Personality and identity.

Despite the perceptions that people may hold, owing to the long eyelashes and high-pitched voice (which Mel Blanc provided), Tweety is male although his ambiguity was played with. For example, in the cartoon "Snow Business", when Granny entered a room containing Tweety and Sylvester she said: "Here I am, boys!", whereas a 1952 cartoon was entitled "Ain't She Tweet" [emphasis added]. Also, his species is ambiguous; although originally and often portrayed as a young canary, he is also frequently called a rare and valuable "tweety bird" as a plot device, and once called "the only living specimen". Nevertheless, the title song of "The Sylvester & Tweety Mysteries" directly states that the bird is a canary. His shape more closely suggests that of a "baby" bird, which is what he was during his early appearances (although the "baby bird" aspect has been used in a few later cartoons as a plot device). The yellow feathers were added but otherwise he retained the baby-bird shape.  In his early appearances in Bob Clampett cartoons, Tweety is a very aggressive character who tries anything to foil his foe, even kicking his enemy when he is down. One of his most notable malicious moments is in the cartoon "Birdy and the Beast". A cat chases Tweety by flying until he remembers that cats cannot fly, causing him to fall. Tweety says sympathetically, "Awww, the poor kitty cat! He faw down and go ("in a loud, tough, masculine voice") BOOM!!" and then grins mischievously. A similar use of that voice is in "A Tale Of Two Kitties" when Tweety, wearing an air raid warden's helmet, suddenly yells, "Turn out those lights!" Tweety's aggressive nature was toned down when Friz Freleng started directing the series, with the character turning into a more cutesy bird, usually going about his business, and doing little to thwart Sylvester's ill-conceived plots, allowing them to simply collapse on their own; he became even less aggressive when Granny was introduced, but occasionally Tweety still showed a malicious side.

Creation by Bob Clampett.

Bob Clampett created the character that would become Tweety in the 1942 short "A Tale of Two Kitties", pitting him against two hungry cats named Babbit and Catstello (based on the famous comedians Abbott and Costello). On the original model sheet, Tweety was named Orson which was based on the model sheets in the early 40s (which was also the name of a bird character from an earlier Clampett cartoon "Wacky Blackout").  Tweety was created not as a domestic canary, but as a generic (and wild) baby bird in an outdoors nest: naked (pink), jowly, and also far more aggressive and saucy, as opposed to the later, more well-known version of him as a less hot-tempered (but still somewhat ornery) yellow canary. In the documentary "", animator Clampett stated, in a "sotto voce" "aside" to the audience, that Tweety had been based "on my own naked baby picture". Clampett did two more shorts with the "naked genius", as a Jimmy Durante-ish cat once called him in "A Gruesome Twosome". The second Tweety short, "Birdy and the Beast", finally bestowed the baby bird with his new name, and gave him his blue eyes.  Many of Mel Blanc's characters are known for speech impediments. One of Tweety's most noticeable is that /s/, /k/, and /g/ are changed to /t/, /d/, or (final s) /θ/; for example, "pussy cat" comes out as "putty tat", later rendered "puddy tat", and "sweetie pie" comes out as "tweetie pie" (a phonological pattern refered to as 'fronting'), hence his name. He also has trouble with liquid consonants: as with Elmer Fudd, /l/ and /r/ come out as /w/. In "Canary Row" and "Putty Tat Trouble", he begins the cartoon by singing a song about himself, "I'm a tweet wittow biwd in a giwded cage; Tweety'th my name but I don't know my age, I don't have to wuwy and dat is dat; I'm tafe in hewe fwom dat ol' putty tat." (Translation: "I'm a sweet little bird in a gilded cage...") Aside from this speech challenge, Tweety's voice is that of Bugs Bunny's, done a speed up only (if "The Old Grey Hare", which depicts Bugs as an infant, is any indication of that); the only difference is that Bugs doesn't have trouble pronouncing /s/, /k/ and /g/ as mentioned above.

Freleng takes over.

Clampett began work on a short that would pit Tweety against a then-unnamed, lisping black and white cat created by Friz Freleng in 1945. However, Clampett left the studio before going into full production on the short (which had a storyboard produced, where it was titled "Fat Rat and the Stupid Cat"), and Freleng took on the project. Freleng toned Tweety down and gave him a cuter appearance, including large blue eyes and yellow feathers. Clampett mentions in "Bugs Bunny: Superstar" that the feathers were added to satisfy censors who objected to the naked bird. The first short to team Tweety and the cat, later named Sylvester, was 1947's "Tweetie Pie", which won Warner Bros its first Academy Award for Best Short Subject (Cartoons).  Sylvester and Tweety proved to be one of the most notable pairings in animation history. Most of their cartoons followed a standard formula:  In a few of the cartoons, Sylvester does manage to briefly eat Tweety up with a gulp. However, either Granny or another character makes him spit Tweety out right away. Sylvester was also briefly eaten by Hector the Bulldog, and forced by Granny to spit him out. This occurred during the Christmas special episode, and as a punishment, both Sylvester and Hector were tied up with their mouths gagged shut.  In 1951, Mel Blanc (with Billy May's orchestra) had a hit single with "I Tawt I Taw a Puddy Tat", a song performed in character by Tweety and featuring Sylvester. In the lyrics Sylvester sings "I'd like to eat that Sweetie Pie when he leaves his cage", implying that Tweety's name is actually Sweetie Pie, altered in its pronunciation by Tweety's speech impediment. Sylvester, who has his own speech issues involving the sounds /s/ and /p/, slobbers the "S" in "Sweetie Pie", just as he would the /s/ sounds in his own name. Later the same name was applied to the young, pink female canary in the "Tiny Toon Adventures" animated TV series of the early 1990s.  From 1945 until the original Warner Bros. Cartoons studio closed, Freleng had almost exclusive use of Tweety at the Warner cartoon studio (much like Yosemite Sam), with the exception of a brief cameo in "No Barking" in 1954, directed by Chuck Jones (that year, Freleng used Pepé Le Pew, a Jones character, for the only time in his career and the only time in a Tweety short, "Dog Pounded").

Later appearances.

Tweety had a small part in "Who Framed Roger Rabbit", making Eddie Valiant (Bob Hoskins) fall from a flag pole by playing "This Little Piggy" with Valiant's fingers and releasing his grip. The scene is essentially a re-creation of a gag from "A Tale of Two Kitties", with Valiant replacing Catstello as Tweety's victim.  During the 1990s, Tweety also starred in the animated TV series "The Sylvester and Tweety Mysteries", in which Granny ran a detective agency with the assistance of Tweety, Sylvester and Hector. Tweety has the starring role. The storyline carries into the 2000 direct-to-video feature-length animated film "Tweety's High-Flying Adventure". Tweety's prototype, Orson, also made an appearance in the series.  Tweety also appears in "Tiny Toon Adventures" as the mentor of Sweetie Pie, and one of the faculty at Acme Looniversity.  In the 1995 cartoon short "Carrotblanca", a parody/homage to "Casablanca", Tweety appeared as "Usmarte", a parody of the character Ugarte played by Peter Lorre in the original film. In several sequences, Tweety was speaking and laughing in character like Peter Lorre. He also does the Looney Tunes ending instead of Porky Pig or Bugs Bunny. This is also notable for being a rare instance where Tweety is playing a villain character.  In 1996, Tweety appeared in the feature film, "Space Jam," with legendary basketball player Michael Jordan. In the film, Tweety was voiced by Bob Bergen.  In 2001, a younger version of Tweety appeared on "Baby Looney Tunes", thus coming full circle from his earliest appearances.  In 2010 Tweety was featured, with his Looney Tunes co-stars, in Cartoon Network's series "The Looney Tunes Show." He is voiced by Jeff Bergman. He appeared in the episode "Ridiculous Journey", where he and Sylvester work together to avoid getting eaten by Taz. He had been revealed to have fought in World War II alongside a young Granny. Sylvester also asked him how old he was, to which Tweety replied, "I'll never tell." Sylvester then asked if Tweety would at least tell him if he (Tweety) was a boy or a girl. Tweety whispered into his ear and Sylvester had a surprised expression and said "Huh, I was wrong."  Tweety recently appeared as a recurring character in "New Looney Tunes", where he is voiced by Eric Bauza and has been reverted to the more violent and aggressive personality that Bob Clampett originally gave him.

Merchandise.

Tweety and Sylvester have been used to endorse products such as Miracle Whip dressing and MCI Communications long distance. In 1998, the United States Post Office honored Tweety and Sylvester with a 32-cent postage stamp. Tweety also appears in products produced by Warner Brothers Studios.

Modern art.

British artist Banksy's 2008 New York art installation "The Village Pet Store and Charcoal Grill" features "Tweety", an animatronic sculpture of an aged and molting version of the character.

Comic books.

Western Publications produced a comic book about Tweety and Sylvester entitled "Tweety and Sylvester", first in Dell Comics "Four Color" series #406, 489, and 524, then in their own title from Dell Comics (#4–37, 1954–62), then later from Gold Key Comics (#1–102, 1963–72).

Voice actors.

Legendary voice artist Mel Blanc originated the character's voice. After the Golden Age of American Animation came to an end, Blanc continued to voice the character in TV specials, commercials, music recording, and films, such as 1988's "Who Framed Roger Rabbit", which was one of Blanc's final projects as Tweety. Following Blanc's death in 1989, several voice actors have provided the voice in his stead. These voice actors are:

Tweety is a yellow canary in the Warner Bros. "Looney Tunes" and "Merrie Melodies" series of animated cartoons. The name "Tweety" is a play on words, as it originally meant "sweetie", along with "tweet" being an English onomatopoeia for the sounds of birds. His characteristics are based on Red Skelton's famous "Mean Widdle Kid." Tweety appeared in 46 cartoons during the golden age, made between 1942 and 1962.


Early life.

Majors was born in Wyandotte, Michigan, a suburb of Detroit. His parents, Carl and Alice Yeary, were both killed in separate accidents (prior to his birth and when he was one year old, respectively). At age two, Majors was adopted by an uncle and aunt and moved with them to Middlesboro, Kentucky.  He participated in track and football at Middlesboro High School. He graduated in 1957, and earned a scholarship to Indiana University, where he again competed in sports. Majors transferred to Eastern Kentucky University in Richmond, Kentucky, in 1959. He played in his first football game the following year but suffered a severe back injury which left him paralyzed for two weeks and ended his college athletic career. Following his injury, he turned his attention to acting and performed in plays at the Pioneer Playhouse in Danville, Kentucky. Majors graduated from Eastern Kentucky in 1962 with a degree in History and Physical Education.  After college, he received an offer to try out for the St. Louis Cardinals football team. Instead, he moved to Los Angeles and found work at the Los Angeles Park and Recreation Department as the Recreation Director for North Hollywood Park. In LA, Majors met many actors and industry professionals, including Dick Clayton, who had been James Dean's agent, and Clayton suggested he attend his acting school. After one year of acting school, Clayton felt that Majors was ready to start his career. At this time, he picked up the stage name "Lee Majors" as a tribute to childhood hero Johnny Majors who was a player and future coach for the University of Tennessee. Majors also studied at Estelle Harman's acting school at MGM.

Career.

Early roles.

At age 25, Majors landed his first, although uncredited, role in "Strait-Jacket" (1964), as Joan Crawford's cheating husband. After appearing in a 1965 episode of "Gunsmoke", he starred later that year as Howard White in an episode of "The Alfred Hitchcock Hour", "The Monkey's Paw – A Retelling", based on the short story by W. W. Jacobs.  Majors got his big break when he was chosen out of over 400 young actors, including Burt Reynolds, for the co-starring role of Heath Barkley in a new ABC western series, "The Big Valley", which starred Barbara Stanwyck. Also starring on the show was another newcomer, Linda Evans, who played Heath's younger sister, Audra. Richard Long and Peter Breck played his brothers Jarrod and Nick, respectively. One of Heath's frequently used expressions during the series was "Boy howdy!" "Big Valley" was an immediate hit. During the series, Majors co-starred in the 1968 Charlton Heston film "Will Penny", for which he received an "Introducing" credit, and landed the lead role in "The Ballad of Andy Crocker" (1969), a made-for-television film which was first broadcast by ABC. The film was one of the very first films to deal with the subject matter of Vietnam veterans "coming home". That same year, he was offered the chance to star in "Midnight Cowboy" (1969), but "The Big Valley" was renewed for another season and he was forced to decline the role (which later went to Jon Voight). When "The Big Valley" was cancelled in 1969, he signed a long-term contract with Universal Studios. In 1970, Majors appeared in William Wyler's final movie "The Liberation of L.B. Jones", and joined the cast of "The Virginian" for its final season when the show was restructured as "The Men From Shiloh" featuring four alternating leads. Majors played new ranch hand Roy Tate.  Majors was called a "blond Elvis Presley" because of his resemblance to Elvis during this period of his career.

1970s: "The Six Million Dollar Man".

In 1971, he landed the role of Arthur Hill's partner, Jess Brandon, on "", which garnered critical acclaim during its three seasons on ABC.  Majors' co-starring role on Owen Marshall led him to a starring role as USAF Colonel Steve Austin, an ex-astronaut with bionic implants in "The Six Million Dollar Man", a 1973 television movie broadcast on ABC. In 1974, the network decided to turn it into a weekly series. The series became an international success, being screened in over 70 countries, turning Majors into a pop icon. Majors also made his directorial debut in 1975, on an episode called "One of Our Running Backs Is Missing" which co-starred professional football players such as Larry Csonka and Dick Butkus.  In 1977, with "The Six Million Dollar Man" still a hit series, Majors tried to renegotiate his contract with Universal Television. The studio in turn filed a lawsuit to force him to report to work due to stipulations within his existing contract that had not yet expired. It was rumored that Majors was holding out for more money, but his manager denied this: according to him, Majors was fighting to have his own production company, Fawcett Majors Productions, brought on as an independent producer in association with Universal in order to make the company viable. After Majors did not report to work that June, studio executives ultimately relented. However, ratings began to decline and "The Six Million Dollar Man" was cancelled in 1978 (as was "The Bionic Woman"). In November 2010, Time Life released a 40 DVD set featuring every episode and bonus features from the show.  He also appeared in several films during the 1970s. The TV movie "Francis Gary Powers: The True Story of the U-2 Spy Incident" (1976, as Francis Gary Powers), the Viking film "The Norseman" (1978) co-starring Cornel Wilde, the horror thriller "Killer Fish" (1979), the action movie "Steel" (1979), opposite Jennifer O'Neill, and the political thriller "Agency" (1980), starring Robert Mitchum.

1980s: "The Fall Guy".

In 1981, Majors returned in another long-running television series. Producer Glen A. Larson (who had first worked with Majors on "Alias Smith and Jones", where Majors guest starred in one episode, and later on "The Six Million Dollar Man") asked him to star in the pilot of "The Fall Guy". Majors played Colt Seavers, a Hollywood stuntman who moonlights as a bounty hunter. Majors was also a producer and a director on the show, and even sang its theme song, the self-effacing "Unknown Stuntman". Majors also invited several longtime friends, Linda Evans, Peter Breck, Lindsay Wagner and Richard Anderson, to guest-star in various episodes. The series ran for five seasons until it was cancelled in 1986.  His 1980s films include the made-for-TV sequel "" (1980), playing Gary Cooper's original role, the science fiction film "The Last Chase" (1981), and the disaster movie "" (1983). Between 1987 and 1994, Majors and Lindsay Wagner reunited in three "The Six Million Dollar Man"/"The Bionic Woman" TV movies. Majors also made cameo appearances in "Circle of Two" (1980) and as himself in the 1988 holiday comedy "Scrooged".

1990s–present.

In 1990, he starred in the film "Keaton's Cop", and had recurring roles in "Tour of Duty" and the short-lived 1992 series, "Raven". He also had supporting roles in the films "Trojan War" (1997), "Out Cold" (2001), "Big Fat Liar" (2002), and "The Brothers Solomon" (2007). He voiced the character of "Big" Mitch Baker in the 2002 video game "". He played Jaret Reddick's disconnected father in Bowling For Soup's 2007 video, "When We Die". That same year, he played Grandpa Max in "", and voiced a character on the APTN animated children's program "" that was named "Steve from Austin". He also played a minor role in Stephen King's "The Mist".  Majors played Coach Ross on the CW Network's television series "The Game", which ran from October 1, 2006, to May 20, 2009.  Majors appeared in the role of God in "Jim Almighty" a 2007 episode of "According to Jim". He later returned to the role in that show's 2009 series finale, "Heaven Opposed to Hell". Also in 2008, Majors played a member of the Minutemen (dedicated to preventing illegal border crossings) in season four of the Showtime series "Weeds", where he recruits Kevin Nealon's character. Majors reprised his role (voice only) as Col. Steve Austin in the "Bionic Woman" segment of the "Robot Chicken" season four episode "Love, Maurice" (2009).  In March 2010, Majors played the crusty sailing instructor in the "Community" episode "Beginner Pottery". In April 2010, he appeared as the mentor of the series lead in "Christopher Chance", the 12th episode of "Human Target". Later that year, he provided the voice of General Abernathy in "". He later reprised the role in a 2011 episode. In 2011, he appeared as "Rockwell" in "Jerusalem Countdown". From 2011 to 2014 he appeared in three episodes of the Fox comedy "Raising Hope", as Burt's father, Ralph. On February 1, 2013, it was announced that Majors would appear in a two-episode guest spot in season two of TNT's "Dallas" as Ken Richards, an old flame of Sue Ellen's. In 2015, he appeared as J.D. in the faith-based drama "Do You Believe?" and the hip-hop dance-themed series "Avengers of eXtreme Illusions". Lee Majors appeared in seasons 2 (premiered October 2016) and 3 (premiered February 2018) of "Ash vs Evil Dead" on STARZ as Brock Williams, the father of Ash Williams (Bruce Campbell). In late 2018, Majors voiced an animated "Six Million Dollar Man" action figure in an advertisement for Honda's "Happy Honda Days" sale event. In 2019, Majors voiced Jeff Tracy in Thunderbirds Are Go

Personal life.

Health.

In 2003, Majors had heart bypass surgery.

Los Angeles Express.

In April 1983, Majors became part owner of the LA Express of the United States Football League.

Popular culture.

The song "Midnight Train to Georgia" was inspired by Lee Majors and Farrah Fawcett. Songwriter Jim Weatherly phoned his friend Lee Majors one day, and the call was answered by Fawcett. Weatherly and Fawcett chatted briefly and she told him she was going to visit her mother and was taking "the midnight plane to Houston." Although Majors and Fawcett were both successful by that time, Weatherly used them as "characters" in his song about a failed actress who leaves Los Angeles, and is followed by her boyfriend who cannot live without her. Eventually the genders were swapped, the plane turned into a train, and Houston was changed to Georgia. The recording by Gladys Knight & The Pips went to Number One in 1973.  The title of the Beastie Boys song "Lee Majors Come Again" is a reference to Lee Majors.

Lee Majors (born Harvey Lee Yeary; April 23, 1939) is an American film, television and voice actor. Majors is best known for portraying the characters of Heath Barkley in the American television Western series "The Big Valley" (1965–1969), Colonel Steve Austin in the American television science fiction action series "The Six Million Dollar Man" (1973–1978), and Colt Seavers in American television action series" The Fall Guy" (1981–1986).


Life and work.

He was born into a family of merchants and artisans. In 1603, he entered the workshop of El Greco, and remained there until 1606. He initially imitated his teacher's style to the extent that many of his works have been attributed to him and vice versa. After El Greco's son, Jorge Manuel Theotocópuli, Tristán is considered to be his principle follower. He then spent seven years in Italy, returning home around 1613.  He would work exclusively in Toledo for the rest of his life. His post-Italian work showed the influence of the Caravaggisti and the general aesthetic approach of the Counter-reformation. Apart from a few realistic portraits, his work is religious in focus. Although his figures show the distortions typical of his master, he introduced elements from daily life, rendered in a naturalistic style that offsets their lack of realism.  His most important works may be a set of paintings made for the main altarpiece at the church of Saint Benedict of Nursia in Yepes, from approximately 1616, which includes six scenes from the life of Jesus and eight half-figures of various saints. During the Spanish Civil War, the altar was largely destroyed, but the torn canvases were repaired at the Museo del Prado and all but two were returned to the church in 1942.  Other works include "Saint Louis Distributing Alms", currently in the Louvre, and "The Round of Bread and Eggs" at the Museum of Santa Cruz.  One of his best-known students was the still-life painter, Pedro de Camprobín.

Luis Tristán de Escamilla, also known as Luis de Escamilla or Luis Rodríguez Tristán (c.1585, Toledo - 1624, Toledo), was a Spanish painter in the mannerist style.


History.

Edward Hugh Hebern was a building contractor who was jailed in 1908 for stealing a horse. It is claimed that, with time on his hands, he started thinking about the problem of encryption, and eventually devised a means of mechanizing the process with a typewriter. He filed his first patent application for a cryptographic machine (not a rotor machine) in 1912. At the time he had no funds to be able to spend time working on such a device, but he continued to produce designs. Hebern made his first drawings of a rotor-based machine in 1917, and in 1918, he built a model of it; in 1921, he applied for a patent for his machine, and a patent for it was issued in 1924. He continued to make improvements, adding additional rotors. Agnes Driscoll, the chief civilian employee of the US Navy's cryptography operation (later to become OP-20-G) between WWI and WWII, spent some time working with Hebern before returning to Washington and OP-20-G in the mid-'20s.  Hebern was so convinced of the future success of the system that he formed the Hebern Electric Code company with money from several investors. Over the next few years he repeatedly tried to sell the machines both to the US Navy and Army, as well as to commercial interests such as banks. None was terribly interested, as at the time cryptography was not widely considered important outside governments. It was probably because of William F. Friedman's confidential analysis of the Hebern machine's weaknesses (substantial, though repairable) that its sales to the US government were so limited; Hebern was never told of them. Perhaps the best indication of a general distaste for such matters was the statement by Henry Stimson in his memoirs that "Gentlemen do not read each other's mail." It was Stimson, as Secretary of State under Hoover, who withdrew State Department support for Herbert Yardley's American Black Chamber, leading to its closing.  Eventually his investors ran out of patience, and sued Hebern for stock manipulation. He spent another brief period in jail, but never gave up on the idea of his machine. In 1931 the Navy finally purchased several systems, but this was to be his only real sale.  There were three other patents for rotor machines issued in 1919, and several other rotor machines were designed independently at about the same time. The most successful and widely used was the Enigma machine.

Description.

The key to the Hebern design was a disk with electrical contacts on either side, known today as a "rotor". Linking the contacts on either side of the rotor were wires, with each letter on one side being wired to another on the far side in a random fashion. The wiring encoded a single substitution alphabet.  When the user pressed a key on the typewriter keyboard, a small amount of current from a battery flowed through the key into one of the contacts on the input side of the disk, through the wiring, and back out a different contact. The power then operated the mechanicals of an electric typewriter to type the encrypted letter, or alternately simply lit a bulb or paper tape punch from a teletype machine.  Normally such a system would be no better than the single-alphabet systems of the 16th century. However the rotor in the Hebern machine was geared to the keyboard on the typewriter, so that after every keypress, the rotor turned and the substitution alphabet thus changed slightly. This turns the basic substitution into a polyalphabetic one similar to the well known Vigenère cipher, with the exception that it required no manual lookup of the keys or cyphertext. Operators simply turned the rotor to a pre-chosen starting position and started typing. To decrypt the message, they turned the rotor around in its socket so it was "backwards", thus reversing all the substitutions. They then typed in the ciphertext and out came the plaintext.  Better yet, several rotors can be placed such that the output of the first is connected to the input of the next. In this case the first rotor operates as before, turning once with each keypress. Additional rotors are then spun with a cam on the one beside it, each one being turned one position after the one beside it rotates a full turn. In this way the number of such alphabets increases dramatically. For a rotor with 26 letters in its alphabet, five such rotors "stacked" in this fashion allows for 26 = 11,881,376 different possible substitutions.  William F. Friedman attacked the Hebern machine soon after it came on the market in the 1920s. He quickly "solved" any machine that was built similar to the Hebern, in which the rotors were stacked with the rotor at one end or the other turning with each keypress, the so-called "fast rotor". In these cases the resulting ciphertext consisted of a series of single-substitution cyphers, each one 26 letters long. He showed that fairly standard techniques could be used against such systems, given enough effort.  Of course, this fact was itself a great secret. This may explain why the Army and Navy were unwilling to use Hebern's design, much to his surprise.

The Hebern Rotor Machine was an electro-mechanical encryption machine built by combining the mechanical parts of a standard typewriter with the electrical parts of an electric typewriter, connecting the two through a scrambler. It is the first example (though just barely) of a class of machines known as rotor machines that would become the primary form of encryption during World War II and for some time after, and which included such famous examples as the German Enigma.


Effects.

The ADS works by firing a high-powered (100 kW output power) beam of 95 GHz waves at a target, which corresponds to a wavelength of 3.2 mm. The ADS millimeter wave energy works on a similar principle as a microwave oven, exciting the water and fat molecules in the skin, and instantly heating them via dielectric heating. One significant difference is that a microwave oven uses the much lower frequency (and longer wavelength) of 2.45 GHz. The short millimeter waves used in ADS only penetrate the top layers of skin, with most of the energy being absorbed within 0.4 mm ( inch), whereas microwaves will penetrate into human tissue about 17 mm (0.67 inch).  The ADS's effect of repelling humans occurs at slightly higher than 44 °C (111 °F), though first-degree burns occur at about 51 °C (124 °F), and second-degree burns occur at about 58 °C (136 °F). In testing, pea-sized blisters have been observed in less than 0.1% of ADS exposures, indicating that second degree surface burns have been caused by the device. The radiation burns caused are similar to microwave burns, but only on the skin surface due to the decreased penetration of shorter millimeter waves. The surface temperature of a target will continue to rise so long as the beam is applied, at a rate dictated by the target's material and distance from the transmitter, along with the beam's frequency and power level set by the operator. Most human test subjects reached their pain threshold within 3 seconds, and none could endure more than 5 seconds.  A spokesman for the Air Force Research Laboratory described his experience as a test subject for the system: For the first millisecond, it just felt like the skin was warming up. Then it got warmer and warmer and you felt like it was on fire.... As soon as you're away from that beam your skin returns to normal and there is no pain.  Like all focused energy, the beam will irradiate all matter in the targeted area, including everything beyond/behind it that is not shielded, with no possible discrimination between individuals, objects or materials. Anyone incapable of leaving the target area (e.g., physically handicapped, infants, incapacitated, trapped, etc.) would continue to receive radiation until the operator turned off the beam. Reflective materials such as aluminum cooking foil should reflect this radiation and could be used to make clothing that would be protective against this radiation.  Following approximately ten thousand test exposures of volunteers to ADS beams, a Penn State Human Effects Advisory Panel (HEAP) concluded that ADS is a non-lethal weapon that has a high probability of effectiveness with a low probability of injury: In April 2007, one airman in an ADS test was overdosed and received second-degree burns on both legs, and was treated in a hospital for two days. There was also one laboratory accident in 1999 that resulted in a small second-degree burn.

Possible long-term effects.

Many possible long-term effects have been studied, with the conclusion that no long-term effects are likely at the exposure levels studied. However, overexposures of either operators or targets may cause thermal injury. According to an official military assessment, "In the event of an overexposure to a power density sufficient to produce thermal injury, there is an extremely low probability that scars derived from such injury might later become cancerous. Proper wound management further decreases this probability, as well as the probability of hypertrophic scarring or keloid formation."  ADS operators would be exposed to more than the standard maximum permissible exposure (MPE) limits for RF energy, and military use requires an exception to these exposure limits.

History.

Development.

Two Active Denial Systems were developed under a Defense Department "Advanced Concept Technology Demonstration" Program (now known as Joint Concept Technology Demonstration Program) from 2002 to 2007. Unlike typical weapons development programs in the Defense Department, ACTDs/JCTDs are not focused on optimizing the technology; rather they are focused on rapidly assembling the technology in a configuration suitable for user evaluation.

Contracts.

On September 22, 2004, Raytheon was granted an FCC license to demonstrate the technology to "law enforcement, military and security organizations."  On October 4, 2004, the United States Department of Defense published the following contract information:

Demonstration.

The military has made the ADS available to the media for demonstrations on a number of occasions. A fully operational and mounted version of the system was demonstrated on January 24, 2007, at Moody Air Force Base, Georgia, United States. A Reuters correspondent who volunteered to be shot with the beam during the demonstration described it as "similar to a blast from a very hot oven – too painful to bear without diving for cover." An Associated Press reporter who volunteered to be engaged stated "They certainly convinced me that the system could help save the lives of innocent civilians and our young service members" CBS News correspondent did an in-depth story on ADS in March 2008. A demonstration was conducted for the media on March 9, 2012, at Marine Corps Base Quantico, Virginia.

Afghanistan deployment.

On June 21, 2010, Lt. Col. John Dorrian, a spokesman for the NATO forces commander General Stanley McChrystal, confirmed in an e-mail to "Wired" reporter Noah Shachtman that the ADS was deployed in Afghanistan. The spokesman added however that the system has not yet been used operationally.  The ADS has been removed from service in Afghanistan as of July 25, 2010. A former Principal Deputy Assistant Secretary of Defense noted that the recall of ADS from Afghanistan was an "opportunity missed" and "the non-lethality of the ADS system could prove useful in a counterinsurgency operation where avoidance of civilian casualties is essential to mission success."

Problems.

There have been speculations in open literature for why the ADS has not been used in a theater of operations. Some of the claimed problems expressed have included: (1) that a potential unreliability in certain environmental conditions, because precipitation (rain/snow/fog/mist) commonly dissipates RF energy, which may moderate the ADS's sensation to "warm and comfortable"; (2) that ADS may only work successfully against exposed skin, implying that heavier clothing may reduce its effectiveness and that its tactical usefulness may potentially be limited in striking specific personnel hiding in crowds of civilians, because this 'hiding' situation has not been seen in all recent theaters of operation (was reportedly observed in Somalia and Iraq, but reportedly not in Afghanistan). What the actual performance of ADS is relative to these concerns is not presently known to be published in open literature.

Active Denial System II.

In 2011, the ADS was redesigned to make it smaller, more reliable, and able to be used on the move. ADS II is being designed to operate from moving aircraft, as well as moving ground vehicles. The redesign does not address problems in different environmental conditions.  The Air Force Special Operations Command is experimenting with mounting an ADS of the AC-130J Ghostrider gunship to target threatening crowds or individuals on the ground. This is to give the gunship a non-lethal option so the crew has more engagement options. Due to the increasing number of engagements in populated areas, the Air Force is aiming to have fielded a system within 5–10 years to have enough aircraft available with less lethal systems. The aircraft will apparently use the ADS II version.

Concepts for use.

ADS was developed as a non-lethal weapon. According to Department of Defense policy, non-lethal weapons "are explicitly designed and primarily employed so as to incapacitate personnel or material, while minimizing fatalities, permanent injury to personnel, and undesired damage to property and the environment." ADS has applications for crowd control and perimeter defense, and filling "the gap between shouting and shooting." Other crowd control methods – including pepper spray, tear gas, water cannons, slippery foam and rubber bullets – carry implicit dangers of temporary or permanent injury or accidental death, and often leave residue or residual material. Combinations of acoustic and optical system platforms with ADS can be used to effectively communicate to, warn of escalation of force, introduce optical and auditory deterrents and step function the escalation of transmitted force from relatively benign to ultimately forced dispersal of a crowd, or to deny them from an area or access to an area. A group of people can theoretically be dispersed or induced to leave an area in a manner unlikely to damage personnel, non-involved civilians (no stray bullets), or to nearby buildings or the environment.  Non-lethal weapons are intended to provide options to U.S. troops, for example, "to stop suspicious vehicles without killing the drivers". Although the ADS millimeter wave frequency does not affect a car's electronic components, it can be used to deter a driver in an approaching vehicle. In a broader strategic context, non-lethal weapons such as ADS have the potential to offer "precision, accuracy, and effective duration that can help save military and civilian lives, break the cycle of violence by offering a more graduated response, and even prevent violence from occurring if the opportunity for early or preclusionary engagement arises."  The Council on Foreign Relations noted that "wider integration of existing types of nonlethal weapons (NLW) into the U.S. Army and Marine Corps could have helped to reduce the damage done by widespread looting and sabotage after the cessation of major conflict in Iraq."  In Afghanistan, the need to minimize civilian casualties has led to restrictive rules of engagement on the use of lethal force by US troops. A National Public Radio correspondent in Afghanistan "witnessed troops grappling with the dilemma of whether to shoot." Non-lethal weapons such as ADS provide an option for US forces in those situations.

Controversy.

The effects of this radio frequency on humans have been studied by the military for years, and much, but not all of the research has been published openly in peer-reviewed journals.  A news article criticized the sheer amount of time it is taking to field this system, citing the potential it had to avert a great deal of pain and suffering in volatile areas around the world.  Although the effects are described as simply "unpleasant", the device has the "potential for death".  While it is claimed not to cause burns under "ordinary use", it is also described as being similar to that of an incandescent light bulb being pressed against the skin, which can cause severe burns in just a few seconds. The beam can be focused up to 700 meters away, and is said to penetrate thick clothing although not walls. At 95 GHz, the frequency is much higher than the 2.45 GHz of a microwave oven. This frequency was chosen because it penetrates less than 1/64 of an inch (0.4 mm), which – in most humans, except for eyelids and babies – avoids the second skin layer (the dermis) where critical structures are found such as nerve endings and blood vessels.  The early methodology of testing, in which volunteers were asked to remove glasses, contact lenses and metallic objects that could cause hot spots, raised concerns as to whether the device would remain true to its purpose of non-lethal temporary incapacitation if used in the field where safety precautions would not be taken. However, these tests were early in the program and part of a thorough and methodical process to demonstrate the safety and effectiveness of the technology, which has now involved more than 600 volunteer subjects and some 10,200 exposures. As safety was demonstrated in each step of the process, restrictions were removed, and now, according to ADS proponents, there are no restrictions or precautions necessary for volunteers experiencing the effect. Long-term exposure to the beam may cause more serious damage, especially to sensitive tissues, such as those of the eyes. Two people have received second degree burns after exposure to the device. (The actual number of injuries, according to Stephanie Miller of AFRL/RDHR, is a total of eight – the two previously mentioned, and six others, who healed without medical intervention.)  In addition, some claim that subjects who have body piercings, jewelry, or tattoos are likely to suffer serious skin damage. Tattooed people can become ill due to high amounts of toxic substances released from heated/melted tattoo pigment. Human effects testing on the large-scale version of ADS included more than 13,000 exposures on over 700 volunteers. Both laboratory research and full-scale test results demonstrated that there is only a 0.1% chance of injury from a System 1 or System 2 exposure.  Critics cite that, although the stated intent of the ADS is to be a non-lethal device designed to temporarily incapacitate, modifications or incorrect use by the operator could turn the ADS into a more damaging weapon that could violate international conventions on warfare (although at this time, ADS has gone through numerous treaty compliance reviews and legal reviews by AF/JAO, and in all cases complies with every treaty and law).  Some have focused on the lower threshold of use which may lead those who use them to become "trigger-happy", especially in dealing with peaceful protesters. Others have focused on concerns that weapons whose operative principle is that of inflicting pain (though "non-lethal") might be useful for such purposes as torture, as they leave no evidence of use, but undoubtedly have the capacity to inflict horrific pain on a restrained subject. According to "Wired", the ADS has been rejected for fielding in Iraq due to Pentagon fears that it would be regarded as an instrument of torture.

Silent Guardian.

Defense contractor Raytheon has developed a smaller version of the ADS, the Silent Guardian. This stripped-down model is primarily marketed for use by law enforcement agencies, the military and other security providers. The system is operated and aimed with a joystick and aiming screen. The device can be used for targets over away, and the beam has a power of 30 kilowatts.  The Los Angeles County Jail installed the smaller-sized unit, under the name "Assault Intervention Device", on the ceiling of the Pitchess Detention Center in 2014.

The Active Denial System (ADS), is a non-lethal, directed-energy weapon developed by the U.S. military, designed for area denial, perimeter security and crowd control Informally, the weapon is also called the heat ray since it works by heating the surface of targets, such as the skin of targeted human subjects. Raytheon had marketed a reduced-range version of this technology. The ADS was deployed in 2010 with the United States military in the Afghanistan War, but was withdrawn without seeing combat. On August 20, 2010, the Los Angeles Sheriff's Department announced its intent to use this technology on prisoners in the Pitchess Detention Center in Los Angeles, stating its intent to use it in "operational evaluation" in situations such as breaking up prisoner fights. As of 2014, the ADS was only a vehicle-mounted weapon, though U.S. Marines and police were both working on portable versions. ADS was developed under the sponsorship of the Department of Defense Non-Lethal Weapons Program with the Air Force Research Laboratory as the lead agency. There are reports that Russia and China are developing their own versions of the Active Denial System.


Nature of music criticism.

The musicologist Winton Dean has suggested that "music is probably the most difficult of the arts to criticise." Unlike the plastic or literary arts, the 'language' of music does not specifically relate to human sensory experience – Dean's words, "the word 'love' is common coin in life and literature: the note C has nothing to do with breakfast or railway journeys or marital harmony." Like dramatic art, music is recreated at every performance, and criticism may, therefore, be directed both at the text (musical score) and the performance. More specifically, as music has a temporal dimension that requires repetition or development of its material "problems of balance, contrast, expectation and fulfilment... are more central to music than to other arts, supported as these are by verbal or representational content." The absence of a systematic or consensus-based musical aesthetics has also tended to make music criticism a highly subjective issue. "There is no counter-check outside the critic's own personality."

History.

To end of 18th century.

Critical references to music (often deprecating performers or styles) can be found in early literature, including, for example, in Plato's "Laws" and in the writings of medieval music theorists.  According to Richard Taruskin, the active concert life of late 18th-century London meant that "the role and the function of arts criticism as we know it today were the creations of the English public." However, the first magazines specifically devoted to music criticism seem to have developed in Germany, for example, Georg Philipp Telemann's "Der getreue Music-Meister" (1728), which included publications of new compositions, and "Der kritische Musikus" which appeared in Hamburg between 1737 and 1740. In France in the 1750s, the Querelle des Bouffons (the dispute between supporters of French and Italian opera styles as represented by Jean-Philippe Rameau and Jean-Baptiste Lully respectively) generated essays from Jean-Jacques Rousseau and others, including Denis Diderot's "Rameau's Nephew" (1761). The English composer Charles Avison (1709–1770) published the first work on musical criticism in the English language – an "Essay on Musical Expression" published in 1752. In it, Avison claims that since the time of Palestrina and Raphael, music had improved in status whilst pictorial art had declined. However, he believes that George Frideric Handel is too much concerned with naturalistic imitation than with expression, and criticises the habit, in Italian operas, of that egregious absurdity of repeating, and finishing many songs with the first part; when it often happens, after the passions of anger and revenge have been sufficiently expressed, that reconcilement and love are the subjects of the second, and, therefore, should conclude the performance. Typically, until the late eighteenth century, music criticism centred on vocal rather than instrumental music – "vocal music... was the apex of [the] aesthetic hierarchy. One knew what music was expressing."

Age of Romanticism.

The last years of the eighteenth century reflected both a change of patronage of music from the aristocracy to the rising middle-classes, and the rise of Romanticism in the arts. Both of these had consequences for the practice of music criticism; "the tone of the critic was lowered as his audience expanded: he began to approach the reader as a colleague rather than a pedagogue", and a new generation of critics began to widen their consideration to other aspects of music than its pure representative aspects, becoming increasingly interested in instrumental music. Prominent amongst these was E. T. A. Hoffmann, who wrote in 1809That instrumental music has now risen to a level of which one probably had no inkling not long ago and that the symphony, especially following...Haydn and Mozart, has become the ultimate form of instrumental music – the "opera" of instruments, as it were – all this is well-known to every music-lover.  A further impetus to the direction of music criticism was given by the changing nature of concert programming with the establishment of the European classical music canon; indeed it is at this period that the word 'classical' is first applied to a received musical tradition. At the same time, the proportion of new music to 'canonic' music in concert programming began to decline, meaning that living composers were increasingly in competition with their dead predecessors. This was particularly the case in respect of the rise of Beethoven's reputation in his last year and posthumously. This gave rise both to writings on the value of the 'canon' and also to writings by composers and their supporters defending newer music.  In 1798 the "Allgemeine musikalische Zeitung", edited by Friedrich Rochlitz (1769–1842), began publication in Leipzig, and this is often regarded as the precursor of a new genre of criticism aimed at a wider readership than qualified connoisseurs. In subsequent years several regular journals dedicated to music criticism and reviews began to appear in major European centres, including "The Harmonicon" (London 1823–33), "The Musical Times" (London, 1844-date), the "Revue et gazette musicale de Paris" (Paris 1827–1880, founded by François-Joseph Fétis), the "Berliner allgemeine musikalische Zeitung" founded in 1825 by A.M. Schlesinger and edited by A. B. Marx, and the "Neue Zeitschrift für Musik" founded in 1834 in Leipzig by Robert Schumann and Friedrich Wieck, and later edited by Franz Brendel. Other journals at this period also began to carry extensive writings on music: Hector Berlioz wrote for the Parisian "Journal des débats", Heinrich Heine reported on music and literature in Paris for the Stuttgart "Allgemeine Zeitung", the young Richard Wagner wrote articles for Heinrich Laube's magazine "Zeitung für die elegante Welt" and during his 1839–42 stay in Paris for Schlesinger's publishing house and German newspapers. In 1835 James William Davison (1813–85) began his lifelong career as a music critic, writing 40 years for "The Times."

"The Oxford Companion to Music" defines music criticism as "the intellectual activity of formulating judgments on the value and degree of excellence of individual works of music, or whole groups or genres". In this sense, it is a branch of musical aesthetics. With the concurrent expansion of interest in music and information media over the past century, the term has come to acquire the conventional meaning of journalistic reporting on musical performances.


Location.

Slovenia's location is where southeastern and Central Europe meet, where the Eastern Alps border the Adriatic Sea between Austria and Croatia. The 15th meridian east almost corresponds to the middle line of the country in the direction west–east.

Geographic coordinates.

Extreme geographical points of Slovenia:  The maximum north–south distance is 1°28' or.<br> The maximum east–west distance is 3°13' or.  The geometric centre of Slovenia (GEOSS) is located at.  Since 2016, the geodetic system of Slovenia with the elevation benchmark of 0 m has its origin at the Koper tide gauge station. Until then, it referred to the Sartorio mole in Trieste (see metres above the Adriatic).

Borders.

The entire Slovenian coastline is located on the Gulf of Trieste. Towns along the coastline include:

Regions.

Historical regions.

The traditional Slovenian regions, based on the former division of Slovenia into the four Habsburg crown lands of (Carniola, Carinthia, Styria, and the Littoral) and their parts, are:  The last two are usually considered together as the Littoral Region ("Primorska"). White Carniola ("Bela krajina"), otherwise part of Lower Carniola, is usually considered a separate region, as is the Central Sava Valley ("Zasavje"), which is otherwise a part of Upper and Lower Carniola and Styria.  Slovenian Littoral has no natural island, but there is a plan on building an artificial one.

Climate.

Humid subtropical climate (Cfa) on the coast, oceanic climate (Cfb) in most of Slovenia, continental climate with mild to hot summers and cold winters (Dfb) in the plateaus and mountains on the north, subpolar (Dfc) and tundra (ET) climate above the treeline on the highest mountain peaks. Precipitation is high away from the coast, with the spring being particularly prone to rainfall. Slovenia's Alps have frequent snowfalls during the winter.

Terrain.

A short coastal strip on the Adriatic Sea, an alpine mountain region adjacent to Italy and Austria, mixed mountain and valleys with numerous rivers to the east.  There is only one natural island in Slovenia: Bled Island in Lake Bled in the country's northwest. Lake Bled and Bled Island are Slovenia's most popular tourist destination.

Natural resources.

Lignite coal, lead, zinc, building stone, hydropower, forests

Environment.

Current issues.

The Sava River polluted with domestic and industrial waste; pollution of coastal waters with heavy metals and toxic chemicals; forest damage near Koper from air pollution (originating at metallurgical and chemical plants) and resulting acid rain.

Slovenia is situated at the crossroads of central and southeast Europe, touching the Alps and bordering the Adriatic Sea. The Alps—including the Julian Alps, the Kamnik-Savinja Alps and the Karawank chain, as well as the Pohorje massif—dominate northern Slovenia along its long border to Austria. Slovenia's Adriatic coastline stretches approximately from Italy to Croatia. Its part south of Sava river belongs to Balkan peninsula – Balkans.


Biography.

Writing career.

Collins has written novels, screenplays, comic books, comic strips, trading cards, short stories, movie novelizations and historical fiction. He wrote the graphic novel "Road to Perdition" (which was developed into a film in 2002), created the comic book private eye "Ms. Tree", and took over writing the "Dick Tracy" comic strip from creator Chester Gould. Collins briefly wrote the "Batman" comic book in 1987 and crafted a new origin for the Jason Todd character. Collins and artist Terry Beatty created Wild Dog at DC that same year in a self-titled limited series. The character would later appear as a feature in the "Action Comics Weekly" anthology. As of 2016, Wild Dog became a recurring character in the "Arrow" television series and is portrayed by actor Rick Gonzalez.  Another Collins contribution to the Batman franchise was scripting the English-language translation of "" in 2003. He wrote books to expand on the "Dark Angel" TV series. He has written books and comics based on the TV series franchise "CSI". In 2006 he wrote "Buried Deep" (also released as "Bones Buried Deep"), based on the TV series "Bones".  He has written two sequel novels to "Road to Perdition": "Road to Purgatory" and "Road to Paradise". He wrote three more graphic novels starring the characters from "Road to Perdition". These graphic novels, called collectively "On the Road to Perdition", form the basis of the film.  He co-founded the International Association of Media Tie-in Writers with Lee Goldberg. The IAMTW is an organization for writers of tie-ins and novelizations.  Collins studied in the Iowa Writers' Workshop at the University of Iowa.  Collins is a fan of the mystery writer Mickey Spillane from childhood and later became friends with him. The two collaborated on a comic book series in the 1990s called "Mike Danger". Upon Spillane's death in 2006, Collins was entrusted to finish several uncompleted works by Spillane including "Dead Street", "The Goliath Bone", and "The Big Bang".

Movies and music.

In addition to his work as a writer, Collins has written and directed four movies: "Mommy", "Mommy 2: Mommy's Day", "Real Time: Siege at Lucas Street Market", and "Eliot Ness: An Untouchable Life" (based on his Edgar Award–nominated play). All four were produced independently on location in Collins' hometown of Muscatine, Iowa. The first three are available on DVD — separately or in the "Black Box" set — from Troma Team Video, and the Ness film is distributed by VCI Entertainment. The DVD release of 'Real Time: Siege at Lucas Street Market' being notable for being one of the first films to take advantage of the multi-angle feature on DVD players, thus giving viewers the opportunity to watch the story unfold from different viewpoints.  Collins has written and performed music with his rock band, Crusin'.

Political views.

Collins is a Democrat, describing his political views thus: "I think of myself as slightly left of center, but my father thought of himself as slightly right of center, when he was slightly right of Genghis Khan. So who knows? I do know that I veer left when the right is getting out of hand, which they frequently do."

Personal life.

Collins and his wife, Barbara, have a son, Nathan.

Awards.

Collins received an Inkpot Award in 1982. He won the Shamus Award in 1984 and 1992.

Selected bibliography.

"Quarry" series.

This series features a former U.S. Marine sniper turned professional assassin after returning from the Vietnam War in 1973.  Cinemax has created a TV adaptation of "Quarry". Written by Michael D. Fuller and Graham Gordy based loosely on the book series, the project centers on a Marine marksman who, upon returning home from Vietnam in 1972, finds himself shunned by those he loves and demonized by the public. The disillusioned vet is quickly recruited into a network of contract killers and corruption spanning the Mississippi River. The show was cancelled in May 2017.

"Nolan" series.

This series features a professional thief, similar to and apparently inspired by Richard Stark's "Parker" character, who operates in the Midwest.

Mallory series.

The Mallory series is about a mystery writer in Iowa who solves crimes.

Nathan Heller series.

Collins's longest running series and arguably his best known work is his Nathan Heller series. Heller is a Chicago private investigator who gets involved in famous crimes and meets famous people of the 1930s and 1940s, including Orson Welles, Frank Nitti, and Sally Rand. The first novel in this historical fiction series, "True Detective", won the 1984 Shamus Award for Best P.I. Hardcover from the Private Eye Writers of America. Collins won his second Shamus in 1992 for the Heller novel "Stolen Away", an account of the Lindbergh kidnapping. His 1999 novel "Flying Blind" sees Heller investigate the disappearance of Amelia Earhart, along the way becoming romantically involved with her. With the release of "Chicago Confidential", Collins moved the action into the 1950s. "Target Lancer", about an alleged attempt to assassinate John F. Kennedy in Chicago just weeks before the actual assassination in Dallas, was published in November 2012.

Eliot Ness series.

This series of novels is about real life Untouchable Eliot Ness's career as Director of Public Safety in Cleveland.

Road to Perdition series.

(*) Note: "Road to Perdition: On the Road", is a single-volume collection of "On the Road to Perdition" Books 1–3.

Jack & Maggie Starr series.

A mystery series set in and around the American comic book industry during the tail end of the Golden Age of Comic Books

Max Allan Collins (born March 3, 1948) is an American mystery writer, noted for his graphic novels. His work has been published in several formats and his "Road to Perdition" series was the basis for a film of the same name. He wrote the "Dick Tracy" newspaper strip for many years and has produced numerous novels featuring the character as well.


Biography.

The band was formed in 1979 by two former milk delivery men, Lombrick Laul (bass player, and the future designer the band Bérurier Noir), and Masto Lowcost (born Tomas Huser, saxophonist and photographer). The two began stenciling the band's name on the walls of Paris which led to the originality of their look and their approach. The band was later joined by American-born keyboardist and singer Nina Childress, percussionist Raoul Gaboni, and vocalist Helno (born Noël Rota). The story of the band was they originally started as joke and picked which instruments they hated the most, and often were known playing mainly in squats in the Pali-Kao plant of Belleville. The music was often called "Wild, dadaist, juvenile, and anti-commercial", and the band had been likened to UK based punk bands the Slits, Crass and X-Ray Spex. With Laul and Nina's artistic backgrounds, the band also designed their own graphics and videos which often accompanied them when they played live.  The band's debut EP was the self-released vinyl "Nepla Relou", which was later followed by a split with fellow French punk band MKB Fraction Provisoire, which had also featured drummer Raoul Gaboni in 1983. The band continued to play live supporting acts such as Einsturzende Neubauten before playing their last gig in February 1984 at the Théâtre du Petit Forum des Halles. A collected album from the first two EPs entitled "I Love You, Fuck Off" was released in 1987; another reissue of the band's music entitled "La Qui Vache Rit" was released in 1991. The latest self-titled compilation of Lucrate Milk's music was released in France in 2005, which included a DVD and a backstory of the band's success in the French punk underground. After the band's breakup, many of the members went on to form various other bands including Bérurier Noir. Nina Childress became a painter, and a member of the art collective the "Frères Ripoulin". Helno (rechristened Helno Rota de Lourcqua) became the singer of Les Negresses Vertes; in 1993, he died of a heroin overdose at age 29.

Lucrate Milk (short for Lucrative Milk) were a French art punk and No Wave band from Paris, France. The band lasted from 1979 to 1983. The group has retained a certain aura to this day in France's punk circles due to their complete lack of compromise and influence on the French DIY scene. Sometime after the disband of Lucrate Milk, some of the former members formed the band Bérurier Noir and Les Négresses Vertes.


Theatre.

In the early days of film the word "photoplay" was quite commonly used for motion pictures. This illustrates how a movie can be thought of as a photographed play. Much of the production for a live-action movie is similar tot that of a theatre play, with very similar contributions by actors, a theatre director/film director, producers, a set designer, lighting designer, costume designer, composer, etc. Much terminology later used in film theory and film criticism was already applied for theatre, such as mise en scene.  Many early films by Edison's company, Max Skladanowsky and other pioneers, consisted of popular vaudeville acts performed in

Shadow play.

The earliest projection of images was most likely done in primitive shadowgraphy dating back to prehistory. It evolved into more refined forms of shadow puppetry, mostly with flat jointed cut-out figures which are held between a source of light and a translucent screen. The shapes of the puppets sometimes include translucent color or other types of detailing. Plato seemed to hint at shadow puppetry in his "Allegory of the Cave" (circa 380 BCE) but no other signs

Camera obscura.

Projection of images can occur naturally when rays of light pass through a small hole and produce an inverted image on a surface in a dark area behind the hole. This phenomenon is known as camera obscura or pinhole image. Its oldest known recorded description is found in Chinese Mohist writings dated to circa 400 BCE. However, people have probably witnessed and made use of occurrences of the phenomenon since prehistoric times. It has been suggested that distortions in the shapes of animals in many paleolithic cave paintings were possibly based on distortions seen in pinhole images formed through tiny holes in tents or in screens of animal hide. Some ancient sightings of gods and spirits, especially in temple worship, are thought to possibly have been conjured up by means of camera obscura or proto magic lantern projections. In Arab and European science the camera obscura was used in darkened rooms since circa 1000 CE to study light and especially sun eclipses.  Very occasionally the camera obscura was thought of as an instrument for live projections of performances to entertain an audience inside a darkened room. Purportedly Arnaldus de Villa Nova did so at the end of the 13th century.  The use of a lens in the opening of a wall or closed window shutter of a darkened room to project clearer images has been dated back to 1550.  Giambattista della Porta's very popular and influential "Magia Naturalis" helped popularize the camera obscura. In the 1558 first edition of the book series, Della Porta advised to use a convex mirror to project the image onto paper and

Magic lantern and other image projectors.

The "trotting horse lamp" [走馬燈] has been known in China since before 1000 CE. It is a lantern which on the inside has cut-out silhouettes attached to a shaft with a paper vane impeller on top, rotated by heated air rising from a lamp. The silhouettes are projected on the thin paper sides of the lantern and appear to chase each other. Some versions showed more motion with the heads, feet or hands of figures connected with fine iron wire to an extra inner layer and triggered by a transversely connected iron wire. The lamp would typically show images of horses and horse-riders.  Several scholars and inventors, like Giovanni Fontana (circa 1420), Leonardo da Vinci (circa 1515) and Cornelis Drebbel (1608) possibly had early image projectors before the invention of the Magic Lantern. Athanasius Kircher's 1645 first edition of "Ars Magna Lucis et Umbrae" included a description of his forerunner to the magic lantern: the "Steganographic Mirror". This was a primitive projection system with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight, mostly intended for long distance communication. Kircher also suggested projecting shadow puppets and living flies from the surface of the mirror. The book was widely distributed and may have offered some inspiration for Christiaan Huygens' invention of the magic lantern in 1659.  Moving images were possibly projected with the magic lantern since its invention; Christiaan Huygens' 1659 sketches for slides show a skeleton taking his skull off his neck and placing it back. Techniques to add motion to

Raree show.

Peep shows or "raree shows" were viewed through a hole in a box (sometimes fitted with a lens or magnifying glass) and were very popular in Europe from the 17th to 19th century. The view inside could be an exhibition of any kind of pictures, objects, puppets or whatever a travelling showman thought customers would pay for to look at. A showman often provided dramatic narration

Motion pictures before film.

Stroboscopic principle.

Several possible examples of very early sequential images can be found in paleolithic cave paintings, on a 5,200-year old pottery bowl found in Iran, in an Egyptian mural approximately 4000 years old (found in the tomb of Khnumhotep at the Beni Hassan cemetery) and several other examples. However, it is very unlikely that these could be viewed in motion before the invention of stroboscopic animation in the 1830s.  In 1825, the thaumatrope used a stroboscopic effect that made the brain combine incomplete pictures on either side of a twirling cardboard disc into one logical image. The effect was incorrectly attributed to the so-called "persistence of vision" in the retina. The technology of the thaumatrope can also be used to display very simple and repetitive animation when each side of the card depicts one of two phases of an action. However, this option was only recognized much later.  Joseph Plateau experimenting with spinning discs since the mid-1820s, mainly in attempts to measure the duration of impressions of different colours. Along the way he had discovered a type of abstract animation discs by counter-rotating

1847–1869: Early stroboscopic animation projection.

Stampfer also suggested using the stroboscopic principle on "transparencies" and Plateau thought it might find application in phantasmagoria. It seemed a simple and logical next step, but in practice it turned out to be relatively complicated. Apart from mica and glass there were hardly any transparent materials that could be used and it took years before mechanisms were developed that enabled fluent animation to be projected.  In 1843, T.W. Naylor (an experimenter from Newcastle about whom little else is known) published

1849–1870: Photography in motion.

After the introduction of photography in 1839, it took circa 10 years before this new technique was occasionally combined with phénakisticopes and proto-zoetropes. Stereoscopic photography, which became very popular in the early 1850s, led to the belief that photography could be further developed into a perfect illusion of reality. Stereoscopic recordings with motion and colour were the logical next steps. Before the necessary photographic emulsions and mechanics were fast enough to capture a photographic sequence in real-time, early attempts recorded simulated motion sequences by photographing different poses and/or positions separately. This technique became known as stop motion much later.  In 1849, Joseph Plateau published a note about improvements for the Fantascope. He combined the stroboscopic disc with aspects of his Anorthoscope to create a 27 cm translucent disc (oiled paper on a cardboard frame) that was lit from behind and had a stroboscopic 4-slit black metal shutter disc in front. The pictures, 16 in Plateau's example, were designed with a 4 to 5 anamorphic width to compensate the deformation of the resulting image. The animation could be seen with both eyes by several people at the same time, with greatly improved image quality. A screen behind the translucent disc blocked the light, except for a cutout trapezoid area that corresponded with the space where the figures were visible at the proper position. A gear system for the rotation ensured that the image would appear in the right area. Plateau used

1860s–1878: Du Mont, Ducos du Hauron and Donisthorpe's early patents and concepts.

During the 1850s the first examples of instantaneous photography had appeared, which further inspired hope for the possibilities of motion photography.  In 1860, John Herschel envisioned the stereoscopic representation of scenes in action. He figured that photography could already, or would soon be able to take snap-shots in one tenth of a second and that a mechanism was possible "by which a prepared plate may be presented, focused, impressed, displaced, secured in the dark, and replaced by another within two or three tenths of a second". Apparently without knowledge of Duboscq's stéréofantascope, Herschel believed the "phenakistoscope" (sic) could very well be adapted into a viewer for stereoscopic motion photography pairs. He also had high

1874–1890s: The chronophotograpers.

Jules Janssen developed a large photographic revolver to document the stages of the transit of Venus in 1874, regarded as an important method to determine the Astronomical Unit (the distance between earth and the sun). Several copies of the device were used at different geographic points. Many negative images of the different phases of Venus passing in front of the sun were captured on glass discs, in an early form of time-lapse photography. Unfortunately, the quality was not sufficient for a calculation of the Astronomical Unit. Several photographic revolver discs with images have been preserved, but research

1887-1895: Anschütz' Electrotachyscope.

Between 1886 and 1894 Ottomar Anschütz developed several different versions of his Schnellseher, or Electrotachyscope. The first version, presented between 1887 and 1890, had 24 chronophotographic images on a rotating disk, illuminated from behind by a fast succession of electric flashes from a Geissler tube. Four to seven spectators could watch the images on an

1877-1900: Projection praxinoscope and Théâtre Optique.

Émile Reynaud already mentioned the possibility of projecting moving images in his 1877 patent application for the praxinoscope. He presented a praxinoscope projection device at the Société française de photographie on 4 June 1880, but did not market his "praxinoscope a projection" before 1882. He then further developed the device into the Théâtre Optique which could project longer sequences with separate backgrounds, patented in 1888. He created several

Other developments.

Optics developed during the scientific revolution with a theory of lenses.  In 1740 and 1748, David Hume published "Treatise of Human Nature" and "An Enquiry concerning Human Understanding", arguing for the associations and causes of ideas with visual images, forerunners to the language of film.  Phonographic recording of sound was invented in the 19th century.  Photographic film was created in the 19th century. The crucial invention of celluloid was made in 1855 by Alexander Parkes, a substance he initially called Parkesine. This was marketed from 1869 by John and Isaiah Hyatt.

Precursors of film are concepts and devices that have much in common with the later art and techniques of cinema. Precursors of film are often referred to as precinema, or 'pre-cinema'. Terms like these are disliked by several historians, partly because they seem to devalue the individual qualities of these media by presenting them as a small step in the development of a later invention. For instance: the flip book, zoetrope and phenakistiscope are very tactile devices that allow study and play by manipulating the motion by hand, while the projected image in cinema is intangible. Such devices as the zoetrope were not replaced by cinema: they were still used after the breakthrough of film. Furthermore, many early media examples are also part of a tradition that not only shaped cinema, but also home video, video games, computer-generated imagery, virtual reality and much more. The study of early media devices is also part of a wider and less teleological approach called media archaeology.


Biography.

Sigeric was educated at Glastonbury Abbey, where he took holy orders. He was elected Abbot of St Augustine's in about 975 to 990, and consecrated by Archbishop Dunstan as Bishop of Ramsbury in 985 or 986. He was transferred to the see of Canterbury in 990. He may have been a disciple of Dunstan's.  Sigeric made the pilgrimage to Rome following the Via Francigena to receive his pallium circa 990, and contemporary records of this journey still exist.  It was Sigeric who advised King Æthelred (the Unready) to pay a tribute to the invading Danish king Sweyn Forkbeard in 991. Æthelred presented Sweyn with 10,000 pounds of silver, in response to which Sweyn temporarily ceased his destructive advance into England, though he later returned for further tribute. Sweyn's ever-increasing demands in the following years resulted in a debilitating tax later known as the Danegeld, payable by the inhabitants of Æthelred's territories.  In 994, Sigeric paid tribute to the Danes to protect Canterbury Cathedral from being burned. In the same year, a diploma granting rights to the diocese of Cornwall and Bishop Ealdred of Cornwall stated that it was written by Sigeric, but it is unlikely that the document was actually written by the archbishop.  While Sigeric was an abbot, Ælfric dedicated a book of translated homilies to him. He also advised King Æthelred to found Cholsey Abbey in Berkshire in honour of King Edward the Martyr, as well as having Edward memorialised at Shaftesbury Abbey.  Sigeric died on 28 October 994. He was buried in Christ Church, Canterbury. His will left wall hangings to Glastonbury as well as a valuable collection of books to his church at Sonning.

Sigeric (died 28 October 994) was the Archbishop of Canterbury from 990 to 994. It is unclear whether the epithet "The Serious" originated from his learning, or if it derived from transliteration of his name into Latin as "Serio".


Real mode.

In the 8086 processor, the interrupt table is called IVT (interrupt vector table). The IVT always resides at the same location in memory, ranging from codice_1 to codice_2, and consists of 256 four-byte real mode far pointers (256 × 4 = 1024 bytes of memory).  A real mode pointer is defined as a 16-bit segment and a 16-bit offset into that segment. The segment is expanded internally by the processor to 20 bits by shifting it 4 bits to the left, thus limiting real mode interrupt handlers to the first 1 megabyte of memory. The first 32 vectors are reserved for the processor's internal exceptions, and hardware interrupts may be mapped to any of the vectors by way of a programmable interrupt controller.  On the 80286 and later, the size and locations of the IVT can be changed in the same way as it is done with the IDT in protected mode (i.e., via the LIDT instruction) though it does not change the format of it. The 80286 also introduced the high memory area, which raises the address limit in real mode by 65,520 bytes.  A commonly used x86 real mode interrupt is, the Video BIOS code to handle primitive screen drawing functions such as pixel drawing and changing the screen resolution.

Protected mode.

In protected mode, the IDT is an array of 8-byte descriptors stored consecutively in memory and indexed by an interrupt vector. These descriptors may be either interrupt gates, trap gates or task gates. Interrupt and trap gates point to a memory location containing code to execute by specifying both a segment (present in either the GDT or LDT) and an offset within that segment. The only difference between these two is that an interrupt gate will disable further processor handling of hardware interrupts, making it especially suitable to service hardware interrupts, while a trap gate will leave hardware interrupts enabled and is thus mainly used for handling software interrupts and exceptions. Finally, a task gate will cause the currently active task-state segment to be switched, using the hardware task switch mechanism to effectively hand over use of the processor to another program, thread or process.  The protected mode IDT may reside anywhere in physical memory. The processor has a special register () to store both the physical base address and the length in bytes of the IDT. When an interrupt occurs, the processor multiplies the interrupt vector by 8 and adds the result to the IDT base address. With help of the IDT length, the resulting memory address is then verified to be within the table; if it is too large, an exception is generated. If everything is okay, the 8-byte descriptor stored at the calculated memory location is loaded and actions are taken according to the descriptor's type and contents.  A fully populated IDT is 2KB (256 entries of 8 bytes each) in length. It is not necessary to use all of the possible entries: it is sufficient to populate the IDT up to the highest interrupt vector used, and set the IDT length portion of the accordingly.  Vectors 0–31 are reserved by Intel for processor generated exceptions (general protection fault, page fault, etc.). Though currently only vectors 0–20 are used by the processor, future processors may create incompatibilities for broken software which use these vectors for other purposes.

Hardware-generated exceptions.

All INT_NUM between 0x0 and 0x1F, inclusive, are reserved for exceptions; INT_NUM bigger than 0x1F are used for interrupt routines. (Note that the IBM PC did not always obey this rule, for instance using interrupt 5 to indicate the Print Screen key was pressed.)

Hooking.

Some Windows programs hook calls to the IDT. This involves writing a kernel mode driver that intercepts calls to the IDT and adds in its own processing. This has never been officially supported by Microsoft, but was not programatically prevented on its operating systems until 64-bit versions of Windows, where a driver that attempts to use a kernel mode hook will cause the machine to bug check.

The Interrupt Descriptor Table (IDT) is a data structure used by the x86 architecture to implement an interrupt vector table. The IDT is used by the processor to determine the correct response to interrupts and exceptions.


Fictional character biography.

Much like their "father" Venom, Carnage produced an offspring: a third symbiote. Carnage felt only dislike and hatred towards his new spawn, even before he "gave birth" to it, both fearing that it could become much stronger than himself, and being generally disgusted at the thought of giving birth (reflecting the attitudes of Carnage's host, Cletus Kasady). At the same time, Carnage's rival and "father" Venom became aware that Carnage was "pregnant" and sought out Carnage to talk about this new symbiote. Carnage had resolved to kill his spawn as soon as it was born. Venom was doing his best to protect the new symbiote, with the intention of raising it to become his new partner. Venom was also concerned that, as the 1,000th symbiote of their line, the new symbiote could potentially become psychotic and violent because of genetic breakdown.

Patrick Mulligan.

After the birth of his "son", Carnage felt too weak to kill his newborn (due in no small part to his attempt to repress the birth after burying himself). Since he could not kill his newborn, he implanted it into Patrick Mulligan and fled, intending to kill him later and destroy the new symbiote when he was up to strength.  Prior to being implanted with the alien symbiote, Mulligan was one of New York City's finest cops, yet troubled with various personal problems. His stressful job, along with the strain of his new family (his wife, Gina, was pregnant with their first son, Edward) were taking their toll. One night while on duty, he came across the site where Carnage was giving birth to the new symbiote. Carnage, needing a host to hide the symbiote to keep it from Venom, bonded it to Mulligan. Carnage resolved to kill both Mulligan and the symbiote since they were not yet strong enough to manifest a super-powered costume like the Venom and Carnage symbiotes. Venom still hoped to use this new symbiote as a partner, and fought Carnage to a standstill to protect Mulligan and the symbiote, whom he christened Toxin, after himself.  At first, Mulligan didn't realize what had happened to him. Before long, the Toxin symbiote had matured enough to gain both conscious thought and the strength to form a symbiote costume on Mulligan's body. After Carnage attacked Gina and Edward at their home, Mulligan realized the symbiote was a danger to both himself and his family. During a subsequent confrontation between Venom, Carnage, and Toxin, Venom realized Mulligan was dedicated to a life of virtue, or as close as he could come under the symbiote's influence. When it became clear that Toxin was easily as strong as either of his predecessors, and was still growing, Venom and Carnage formed a temporary pact to destroy him.  Spider-Man stumbled into the final confrontation among the symbiote trio, and helped Toxin. After they fended off Venom and Carnage, Toxin had a conversation with Spider-Man, filling him in on what had happened to him. Spider-Man encouraged him, and Toxin resigned himself to a life of battling his base symbiote urges while trying to harness his power for good. He left his wife and child, and the police force, to try to come to terms with his new life.  In 2005, after Spider-Man joined the New Avengers, Marvel introduced a six-issue "Toxin" limited series, which followed Toxin's battles with various supervillains escaped from the Raft as a result of events at the beginning of "The New Avengers" series. The series also portrayed his constant battle to keep the symbiote under control; as the host and symbiote minds had conversations and arguments with each other. Throughout the miniseries, he battled King Cobra, the Wrecker, Piledriver, and Razor Fist.  At one point, trying to live with Toxin became too much for Mulligan, who attempted suicide by throwing himself in front of a train. The Toxin symbiote intervened at the last moment, saving Mulligan and claiming that Mulligan didn't really want to die. When Mulligan pressed the issue, it became clear that, unlike the Venom and Carnage symbiotes, Toxin is not sure it could survive on its own and find a new host.  In the limited series, Razor Fist murdered Mulligan's father, but Toxin begins to show signs of a heroic behavior; he tracked Razor Fist down, but rather than slaughtering him (as both the symbiote and Razor Fist himself urge), Toxin controls himself and turns Razor Fist over to the police. Mulligan reconciled with his estranged wife Gina by 'introducing' her to the Toxin symbiote as a way of explaining why he walked out on his family.  Mulligan and the symbiote co-operate peacefully with an agreement: Mulligan will be in complete control of the symbiote, if he allows Toxin two hours of "playtime" each night. However, in those two hours, Toxin is not allowed to commit any acts of grand theft, arson, or homicide.

Eddie Brock.

The Toxin symbiote later appears in an underground lab in Las Vegas, having been taken and its host, Pat Mulligan, killed by Blackheart. The Crime Master sends his underling Jack O'Lantern and blackmails his enemy Venom into retrieving the symbiote. A fight with security personnel results in Jack O'Lantern taking the Toxin symbiote and fleeing. Blackheart is revealed to have bound pieces of the symbiote to clones of X-23 while it was in his possession. He also retained a small sample of the symbiote in a test tube because he needed an "alien's flesh" as an ingredient in a ritual to bring hell to Earth.  Along with Venom, Anti-Venom, Hybrid and his sister Scorn, Toxin is mentioned as being the next option to stop Carnage's rampage in the Midwest after the Avengers are defeated. However, the US military is unable to find Toxin, leaving it up to the hybrid symbiotes and Scorn to stop Carnage.  After killing Hybrid and Scream, Eddie Brock follows Venom into Crime Master's headquarters as part of his plan to destroy all symbiotes. During the ensuing fight between Venom and Crime Master's underlings, Crime Master locks Brock up and forcibly bonds him to the symbiote, making him the new Toxin. Brock joins the Savage Six to fight Venom, but is severely burned in the fight.  Eddie and the Toxin symbiote eventually track down Venom and discover a group of creatures called the "symbiote slayers" that are determined to destroy the symbiotes. Venom and Toxin have to team up to fight the "slayers". After this, Toxin agrees to leave Venom alone, and Eddie Brock as Toxin reclaims his title as the.

All New, All Different Marvel.

Brock and the Toxin symbiote appear once more in the All New, All Different Marvel miniseries "Carnage", where Brock serves in a task force led by John Jameson, in hopes to entrap the recently escaped Carnage, who has hidden himself in a mine-shaft. Toxin is considered "Plan B" to the force, and Brock's transformation into Toxin is manually controlled through a button. The symbiote's look has changed into resembling Agent Venom's, in which he sports red body armor. However, at the end of the "Carnage" miniseries, Eddie Brock loses the suit.  Carnage has taken hold of the book known as the Darkhold, to resurrect Chthon, Eddie Brock ultimately sacrifices the symbiote in the final issue against Chthon.

Powers and abilities.

Toxin possessed the special abilities of his two symbiote predecessors: he can stick to walls (which originally came from when Spider-Man was a host of the Venom symbiote), can change his identity to that of a completely different person, and also has unlimited webbing. With Patrick Mulligan as the host, the suit is red from the abdomen up and black from the abdomen down. With Eddie Brock as the host, it resembles a combination of Venom and Carnage but with the entire body red—light on the chest, and dark on the arms and lower body. Toxin can also blend in with his surroundings and become undetectable, an ability he gained from his grandfather, and he can form solid weapons from his limbs, an ability first seen in his father. Toxin also seems to have some sort of quick-healing ability like his predecessors, as his wounds from his first battle with Razor Fist healed remarkably quickly. Unlike the others, Toxin can track anyone—not just other symbiotes or symbiote host—within the entire city of New York and possibly farther, as long as he has something to begin from.  Unlike many of the other symbiotes, Toxin did not try to take over the mind of his human host. Instead, the symbiote actually thinks and voices its opinions to the human host (as evidenced in Toxin's "Cut to the Chase" storyline). The symbiote usually speaks when the host is in his "human form", and acts very immature and childlike because of its nascent existence, once refusing to aid Pat in battle until he apologized for an earlier argument. In addition, he seems to have a stronger resistance to sonics and intense heat compared to Carnage, though this does not mean that Toxin is more resistant to violent urges: it can get carried away with violence and fighting crime, even if it's a petty crime. When he's not angry or fighting, Toxin is slim and smooth-lined, although still well muscled, closely resembling Carnage or Spider-Man in his symbiote costume. When he becomes upset or aggressive, he grows into his much bigger and stronger form (like Venom), with vicious fangs and long curving claws.  The symbiote recently developed a venomous bite after bonding to Eddie Brock.

Toxin or the Toxin symbiote is a fictional character appearing in American comic books published by Marvel Comics. The character has been depicted as an antihero and at times a supervillain. He is the third major symbiote of the Spider-Man series, the ninth known to have appeared in the comics outside of the Planet of the Symbiotes storyline, and the first symbiote that Spider-Man considers an ally, despite temporary alliances with Venom on numerous occasions. The first host of the Toxin symbiote is former NYPD police officer Patrick Mulligan. Toxin later bonded to Eddie Brock as his second host after Patrick Mulligan was killed.


Biography.

Daughter of a wool-spinner, Anne Marie Dubernet came from a modest family in Lot-et-Garonne. She sold corsets at the Grands Magasins du Louvre and on 24 August 1887 married the director-proprietor, Olympe Hériot (1833–1899), to whom she had already borne two children. They had four children in total, including Virginie Hériot, who became a competitive sailor.  In 1894 they moved to a mansion in Paris. Widowed in 1899, Anne Marie inherited her husband's fortune in accordance with his will. In 1903 she redeveloped a site of on the Rue de la Faisanderie in Paris, commissioning architect Hans-Georg Tersling to build a mansion, which she sold in 1928.  In 1904 she bought a yacht, "Ketoomba", which she renamed "Salvador". She wrote a memoir of her voyages ("Croisière en Méditerranée" (Coulommiers, P. Brodard, 1905, 298 pages, in-8)). Around 1904, she commissioned architect Edouard Arnaud to build the Villa Cypris in Roquebrune-Cap-Martin on the French Riviera.  On 16 December 1908 she remarried to Roger Douine Hippolytus (died 1925).  During the First World War, she turned her château in Essoyes into a hospital. She sold this in 1929. In 1917 she donated 1.5 million francs to enlarge an orphanage founded in 1884 by her first husband in the grounds of his Château de La Boissière in La Boissière-École. In 1920 she donated to the orphanage the Castel de Barbe-Brulée near Cancale to serve as a holiday home.  Thanks to her generosity she was made a Chevalier de la Légion d'Honneur on 5 June 1921 by the order of Marshal Philippe Pétain.  She was buried in the family vault in La Boissière-École.

Sources.

"Translator's note: These are in French."

Anne Marie Dubernet known as Cyprienne Dubernet, Madame Olympe Hériot and later Madame Roger Douine (1857 – 5 December 1945), was a French patron of the arts and philanthropist, who was made a Chevalier de la Légion d'Honneur.


History.

Beginnings (1950s–early 1960s).

At first, rock music was influenced by the surrounding countries like France or Italy. Despite Francoist censorship, many albums were released and mass media started to introduce the new sounds of international music. The most important rock scenes were in Madrid, Zaragoza, Sevilla, Cádiz, Barcelona, and Valencia.

Beat, pop, psychedelia (1960s).

Rock in Spain started to spread nationally. After the British Invasion, many artists such as Los Bravos, Lone Star, Los Brincos and Miguel Ríos appeared. Los Brincos achieved some international success in France, Portugal and Italy. Los Bravos hit some international charts with their single "Black Is Black", as did Mike Ríos with "A Song of Joy".

Progressive and hard rock (1970s).

While mainstream Spanish rock declined during this decade, the underground scenes of progressive rock and rock urbano emerged. Spanish progressive rock was a commercial failure. In the mid-1970s, a new style called Andalusian rock that combined flamenco with prog rock started to gain some popularity with bands like Triana. During the Spanish transition to democracy in the late 1970s, hard rock acts appeared. Some hard rock bands influenced by early punk rock like Leño pioneered the rock urbano movement.

Golden Era. New wave, post-punk, heavy metal and punk (1980s).

Punk rock in Spain started its most successful stage with bands like Kortatu, La Polla Records and Eskorbuto. La Movida Madrileña was a countercultural movement that produced many bands influenced by punk and new wave, such as kaka de luxe, Derribos Arias, Radio Futura, Alaska y Dinarama, Gabinete Caligari, Nacha Pop, Loquillo y los Trogloditas and Los Secretos. Since many of the bands from La Movida did not achieve enough commercial success, many discographies left them supporting other bands like Mecano, which achieved some international success, Siniestro Total, or Aerolíneas Federales. Hard rock acts such as Los Suaves or Barricada emerged with lack of promotion. Heavy metal bands also appeared in the early 1980s like Barón Rojo and Obús.

Indie and alternative (1990s–present).

The band Héroes del Silencio achieved international success, hitting some charts in Europe and Latin America. Los Rodríguez also became popular in Spain and Latin America. In the mid-1990s, some cult bands like Los Enemigos, Extremoduro and Platero y Tú started to achieve mainstream success. Indie rock bands like Los Planetas appeared. Ska-punk band Ska-P and folk metal band Mägo de Oz emerged, showing the rise of rock diversification.

Spanish rock is the term used for the variety of rock music produced in Spain. Most bands formed in Spain have sung in Spanish, but many others have sung in English, French and Italian, in addition to the other languages spoken in Spain, such as Catalan, Galician, Basque, Aragonese and Asturian.