.


title: Syrian brown bear

text: The Syrian brown bear's fur is usually very light brown and straw-coloured. The hair on the withers is longer with a grey-brown base and is often a different shade from the rest of the body, seen in some individuals as a dark stripe running across the back. The lighter colors usually appear at higher altitudes. Their legs are commonly darker than the rest of their body. It is the only known bear in the world to have white claws. It is a rather small brown bear. Adult males have skulls measuring approximately . The Syrian brown bear weighs up to , and measures from from nose to tail.


title: Syrian brown bear

text: Populations in the Caucasus were thought to belong to "Ursus arctus syriacus" and to overlap those of the Eurasian brown bear. They are larger in size and darker. In the past, some naturalists proposed that Caucasian bears belonged to hybrid populations between Eurasian and Syrian brown bears, but results of genetic studies show that all populations in the Caucasus are Eurasian brown bears. It was thought that these mixed bears originated during the Holocene when Syrian brown bears supposedly migrated northward and interbred with the larger northern bears. Today, that hypothesis is considered by experts to be wrong. Litter size ranges from one to three cubs.


title: Syrian brown bear

text: Today, the brown bear is extirpated in Jordan, Israel, and Palestine, and survives only in Turkey, Iran and Iraq.


title: Syrian brown bear

text: In Syria, brown bear tracks were recorded in the snow in the Anti-Lebanon Mountains in 2004 for the first time in five decades. In February 2011, bear tracks were again recorded in this area.


title: Syrian brown bear

text: In Turkey, important habitats are Mediterranean belt forests, deciduous and conifer forests in the Black Sea region and northeastern Turkey, oak and pine forests in the hinterlands of the Black Sea, and dry forests in East Anatolia. In elevation, these habitats range from .


title: Syrian brown bear

text: In Iran, it is present in the Central Alborz Protected Area south of the Caspian Sea and in the Zagros Mountains. In these regions, it prefers higher altitudes and northern aspects with access to water resources.


title: Syrian brown bear

text: In Turkey, the bear is threatened by large-scale forest fragmentation, degradation of habitat, and persecution in areas where it damages beehives and livestock. Local people in the Black Sea region hunt bears illegally for bear fat, which is thought to have medicinal value. Occasionally, bears are killed during hunts for wild boar using dogs, and by poisoned baits and snares set illegally for red deer, roe deer, wolf or lynx.


title: Syrian brown bear

text: The Syrian brown bear is the bear mentioned in the Bible. The protectiveness of a mother bear towards her cubs is cited proverbially three times (2 Sam. 17:8; Prov. 17:12; Hos. 13:8) in the Hebrew Bible. The Syrian brown bear is also mentioned in 2 Kings 2:23-25 mauling 42 young men who were threatening Elisha.


title: Syrian brown bear

text: Wojtek (1942–1963) was a Syrian brown bear. Purchased by Polish soldiers in Iran during World War II, Wojtek became the company mascot. Initially given the rank of private in order to justify his presence in the military camp, he was subsequently promoted to corporal and assisted the soldiers in loading artillery. After the war, Wojtek retired to the Edinburgh Zoo where he became a popular and beloved attraction. His military service is memorialized in Scotland and Poland.


title: Vehicle registration plates of France

text: Vehicle registration plates are mandatory number plates used to display the "registration mark" of a vehicle registered in France. They have existed in the country since 1901. It is compulsory for most motor vehicles used on public roads to display them.


title: Vehicle registration plates of France

text: In French, vehicle registration plates are called ' or '. The latter makes a reference to the national mining administration, which was responsible for issuing the plates in the early 20th century.Since 1901, various systems have been successively introduced, the most recent dating from 2009. The registration plates issued since 2009 use a XX-NNN-ZZ format, composed of a series of 7 alphanumeric characters: 2 letters, 3 numbers, and then 2 letters (e.g. AB-126-FD). This format is monitored nationwide and car plates are permanent and attached to a single vehicle from its first registration to its disposal. As such, car plates do not need to be changed if the car is sold or if the owner moves to another region within France.


title: Vehicle registration plates of France

text: Cars bought before 2009 can still bear the old format, dating from 1950, if the owner has not moved to a different département since then. Unlike the new one, the 1950 format is geographical. Until 2009, car plates had to be changed whenever the owner moved to another département or bought a car from a person living in a different département. The 1950 format uses a N X NN format, composed of a series of one to four numbers, one to three letters and a two-digit code corresponding to the département where the car is registered. The international code for French plates is "F" (France).


title: Vehicle registration plates of France

text: Called "" ("vehicle registration system"), shortened to "SIV", the current scheme was adopted in France in 2009 (15 April for new vehicles; 15 October for second-hand ones). It was inspired by the "AA-111-AA" format that was successfully adopted in Italy in 1994. Under the SIV scheme, car plates are permanent and do not need to be changed if the car owner sells it or moves to a different region.


title: Vehicle registration plates of France

text: The SIV system was adopted to ease vehicle registration and law enforcement on roads because it is fully monitored by computer and administered nationwide. The SIV database can easily be combined with other computer files. The SIV was also implemented to replace the 1950 format, which was running out of character combinations. Had it been maintained, it would have been completely exhausted by 2025 for Paris, the most populous French département. The SIV scheme started in 2004 for motorcycles with an engine capacity under 50 cc. However, these vehicles carry plates with fewer characters, such as AA-11-A.


title: Vehicle registration plates of France

text: Due to the financial crisis of 2007–2008, the introduction of the new plates was postponed from 1 January 2009 until 15 April 2009 for all new cars. It was again postponed until 15 October 2009 for all other vehicles due to computer bugs in the SIV system.


title: Vehicle registration plates of France

text: Registration plates issued after 2009 must be displayed in accordance with the 9 February 2009 Order (). They must be made of reflex-reflecting material, white at the front and rear, with black non-reflecting characters. Characters may be displayed on one or two lines. The industry standard size number plate is or if it includes a horizontal cartouche to display information about the car dealer. The left side of the plate must contain a blue band with the letter F for France under the stars of the European flag. A similar band must be present on the right side to display a départment code and the symbol of the region where the is located.


title: Vehicle registration plates of France

text: The positioning of the characters on the plate is fully regulated but there is no official typeface. The law provides guidelines: characters must be sans serif, monospaced and without any opening on closed characters.


title: Vehicle registration plates of France

text: In some cases, colours may vary. Vehicles registered as classic cars can carry black plates with silver or white characters and without the blue bands on the sides. Vehicles in transit on French territory must carry a red plate with white characters. Instead of the regional code, the right hand band displays the expiry date of the plate. Vehicles purchased in the free trade zones of Gex and Savoie also carry red plates, but with the regional code. Diplomatic vehicles carry green plates with orange or white characters. Vehicles owned by the French Forces and Civilian Elements stationed in Germany (FFECSA) carry a pale blue plate with white characters.


title: Vehicle registration plates of France

text: Motorcycles and mopeds have to display a rear plate. Motorcycle plates have the same colour and general design as the usual vehicle plates.


title: Vehicle registration plates of France

text: Under the SIV system, registration plates contain seven alphanumeric characters: two letters, a dash, three numbers, a dash and two letters, such as AA-229-AA and no such series as AI-111-AA, AO-111-AA and AU-111-AA, The system is nationwide and chronological. The first car registered in France under the SIV received a AA-001-AA registration plate, the second one AA-002-AA, the third AA-003-AA. The system will be exhausted when ZZ-999-ZZ is reached, which is scheduled to occur after 80 years of use.


title: Vehicle registration plates of France

text: The SIV format provides formula_1, or 277,977,744, different combinations. This figure excludes three letters that are not used: I, O and U, as they can be confused with 1, 0 and V, respectively. It also excludes the SS combination because it is reminiscent of the Nazi organisation and WW in the first group of letters as it indicates a temporary plate. Other combinations of letters that were avoided in the previous system because they sounded vulgar to French speakers, such as KK, PD, PQ, QQ, and WC, were included in the SIV.


title: Vehicle registration plates of France

text: The SIV system does not provide special plates for the government, army, police or any other organisation that had such plates under the previous system. Their vehicles display regular registration plates. The only exception concern temporary plates, which start with WW, and demonstration cars at car dealers, whose plates start with W.


title: Vehicle registration plates of France

text: As it is nationwide, the SIV system does not use geographical codes as did the previous system. At first, it was not planned to display the départments' codes on the new plates. Because of that, the new format encountered strong opposition. Parliamentarians from both the majority and opposition lobbied at the National Assembly to keep what they saw as a part of national identity. In 2008, several months before the SIV system was implemented, the Minister of the Interior acknowledged the attachment French people had to their départements and decided to add a blue band on the right to display geographical codes.


title: Vehicle registration plates of France

text: As it is not used for administrative purposes, car owners can choose the code of the they want, no matter where they reside. The code must be displayed together with the symbol of the corresponding region. It is forbidden to display the symbol of a region the chosen does not belong to. The code may be changed at any time without any change in the registration documents.


title: Vehicle registration plates of France

text: The codes are also used for other purposes, such as statistics and postcodes. They contain two numbers, such as 05 for Hautes-Alpes or 67 for Bas-Rhin. Some exceptions exist however. The two départements of Corsica, Corse-du-Sud and Haute-Corse, use 2A and 2B because they were only created in 1976 when the Corse département (20) was split in two. The overseas départements have three-digit codes, starting with 97, which was originally the single code for them all. For instance, the code for Guadeloupe is 971 and the one for Martinique is 972.


title: Vehicle registration plates of France

text: Shortly before the introduction of the system, French regions were asked which symbol they wanted to represent them on car plates. The vast majority chose their logos, except Alsace which opted for its coat of arms and Brittany and Corsica which chose their flags.


title: Vehicle registration plates of France

text: Before the introduction of the current format in 2009, French cars were registered under the FNI system (, "National Car Registration Record"). The FNI format was adopted in 1950 and amended several times due to its long operating life.


title: Vehicle registration plates of France

text: Vehicle owners had to re-register their vehicle if they relocated permanently to another . There used to be an annual tax on cars, called the "", whose rate depended on the . This tax now exists only for corporate-owned vehicles (and there exist exemptions for small numbers of vehicles); it is thus no longer important to know the department of a car on sight. Furthermore, computerised files allow large national databases to be maintained without the need for them to be split at local level.


title: Vehicle registration plates of France

text: A side effect of the vehicle tax system was that many corporations registered their vehicles in departments, such as Oise (60), with lower rates. Regulations aimed at preventing such schemes were passed in 1999.


title: Vehicle registration plates of France

text: As with the SIV format, plates issued under the FNI system were closely regulated by law. They had to meet a number of requirements about size, shape, colour, typeface and material. From the adoption of the format in 1950 until its withdrawal in 2009, several laws and orders came to modify regulations on plates. For instance, the blue band with the European stars and the letter F was introduced in 1998 and became compulsory on new plates in 2004.


title: Vehicle registration plates of France

text: At the beginning, plates were black with white or silver characters. Reflective plates were introduced in 1963 but only became compulsory on new cars in 1993. The new plates had to be white on the front and yellow on the rear until 2007, when white rear plates were allowed.


title: Vehicle registration plates of France

text: The FNI format was chronological, as is the SIV system. It was also regional, which means that it evolved independently in each . Registration plates contained from 4 to 8 alphanumeric characters split into three parts by spaces. The first space could be omitted on registration plates issued after 1996.


title: Vehicle registration plates of France

text: Numbering went as follows: numbers evolved first, starting from 1, until they reached 999. Then letters evolved. The first car registered in Paris had a 1 A 75 car plate, and the second one 2 A 75. Once 999 A 75 had been reached, the following car was registered under 1 B 75. The format would have been exhausted in Paris once 999 ZZZ 75 had been reached.


title: Vehicle registration plates of France

text: The following chronology summarises the numbering system. Most of the chose to have four numbers on their plates once the letters reached QA, in order to have more combinations available. The "00" at the end stands for the geographical code.


title: Vehicle registration plates of France

text: Numbers from 1 to 10 and numbers identical to the code (such as 24 VQ 24) were not used after 1976. As with the SIV system, The letters I and O were never used because they could be confused with other characters, like 1 and 0. U was excluded as well in 1984, similar to the letter V, but some départements issued registration plates containing that letter until 1991. The letter O was exceptionally used on official cars at the 1992 Winter Olympics in Albertville. Such cars had registration plates with figures between 1 JO 73 and 9999 JO 73. "JO" stands for "Jeux olympiques" while "73" is the code for Savoie where the games took place. Offensive letter combinations, for instance SS, PD, PQ, QQ, KK or WC, were avoided by some either because of historical reasons or because they sound vulgar to French speakers. In the same way, Haute-Garonne did not deliver car plates with "AZF" after the tragic explosion of the AZF factory in Toulouse in 2001. MMM, MMW, MWM and MWW were withdrawn in 1994 because they needed too much space on plates.


title: Vehicle registration plates of France

text: Bearing in mind that only 23 letters were used by the format and that most of the départements used four numbers after reaching QA, the number of car plates that the FNI format provides can be estimated at: (999 × 22) + (999 × 14 × 23) + (9988 × 9 × 23) + (988 × 21 × 23 × 23) = 13,386,864. This figure does not take into account avoided letter and number combinations.


title: Vehicle registration plates of France

text: Under the FNI system, the code of the was placed at the right of the registration plate. The codes are part of the Community Identification Number known in France as "Code officiel géographique" and are not only used for car registration but also in postcodes, statistics and for many other purposes.


title: Vehicle registration plates of France

text: Each code consists of two digits except for Corse-du-Sud and Haute-Corse (2A and 2B) and the overseas départments where the identifier consists of 3 digits (in the series 971 to 978), the first two digits were often stacked on plates to save space.


title: Vehicle registration plates of France

text: Between 1950 and 2009, France experienced some territorial changes which reflected on regional codes. Algeria was part of France until 1962 and French Algeria was also divided into départements. They had their own codes which were used on plates the same way as in the rest of France: Alger 91, Oran 92, Constantine 93 and the Southern Territories 94. Bône was created in 1955 and received 99. Several new départements were created in 1956–1958 as France was struggling with independence movements in the Algerian War. The new départements used codes such as 9A, 9B, 9C, 9D, etc. After the independence of the country, French car plates were no longer used there and Algerian codes became obsolete.


title: Vehicle registration plates of France

text: In 1968, two in the Paris region were split into smaller ones because of the growing population. 75, which had been the code for Seine, was attributed to Paris and 78 (Seine-et-Oise) to Yvelines. Newly created were Essonne (91), Hauts-de-Seine (92), Seine-Saint-Denis (93), Val-de-Marne (94) and Val-d'Oise (95). Most of them received numbers that had previously been allocated to the in French Algeria.


title: Vehicle registration plates of France

text: Saint Pierre and Miquelon, now a self-governing overseas collectivity with its own registration plates, was a proper between 1976 and 1985. As such, it could have had FNI format car plates but it always kept its own local format.


title: Vehicle registration plates of France

text: The state public services, such as the National Police (), had special plates that comprised the code; a letter to indicate in which area the vehicle was authorised to travel (D for the , R for the region, N for the national territory, E for the European Union); a dash; four numbers from 1001 to 9999; and a letter.


title: Vehicle registration plates of France

text: The French Armed Forces (), including the Gendarmerie () had a different registration plate with: a number to identify the army unit (2 for Gendarmerie, 6 for the Army (), 7 for the Air Force (), 7 for the Navy () and 8 for the General Services); two digits to identify the year of car registration (01 for 2001); a number to identify the type of vehicle (1 for cars and coaches, 3 for lorries, etc.) and four numbers from 0001 to 9999. Registration plates bore the symbol of the army unit the vehicle belonged to, for instance a black anchor on a French flag for the Navy.


title: Vehicle registration plates of France

text: The Paris Fire Brigade (), although part of the Armed Forces, had different plates with letters to identify the type of vehicle, for instance PS for first aid, followed by numbers. The Marseille Naval Fire Battalion () used regular plates with the Bouches-du-Rhône code, while the one in Brest used similar plates as the Navy.


title: Vehicle registration plates of France

text: In Paris, RATP buses used special registration plates with only four numbers until March 2003, when standard registration plates were adopted.


title: Vehicle registration plates of France

text: Diplomatic cars used green plates with orange or white lettering, depending on the series. Plates comprised one to three numbers identifying the embassy or the international organisation; letters identifying the status (C for consulates, CD for embassies, CMD for ambassadors, K for technical staff); and a series of numbers.


title: Vehicle registration plates of France

text: Agricultural vehicles had white or yellow plates with black lettering. They contained one to five numbers identifying the farm and the code. Several vehicles belonging to the same farm could share the same figures.


title: Vehicle registration plates of France

text: German military staff in France used black plates with white characters. Registration plates started with DF followed by a number identifying the headquarters area (0 to 3 for Paris, 4 for Var and 6 to 9 for Strasbourg) and three numbers between 000 and 999.


title: Vehicle registration plates of France

text: Vehicles owned by the French Forces and Civilian Elements stationed in Germany (FFECSA) carried a pale blue plate with silver characters. Plates contained a number from 0 to 9; a number identifying the headquarters area (0 for the Comptoir de l'Économat, 1 Baden-Baden, 2 Freiburg im Breisgau, 3 Landau-Pfalz, etc.); a dash; and four numbers between 1001 and 9999.


title: Vehicle registration plates of France

text: As with the SIV system, the FNI allowed temporary plates for car dealers and mechanics. They contained one to four numbers, the two letters WW and the département code. Some used an extra letter after WW. Monaco could use these plates but with a blue background, white lettering and MC instead of the département code.


title: Vehicle registration plates of France

text: Duty-free cars purchased abroad or in the free trade zones of Gex and Savoie used red plates with white or silver characters. They contained one to three numbers; three letters between TAA and TZZ; a département code; and an expiry date. Cars bought outside the European Union and registered in Gex and Savoie had plates with five numbers; TT; and a letter identifying the free zone (Q for Savoie and W for Gex). They did not have an expiry date as they were valid as long as the owner resided in a free zone.


title: Vehicle registration plates of France

text: The very first attempt to register vehicles in France date from the 18th century. In 1749, a Marechaussee officer from Paris suggested a system of vehicle identification to Louis XV. His idea only concerned Paris, where crimes were numerous in the streets. No decision was taken until 1783, when Louis XVI required coachmen to put a metal plate with their name and address on their carriage.


title: Vehicle registration plates of France

text: In the 19th century, several French cities implemented local registration systems for carriages. For instance in Lyon, they had to bear a plate with a number to cross the Parc de la Tête d'Or. In 1893, it became mandatory for all cars and carriages in France to have a plate with the name and address of the owner. Registration documents, called "" ("grey card"), were created in 1899.


title: Vehicle registration plates of France

text: Following the rapid development of the motor vehicle at the end of the 19th century, French authorities adopted a nationwide registration system in 1901. The 11 September 1901 Circular created a regional system and registration plates contained three numbers followed by a letter identifying a region. In 1899, the Mining Administration had been chosen to approve car engines, and it logically had to attribute the new plates. The administration decided to use its regional mapping and attributed a letter to each of its districts. Each district comprised up to ten . They were only used by the Mining Administration and they have nothing to do with present-day French regions.


title: Vehicle registration plates of France

text: The system did not offer a wide range of combinations, even if regions could begin a second series of three numbers once they had reached 999 with the first one. The identifying letter had to be doubled to show that a car plate belonged to the second series.


title: Vehicle registration plates of France

text: To anticipate any shortage, three regions obtained a second letter in 1904: O for Nancy, K for Poitiers and V for Marseille. Regions were allowed to begin new series of three numbers in 1905. The new ones were distinguished from the original ones by a number between 2 and 9 added after the letter. 1 was probably avoided because it could have been confused with another character such as the I. As Paris was still running up of combinations, four-digit series were allowed locally in 1910.


title: Vehicle registration plates of France

text: Temporary registration plates for vehicles for sale were created in 1909. They had the letter W instead of the regional code.


title: Vehicle registration plates of France

text: In 1919, regions were reorganised. Some disappeared while other ones were created. After its reversion to France following World War I, Alsace-Lorraine became the Strasbourg region in 1922. Until then, cars in that region had continued to use German plates with the regional code VI.


title: Vehicle registration plates of France

text: In 1928, a new system was adopted to replace the first one. It retained its regional characteristic but greatly widened geographic codes. Under the 1928 system, each département obtained its own codes consisting of two letters. The least populated, for instance Cantal and Haute-Loire, received only one code (here CZ and JZ respectively), while most of the départements received several ones. Seine, the most populous one, received several dozen new codes.


title: Vehicle registration plates of France

text: The new codes did not use the letters I and O (because they could be confused with the numbers 1 and 0) or W (which was reserved for use on provisional plates). Double letters and letter combinations that designated countries, such as GB for Great Britain, were also avoided. Blocks of codes were allocated to the départements following (for the most part) the alphabetical order of their names. The first département, Ain, thus received AB, AC, AD, and AE, while the last, Yonne, received ZU, ZV and ZY.


title: Vehicle registration plates of France

text: As the system lasted only 22 years, a lot of the départements never used all of their codes. Isère, for instance, was allocated HK, HL, HM, HN, HP, and HQ but used only HK.


title: Vehicle registration plates of France

text: Registration plates issued after 1928 were similar to the older ones, with one to four numbers followed by the two-letter code. This code could be in turn followed by a number from 1 to 9 for the same purpose as in the 1901 system. The first car registered in Paris obtained 1 RB, and when 999 RB had been reached the following car obtained 1 RB1.


title: Vehicle registration plates of France

text: Temporary plates for vehicles in transit on the French territory were created in 1933. They used TT instead of the geographical code. Diplomatic plates were first issued in 1936. They were in dark yellow with white lettering.


title: Vehicle registration plates of France

text: Initially planned to last 75 years, the system was withdrawn in 1950. The following format kept the geographical structure but identified départements with numbers rather than letters, allowing a greater range of combinations.


title: Vehicle registration plates of France

text: Overseas territories of France do not have the same system as continental France, unlike the overseas départements. Overseas territories have diverse statuses and enjoy a large autonomy. They are French Polynesia, Saint Pierre and Miquelon, Wallis and Futuna, Saint Martin, Saint Barthélemy, New Caledonia, the French Southern and Antarctic Lands (TAAF) and Clipperton Island.


title: Matt Hill

text: His roles include Ed in "Ed, Edd n Eddy", Kevin Keene/Captain N in "", Kira Yamato in "Gundam Seed" and "Gundam Seed Destiny", Raphael in "", Ryo Sanada in "Ronin Warriors", Carlos in "", Ironhide in "", and Artha Penn and Dragon Booster in "Dragon Booster". He is also the voice of the Wonderbolt Soarin' in "".


title: Matt Hill

text: He and Samuel Vincent are often cast together as friends, most famously in the Cartoon Network programme "Ed, Edd n Eddy", with Ed (Hill) & Edd (Vincent) and as the two protagonists of the "Mobile Suit Gundam SEED" franchise; Kira Yamato (Hill) and Athrun Zala (Vincent).


title: Matt Hill

text: He has one of the most youthful and recognized voices in the voice acting community, often cast in teenage roles because of this. His live-action role was his portrayal of Raphael in "Teenage Mutant Ninja Turtles III" and "". He also played the deputy in the live-action movie "Shanghai Knights", as well as a dramatized version of Jack Phillips in "Titanic".


title: Matt Hill

text: Besides voice acting, he is also an active athlete and avid marathon runner. He finished a year-long run around North America in 2008-2009, called the Run for One Planet. For the run, he and his partner ran a marathon nearly every day for one year in various cities across the United States and Canada and also gave school presentations and speaking events for environmental awareness.


title: Ang Dorje Sherpa

text: Ang Dorje (Chhuldim) Sherpa (born 1970) is a Nepali sherpa mountaineering guide, climber and porter from Pangboche, Nepal, who has climbed to the summit of Mount Everest 21 times. He was the climbing Sirdar for Rob Hall's Adventure Consultants expedition to Everest in spring 1996, when a freak storm led to the deaths of eight climbers from several expeditions, considered one of the worst disasters in the history of Everest mountaineering.


title: Ang Dorje Sherpa

text: Ang Dorje was born in 1970, in upper Pangboche, Nepal, near the Khumbu Valley as it passes down the slopes of Mount Everest. He grew up among Himalayan climbers; his father, Nima Tenzing Sherpa, was a climber with expeditions led by British mountaineer Chris Bonington in the 1970s and 1980s.


title: Ang Dorje Sherpa

text: He followed his father in work with climbing expeditions beginning as a porter at the age of 12. "I always wanted to climb when I was little," Ang Dorje says. He attended private school in Nepal, with assistance from western clients impressed by his work ethic, as he continued his mountaineering work with several expeditions in the Everest area. His efforts were rewarded when in 1992 at the age of 22 he reached the summit of Mount Everest.


title: Ang Dorje Sherpa

text: Ang Dorje has led many successful expeditions on Everest, frequently as climbing sirdar for Adventure Consultants, the guiding service founded by Rob Hall. During the disastrous 1996 expedition on Everest, he and Lhakpa Tshering Sherpa attempted to rescue Hall and others, in the deadly storm conditions that ultimately killed 8 climbers. They ascended 900 vertical meters to just below Everest's South Summit, only to be halted by impenetrable storm conditions just 100 meters from Hall. They waited 45 minutes before being forced back by the storm. Ang Dorje later commented on the incident saying, "It was very sad. Very difficult." The rescue efforts were recounted by Jon Krakauer in his account of the disaster, "Into Thin Air".


title: Ang Dorje Sherpa

text: In addition to his work as climbing sirdar on Everest, Ang Dorje has also worked as a mountain guide on Everest, as well as Aconcagua, Mount Rainier, Kilimanjaro, and Island Peak.


title: Ang Dorje Sherpa

text: He first guided Bachendri Pal, the first Indian woman to reach the summit of Mount Everest, in 1984, when he climbed Mount Everest for the second time.


title: Ang Dorje Sherpa

text: As of 2020, Ang Dorje had reached the summit of Mount Everest 20 times since 1992 (in both spring and autumn, all via the South Col route), Cho Oyu seven times since 1995, and had also summited Broad Peak (1995), Gasherbrum II (1997) and Ama Dablam (in 1996, via the southwest ridge route)


title: Ang Dorje Sherpa

text: After meeting American computational linguist Michelle Gregory at the southern Everest Base Camp, in 2002 he immigrated to the United States. The couple wed a year later. He returns to climb Everest each spring, in part to be able to visit family as he passes on the way to the mountain. He completed his 19th summit of Everest in 2017.


title: Ang Dorje Sherpa

text: When he is not leading clients in the Himalayas, Ang Dorje works as a wind turbine mechanic in the wind farms on the northwest side of the US.


title: Ang Dorje Sherpa

text: He spent time in 19971998 climbing in Jotunheimen in Norway with amongst others his friend Morten Skjellen-Larsen.


title: Raising Cain

text: Raising Cain is a 1992 American psychological horror thriller film written and directed by Brian De Palma, and starring John Lithgow, Lolita Davidovich and Steven Bauer.


title: Raising Cain

text: Respected child psychologist Dr. Carter Nix's wife, Jenny, becomes concerned that he is obsessively studying their daughter Amy; he regards her like a scientist tracking the development of his creation. However, Carter himself suffers from multiple personality disorder, as his alternate personalities include violent petty criminal Cain, shy 7-year-old boy Josh, and middle-aged nanny Margo who protects the others at all costs. Carter and Cain are killing young mothers to procure their children, apparently for experiments performed by Carter's father, a child psychologist who lost his license years earlier after performing unethical experiments on children.


title: Raising Cain

text: Jenny is having an affair with her ex-boyfriend Jack Dante, the widower of a former patient, and she plans to leave Carter for him. When Carter discovers their tryst, Cain takes over and begins leaving subtle clues for the police implicating Jack in the murders. Next, he attempts to kill Jenny by suffocating her and submerging her car in a lake. She escapes, however, and confronts Carter at home. Unable to find Amy, Jenny demands Carter tell her where she is. Carter replies that she is with his father - only for an incredulous Jenny to reply that his father has been dead for years.


title: Raising Cain

text: The police contact Dr. Lynn Waldheim, who co-wrote a book with Nix Sr. called "Raising Cain", about a boy with multiple personality disorder. Nix Sr. had extensive detailed knowledge of Cain's tortured childhood, including taped recordings of their sessions. However, Waldheim was never allowed to meet Cain. She eventually discovered the truth: Nix Sr. dispassionately put his own son through years of severe child abuse to gain firsthand accounts of his traumatic psychological development and study the emerging personalities. Horrified, Waldheim quit the project. Nix Sr. then disappeared, leaving behind a suicide note. After the police make the connection, Carter is apprehended for attempted murder. Waldheim is sent in alone to interrogate him.


title: Raising Cain

text: During interrogation, Margo and Josh act and speak for Carter. Josh recites a rhyme and vanishes, and Margo assumes control, stonewalling Waldheim from any further questioning. Eventually, Carter and Cain break from their confines and pounce upon Dr. Waldheim, knocking her unconscious and leaving the building disguised as her. The police soon find Waldheim, who begs them to arrest Carter before he harms Amy.


title: Raising Cain

text: Jenny follows a woman who she thinks is Waldheim to a motel, but it is actually Carter/Cain. She follows Carter/Cain, who is now Margo, into an elevator. When it opens, she sees Nix Sr. holding Amy hostage. While Jenny begs for Nix Sr. to give back her daughter, Carter, Cain and Margo stab "their" father from behind. Jack arrives with the police, and Carter and his personalities disappear.


title: Raising Cain

text: Later on, Jenny takes Amy to a park and explains to her friend Sarah that Nix Sr. faked his own death and established a new identity and a clandestine research facility in Norway. He had been using Carter and his multiples to procure the children so he would have an adequate control group to study the development of MPD.


title: Raising Cain

text: Amy runs off into the woods, calling for her father. Jenny follows her and finds Amy, who says her father has gone away. When Jenny bends down to pick Amy up, Carter appears behind her in a wig and a dress; Margo is now in control.


title: Raising Cain

text: During production on "The Bonfire of the Vanities", Brian De Palma toyed around with the idea of a suspense movie set on a playground. He was concerned however, that returning to the suspense genre was dangerous for him as it could be regarded as a step backward in his career. Part of the plot's inception came from de Palma's own experience having a relationship with a married woman; while watching her sleep, he wondered what would happen if he did not wake her.


title: Raising Cain

text: Originally titled "Father's Day", "Raising Cain" was the director's first in the suspense/thriller genre in almost a decade; the prior was 1984's "Body Double". The role of the five characters, or personalities (Carter, Cain, Dr. Nix, Josh, and Margo) went to John Lithgow, who had previously worked with De Palma in "Obsession" and "Blow Out".


title: Raising Cain

text: Production took place in southern San Francisco Peninsula, California communities of Mountain View, Los Altos, Palo Alto, Menlo Park, and Woodside. Locations included Stanford Shopping Center, the old Stanford Children's Hospital, and Mountain View City Hall, as well as the Legion of Honor Museum in San Francisco. The film's director Brian De Palma and producer Gale Anne Hurd were married and living in Woodside at the time. De Palma explained, "Gale was pregnant, and I wanted to do a movie that I could do very simply and that was close to home."


title: Raising Cain

text: Janet Maslin of "The New York Times" called the film a "delirious thriller" that "finds Mr. De Palma creating spellbinding, beautifully executed images that often make practically no sense. Working with an exhilirating sense of freedom, he seems to not care in the least what any of it really means. The results are playful, lively and no less unstrung than Dr. Carter Nix himself." Lawrence Cohn of "Variety" described the film as "a superficial, often risible, exercise in pure aesthetics that's likely to turn off mainstream audiences, spelling a fast flop. As a showcase for John Lithgow's acting talents and a visual tour de force, the film may delight the director's most camp followers." Kenneth Turan of the "Los Angeles Times" wrote that "De Palma has concocted a hugely improbable stew that is preposterous from beginning to end. And, despite some early confusion on this point, he has clearly done so with careful deliberation, intending 'Raising Cain' to function simultaneously as both a thriller and a parody of thrillers. A commendably ambitious idea, but one that does not work well at all in this particular case." Dave Kehr of the "Chicago Tribune" gave the film one star out of four and wrote, "Lifting his subject this time from Michael Powell's extremely disturbing 'Peeping Tom' of 1960, De Palma has created one of the most incoherent films in memory, a mass of contradictions and inconsistencies that appears to have defeated the best efforts of three credited editors to make marginal sense of it." Hal Hinson of "The Washington Post" wrote that "director Brian De Palma addresses his most vivid personal issues—his obsession with Hitchcock and twins, and the loss of innocence—but he runs through them impersonally, as if the luster of his own obsessions has worn off. That luster is about all that's missing from this flamboyant, skillfully crafted bit of moviemaking, but its absence makes 'Raising Cain' seem like something of a rehash." Owen Gleiberman of "Entertainment Weekly" assigned a grade of B- and wrote: "Is "Raising Cain" a good movie? No way. You could almost say it's intentionally bad — a gleeful piece of jerry-built schlock. Yet De Palma's naughty-boy gamesmanship has a perverse fascination, even when it doesn't work (which is most of the time)."


title: Raising Cain

text: "Raising Cain" holds a 61% rating on Rotten Tomatoes based on 38 reviews. The site's critical consensus states ""Raising Cain" doesn't rank with Brian De Palma's best work, but John Lithgow's spellbinding split-personality performance makes this thriller hard to dismiss."


title: Raising Cain

text: A Collector's Edition Blu-ray of the film featuring the director's cut as well as the theatrical cut was released on September 13, 2016. The director's cut features scenes that are reorganized as originally intended. The cut was originally edited by Peet Gelderblom, a director from the Netherlands and a long-time De Palma fan. He found out De Palma had regrets about the theatrical cut, created a fan edit to more closely resemble the original script, and posted the result on IndieWire in January 2012. De Palma came across Gelderblom's edit and was impressed by it, and successfully arranged to have the cut added to the Blu-ray release.


title: The Secret Agent

text: The Secret Agent: A Simple Tale is a novel by Joseph Conrad, first published in 1907. The story is set in London in 1886 and deals with Mr. Adolf Verloc and his work as a spy for an unnamed country (presumably Russia). "The Secret Agent" is one of Conrad's later political novels in which he moved away from his former tales of seafaring. The novel is dedicated to H. G. Wells and deals broadly with anarchism, espionage, and terrorism. It also deals with exploitation of the vulnerable in Verloc's relationship with his brother-in-law Stevie, who has an intellectual disability. Conrad’s gloomy portrait of London depicted in the novel was influenced by Charles Dickens’ "Bleak House".


title: The Secret Agent

text: The novel was modified as a stage play by Conrad himself and has since been adapted for film, TV, radio and opera.


title: The Secret Agent

text: Because of its terrorism theme, it was one of the three works of literature most cited in the American media two weeks after the September 11 attacks.


title: The Secret Agent

text: Set in London in 1886, the novel follows the life of Adolf Verloc, a secret agent. Verloc is also a businessman who owns a shop which sells pornographic material, contraceptives and bric-a-brac. He lives with his wife Winnie, his mother-in-law, and his brother-in-law, Stevie. Stevie has a mental disability, possibly autism, which causes him to be excitable; his sister, Verloc's wife, attends to him, treating him more as a son than as a brother. Verloc's friends are a group of anarchists of which Comrade Ossipon, Michaelis, and "The Professor" are the most prominent. Although largely ineffectual as terrorists, their actions are known to the police. The group produces anarchist literature in the form of pamphlets entitled "F.P.", an acronym for "The Future of the Proletariat".


title: The Secret Agent

text: The novel begins in Verloc's home, as he and his wife discuss the trivialities of everyday life, which introduces the reader to Verloc's family. Soon after, Verloc leaves to meet Mr Vladimir, the new First Secretary in the embassy of a foreign country. Although a member of an anarchist cell, Verloc is also secretly employed by the Embassy as an agent provocateur. Vladimir informs Verloc that from reviewing his service history he is far from an exemplary model of a secret agent and, to redeem himself, must carry out an operation – the destruction of Greenwich Observatory by a bomb. Vladimir explains that Britain's lax attitude to anarchism endangers his own country, and he reasons that an attack on 'science', the current vogue amongst the public, will provide the necessary outrage for suppression. Verloc later meets his friends, who discuss politics and law, and the notion of a communist revolution. Unbeknownst to the group, Stevie, Verloc's brother-in-law, overhears the conversation, which greatly disturbs him.


title: The Secret Agent

text: The novel flashes forward to after the bombing has taken place. Comrade Ossipon meets The Professor, who discusses having given explosives to Verloc. The Professor describes the nature of the bomb he carries in his coat at all times: it allows him to press a button which will kill him and those nearest to him in twenty seconds. After The Professor leaves the meeting, he stumbles into Chief Inspector Heat, a policeman investigating a recent explosion at Greenwich, where one man was killed. Heat informs The Professor that he is not a suspect in the case, but that he is being monitored due to his terrorist inclinations and anarchist background. Heat suspects Michaelis. Knowing that Michaelis has recently moved to the countryside to write a book, the Chief Inspector informs the Assistant Commissioner that he has a contact, Verloc, who may be able to assist in the case. The Assistant Commissioner shares some of the same high society acquaintances with Michaelis and is chiefly motivated by finding the extent of Michaelis's involvement in order to assess any possible embarrassment to his connections. He later speaks to his superior, Sir Ethelred, about his intentions to solve the case alone, rather than rely on the effort of Chief Inspector Heat.


title: The Secret Agent

text: The novel flashes back to before the explosion, taking the perspective of Winnie Verloc and her mother. At home, Mrs. Verloc's mother informs the family that she intends to move out of the house. The move is motivated largely by a desire to avoid straining Mr. Verloc’s kindness. Mrs. Verloc's mother and Stevie use a hansom driven by a man with a hook for a hand. The driver's tales of hardship, whipping of his horse, and menacing hook scare Stevie to the point where Mrs Verloc must calm him. On Verloc's return from a business trip to the continent, his wife tells him of the high regard that Stevie has for him and she implores her husband to spend more time with Stevie. Verloc eventually agrees to go for a walk with Stevie. After this walk, Mrs Verloc notes that her husband's relationship with her brother has improved. Verloc tells his wife that he has taken Stevie to go and visit Michaelis, and that Stevie would stay with him in the countryside for a few days.


title: The Secret Agent

text: As Verloc is talking to his wife about the possibility of emigrating to the continent, he is paid a visit by the Assistant Commissioner. Shortly thereafter, Chief Inspector Heat arrives to speak with Verloc, without knowing that the Assistant Commissioner had left with Verloc earlier that evening. The Chief Inspector tells Mrs Verloc that he had recovered an overcoat at the scene of the bombing which had the shop's address written on a label. Mrs Verloc confirms that it was Stevie's overcoat, and that she had written the address. On Verloc's return, he realises that his wife knows that his bomb killed her brother, and confesses what truly happened. A stunned Mrs Verloc, in her anguish, fatally stabs her husband.


title: The Secret Agent

text: After the murder, Mrs Verloc flees her home, where she chances upon Comrade Ossipon, and begs him to help her. Ossipon assists her while confessing romantic feelings but secretly with a view to possess Mr Verloc's bank account savings. They plan to run away and he aids her in taking a boat to the continent. However, her instability and the revelation of Verloc's murder increasingly worry him, and he abandons her, taking Mr Verloc's savings with him. He later discovers in a newspaper that a woman matching Mrs Verloc's description disappeared from the ferry, leaving behind her wedding ring before drowning herself in the English Channel.


title: The Secret Agent

text: Conrad's character Stevie is based on the French anarchist Martial Bourdin who died gruesomely when the explosives he carried detonated prematurely. Bourdin's motives remain a mystery as does his intended target, which may have been the Greenwich Observatory. In the 1920 Author's Note to the novel, Conrad recalls a discussion with Ford Madox Ford about the bombing:


title: The Secret Agent

text: Terrorism and anarchism are intrinsic aspects of the novel, and are central to the plot. Verloc is employed by an agency which requires him to orchestrate terrorist activities, and several of the characters deal with terrorism in some way: Verloc's friends are all interested in an anarchistic political revolution, and the police are investigating anarchist motives behind the bombing of Greenwich.


title: The Secret Agent

text: The novel was written at a time when terrorist activity was increasing. There had been numerous dynamite attacks in both Europe and the US, as well as several assassinations of heads of state. Conrad also drew upon two persons specifically: Mikhail Bakunin and Prince Peter Kropotkin. Conrad used these two men in his "portrayal of the novel's anarchists". However, according to Conrad's Author's Note, only one character was a true anarchist: Winnie Verloc. In "The Secret Agent", she is "the only character who performs a serious act of violence against another", despite the "F.P."'s intentions of radical change, and The Professor's inclination to keep a bomb on his person.


title: The Secret Agent

text: Critics have analysed the role of terrorism in the novel. Patrick Reilly calls the novel "a terrorist text as well as a text about terrorism" due to Conrad's manipulation of chronology to allow the reader to comprehend the outcome of the bombing before the characters, thereby corrupting the traditional conception of time. The morality which is implicit in these acts of terrorism has also been explored: is Verloc evil because his negligence leads to the death of his brother-in-law? Although Winnie evidently thinks so, the issue is not clear, as Verloc attempted to carry out the act with no fatalities, and as simply as possible to retain his job, and care for his family.


title: The Secret Agent

text: The role of politics is paramount in the novel, as the main character, Verloc, works for a quasi-political organisation. The role of politics is seen in several places in the novel: in the revolutionary ideas of the "F.P."; in the characters' personal beliefs; and in Verloc's own private life. Conrad's depiction of anarchism has an "enduring political relevance", although the focus is now largely concerned with the terrorist aspects that this entails. The discussions of the "F.P." are expositions on the role of anarchism and its relation to contemporary life. The threat of these thoughts is evident, as Chief Inspector Heat knows "F.P." members because of their anarchist views. Moreover, Michaelis' actions are monitored by the police to such an extent that he must notify the police station that he is moving to the country.


title: The Secret Agent

text: The plot to destroy Greenwich is in itself anarchistic. Vladimir asserts that the bombing "must be purely destructive" and that the anarchists who will be implicated as the architects of the explosion "should make it clear that [they] are perfectly determined to make a clean sweep of the whole social creation." However, the political form of anarchism is ultimately controlled in the novel: the only supposed politically motivated act is orchestrated by a secret government agency.


title: The Secret Agent

text: Some critics, such as Fredrick R Karl, think that the main political phenomenon in this novel is the modern age, as symbolised by the teeming, pullulating foggy streets of London (most notably in the cab ride taken by Winnie Verloc and Stevie). This modern age distorts everything, including politics (Verloc is motivated by the need to keep his remunerative position, the Professor to some extent by pride); the family (symbolised by the Verloc household, in which all roles are distorted, with the husband being like a father to the wife, who is like a mother to her brother); even the human body (Michaelis and Verloc are hugely obese, while the Professor and Yundt are unusually thin). This extended metaphor, using London as a centre of darkness much like Kurtz's headquarters in "Heart of Darkness", presents "a dark vision of moral and spiritual inertia" and a condemnation of those who, like Mrs Verloc, think it a mistake to think too deeply.


title: The Secret Agent

text: Initially, the novel fared poorly in the United Kingdom and the United States, selling only 3,076 copies between 1907 and 1914. The book fared slightly better in Britain, yet no more than 6,500 copies were printed before 1914. Although sales increased after 1914, it never sold more than modestly during Conrad's life. It was published to favourable reviews, most agreeing with the view of "The Times Literary Supplement" that it "increase[d] Conrad's reputation, already of the highest". However, there were detractors who criticised the novel's "unpleasant characters and subject". "Country Life" magazine called the story "indecent" and criticised Conrad's "often dense and elliptical style".


title: The Secret Agent

text: "The Secret Agent" has come to be considered one of Conrad's finest novels. "The Independent" calls it "[o]ne of Conrad's great city novels" whilst "The New York Times" insists that it is "the most brilliant novelistic study of terrorism". "The Pequod" called the book “one of Joseph Conrad's best books,” and rated the book a 9.5 out of 10.0.” In a 2016 review, "The National Review" said the book “may be the first great novel of global terrorism.”