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Betty Grable

Elizabeth Ruth Grable (December 18, 1916 – July 2, 1973) was an American actress, pin-up girl, dancer, model and singer.

Her 42 films during the 1930s and 1940s grossed more than $100 million, and for 10 consecutive years (1942–1951) she placed among the Quigley Poll's top 10 box office stars (a feat only matched by Doris Day, Julia Roberts and Barbra Streisand, although all were surpassed by Mary Pickford, with 13 years). The U.S. Treasury Department listed her as the highest-salaried American woman in 1946 and 1947, and she earned more than $3 million during her career.

Grable began her film career in 1929 at age 12 and was later fired from a contract for having signed with a false identification. She studied acting with Neely Dickson at the Hollywood Community Theater. She had contracts with RKO and Paramount Pictures during the 1930s and appeared in a string of B movies, mostly portraying college students. She came to prominence in the Broadway musical Du Barry Was a Lady (1939), which brought her to the attention of 20th Century-Fox.

She replaced Alice Faye in Down Argentine Way (1940), her first major Hollywood film, and became Fox's biggest film star throughout the next decade. Fox cast Grable in a succession of Technicolor musicals during the decade that were immensely popular, costarring with such leading men as Victor Mature, Don Ameche, John Payne and Tyrone Power. In 1943, she was the number-one box-office draw in the world. Two of her greatest film successes were the musical Mother Wore Tights (1947) and the comedy How to Marry a Millionaire (1953), one of her later films. Grable retired from screen acting in 1955 after she withdrew from her Fox contract, but she continued to perform on the stage and on television.

Throughout her career, Grable was a celebrated sex symbol. Her bathing-suit poster made her the top pin-up girl of World War II, surpassing Rita Hayworth. The photo was later included in the Life magazine project "100 Photographs That Changed the World". Hosiery specialists of the era often noted the ideal proportions of Grable's legs and thighs (18.5 in), calf (12 in) and ankle (7.5 in). Her legs were insured by her studio for $1 million as a publicity stunt. Describing her film career, Grable said: "I became a star for two reasons, and I'm standing on them."

Early life
Elizabeth Ruth Grable was born on December 18, 1916, in St. Louis, Missouri, the youngest of three children of Lillian Rose (née Hofmann; 1889–1964) and John Conn Grable (1883–1954), a stockbroker. Her second cousin was silent-film actress Virginia Pearson.

Her siblings were Marjorie Lucille Arnold (nee Grable; 1909–1980) and John Karl "Jackie" Grable (1914–1916). The Grable children were of Dutch, English, German, Swiss German and Irish ancestry. Nicknamed Betty as a child, she was pressured by her mother to become a performer. She was entered into multiple beauty contests, winning many and receiving considerable attention. Despite her success, she suffered from a fear of crowds and somnambulism.

Personal life
Grable married former child actor Jackie Coogan in 1937. He was under considerable stress from a lawsuit against his parents over his childhood earnings, and the couple divorced in 1939.

In 1943, she married trumpeter Harry James. They had two daughters, Victoria Elizabeth "Vicki" Bivens (born 1944) and Jessica Yahner (1947-2016). Their marriage, which lasted for 22 years, was beset by alcoholism and infidelity, and they divorced in 1965.

Grable entered into a relationship with dancer Bob Remick, 27 years her junior, with whom she remained until she died in 1973.

Early career: 1929–1939
A 12-year-old Grable and her mother travelled to Hollywood in 1929, shortly after the stock market crash. In Hollywood, Grable studied at the Hollywood Professional School and the Ernest Blecher Academy of Dance. To obtain jobs for her daughter, Lillian Grable lied about her daughter's age, claiming that she was 15 to film producers and casting agents. That same year, she made her uncredited film debut as a chorus girl in the Fox Studios all-star revue Happy Days (1929). This success led to chorus-girl roles in Let's Go Places (1930) and New Movietone Follies of 1930 (1930).

In 1930, at age 13, Grable (under the pseudonym Frances Dean) signed with producer Samuel Goldwyn, thereby becoming one of the original Goldwyn Girls, along with Ann Sothern, Virginia Bruce, Claire Dodd and Paulette Goddard. As a member of the group, Grable appeared in a series of small parts in films, including the hit Whoopee! (1930), starring Eddie Cantor. Although she received no on-screen credit for her performance, she led the film's opening musical number, titled "Cowboys".

In 1932, aged 15, Grable signed a contract with RKO Radio Pictures, and she was assigned to a succession of acting, singing and dancing classes at the studio's drama school. At age 14, her first film for the studio, Probation (1932), provided her first credited screen role. Over the next few years, she was again relegated to uncredited minor roles in a series of films, many of which became worldwide successes, such as Cavalcade (1933). She received larger roles in The Gay Divorcee (1934) and Follow the Fleet (1936).

After her brief stint as an RKO contract player, Grable signed with Paramount Pictures, which lent her to 20th Century-Fox to costar in the adolescent comedy Pigskin Parade (1936). Despite the studio's effort to introduce Grable to the mainstream movie audience, her performance was overlooked by audiences and critics in favor of Judy Garland. When Grable returned to Paramount, she began a new phase in her career as the studio began casting her in a series of college-themed films in which she usually portrayed a naïve student, such as This Way Please (1937) and College Swing (1938). In 1939, she appeared opposite her husband Jackie Coogan in Million Dollar Legs, a B-movie comedy that gave Grable her famous nickname.

When the film did not become the hit for which Paramount had hoped, the studio released her from her contract and Grable began preparing to leave Hollywood for a simpler life. However, she changed her mind and decided to try Broadway, accepting Buddy DeSylva's offer to appear in his musical Du Barry Was a Lady, starring Ethel Merman and Bert Lahr. The play was an instant critical and audience success, and Grable was branded a newfound star.

Breakthrough at Fox: 1940–1943
In a 1940 interview, Grable stated she was "sick and tired" of show business and that she was considering retirement. Soon thereafter, she was invited to go on a personal appearance tour, which she readily accepted. The tour brought Grable to the attention of Darryl F. Zanuck, the head of 20th Century-Fox, who offered her a long-term contract. "If that's not luck, I don't know what you'd call it", Grable said in her first interview after signing with the studio. Zanuck, who had been impressed by Grable's performance in Du Barry Was a Lady, was, at the time, in the midst of casting the female lead in the musical film Down Argentine Way (1940). The role had originally been assigned to Alice Faye, Fox's most popular musical film star, but she had to decline the part due to an unspecified illness. After reviewing her screen test, Zanuck cast Grable as Faye's replacement in the movie. The film was a lavish Technicolor musical and co-starred Don Ameche and Carmen Miranda. Grable's performance of the song "Down Argentine Way" is considered a highlight of the film. Down Argentine Way was a critical and box-office success at the time of its release, and many critics proclaimed Grable to be the successor to Alice Faye. The film's success led to Grable's casting in Tin Pan Alley (1940), co-starring Faye. As the Lily sisters, both Grable and Faye received favorable reviews for their performances. Over the years, rumors have circulated that a rivalry existed between Grable and Faye during filming, but this has been said to be entirely untrue—both actresses denied all accusations of a feud, and each often expressed their admiration for the other. The two reportedly remained friends until Grable's death. After Tin Pan Alley, Grable was teamed again with Ameche in the hit musical Moon Over Miami (1941), which co-starred up-and-coming actress Carole Landis.

In 1941, Fox attempted to broaden Grable's acting and audience range by casting her in two films with more serious intent than those in which she had starred previously. The first, A Yank in the R.A.F., released in September, co-starred heartthrob Tyrone Power, and cast her as Carol Brown, who works in the Women's Auxiliary Air Force during the day, but is employed as a nightclub singer in the evening. The film followed the lines of other movies of the era, but it was not considered a propaganda movie by the studio. At the time of its release, the film received positive reviews, with many critics singling out the obvious on-screen chemistry between Grable and Power. It was a major box-office success, becoming the fourth-most popular movie of the year.

The second movie, I Wake Up Screaming, released in November, had Grable receiving top billing as Jill Lynn, the sister of a young model who is murdered. The film offered Grable her second teaming with Carole Landis, and it co-starred Victor Mature. Directed by H. Bruce Humberstone, the movie was a traditional black-and-white film noir, containing a combination of suspense and romance. Grable's performance was reviewed favorably by most critics, and the film enjoyed reasonable financial success.

Grable's star continued to rise when she starred in Song of the Islands (1942), co-starring Victor Mature and Jack Oakie. The success of the movie led to her re-teaming with Mature in Footlight Serenade (1942), also co-starring John Payne, in which she played a glamorous Broadway star. Fox then began to develop Philip Wylie's short story "Second Honeymoon", into a script suited for Grable's talents. The resulting movie was Springtime in the Rockies (1942), directed by Irving Cummings, and the featured actors included Payne, Cesar Romero, Carmen Miranda, and her future husband, bandleader Harry James. The film was an immediate hit, Grable's biggest success to date, grossing more than $2 million. The film's success led to Fox increasing her salary and her having a wider choice over the films she made.

Grable was voted the number-one box-office draw by American movie exhibitors in 1943; she outranked Bob Hope, Gary Cooper, Greer Garson, Humphrey Bogart, and Clark Gable in popularity. Coney Island, released in June 1943, was a Technicolor "gay nineties" period musical and co-starred George Montgomery. The film earned more than $3.5 million at the box office and was well received by critics. Sweet Rosie O'Grady (1943), her follow-up feature, was equally successful at the box office, but it failed to obtain the same critical favor.

Frank Powolny poster and stardom: 1943–1949
In 1943, she collaborated with photographer Frank Powolny for a regular studio photo session. During the shoot, she took several photos in a tight, one-piece bathing suit. One particular pose showed Grable's back to the camera as she playfully smiled looking over her right shoulder. The picture was released as a poster and became the most requested photo for G.I.s stationed overseas. Grable's photograph sold millions of copies, eventually surpassing the popularity of Rita Hayworth's famous 1941 photo.

Grable's success as a pin-up girl furthered her career as a mainstream movie star. As her star continued to ascend, Fox chief Darryl F. Zanuck expressed interest in broadening Grable's range as an actress. Zanuck tried, on multiple occasions, to cast her in films that challenged her acting abilities, but Grable was reluctant; she felt insecure about her talent and this made her unwilling to accept roles she felt required too much of her. Zanuck relented to Grable's own request not to tamper with her successful screen formula. As a result, the studio prepared a film called Pin Up Girl for her. The film has her as a hostess for a USO canteen who provides entertainment for the troops during their time there. The lavish musical used the pin-up photograph in many scenes, which boosted the photo's sales. Many of the film's later scenes had to be rewritten to hide Grable's pregnancy. Pin Up Girl co-starred comedians Martha Raye and Joe E. Brown and was released in April 1944 to overwhelming success at the box office. Critics, though, were not as accepting of the film. Variety wrote that the film "makes no pretenses of ultra-realism", but also called it "very pleasing and pleasant".

After time off to give birth to her daughter, Grable returned to Fox to star in Billy Rose's Diamond Horseshoe (1945), co-starring Dick Haymes and Phil Silvers. Though the film earned more than $3 million at the box office, it struggled to make a profit because of its high production costs. The Dolly Sisters (1945), her next film, teamed her with newcomer June Haver, an actress Fox was promoting as Grable's successor. Although the press hinted that a tense behind-the-scenes rivalry existed between the two actresses, they both denied it, claiming to be good friends. The Dolly Sisters earned more than $4 million at the box office and was Fox's second-highest earning movie of the year, behind Leave Her to Heaven.

After five years of constant work, Grable was allowed time off for an extended vacation. She briefly returned to filming to make a cameo in Do You Love Me (1946), in which she appeared as a fan of her husband Harry James' character. Grable was reluctant to continue her film career, but Fox was desperately in need of her return. Without Grable's movies, which generated large profits, the studio struggled to stay afloat. The Shocking Miss Pilgrim (1947) was her first film back at Fox. She played Cynthia Pilgrim, a college student who graduated at the top of her typewriting class during the first year of the Packard Business College. Although critics acknowledged that the film "momentarily achieved" brilliance, they also felt that the movie's music was like "sticky toothpaste being squeezed out of a tube". The film also suffered from indifferent ticket sales and lost money. Grable next starred in Walter Lang's Mother Wore Tights, released in September 1947, co-starring Dan Dailey. The film told the story of two aging vaudeville performers as they look back on their heyday through a series of flashbacks. It received critical acclaim from critics and was a box-office hit, earning an estimated $5 million.

Grable was cast in That Lady in Ermine (1948), a film project that had previously been considered for either Jeanette MacDonald or Gene Tierney. It co-starred Douglas Fairbanks Jr and originally was directed by Ernst Lubitsch. After Lubitsch's death early in production, Otto Preminger took over. It was reported that Grable often quarreled with Fairbanks and Preminger and that she nearly walked out on filming, but decided against it on the advice of her agent. When the film was released, it received mixed reviews; it was referred to as "a bright and beguiling swatch of nonsense" and it did not generate the revenue Fox had hoped. Grable immediately thereafter began filming When My Baby Smiles at Me (1948), co-starring Dan Dailey, which became a blockbuster, cementing Grable and Dailey's status as a bankable movie duo. Closing the decade, Grable starred in The Beautiful Blonde from Bashful Bend (1949), an oddball movie that unevenly mixed musical numbers with Western clichés. Despite a casting consisting of Cesar Romero and Rudy Vallée, the film was panned by critics, but it was a reasonable success at the box office.

Decline and last films: 1950–1955
Grable had been placed in the "Top Ten Money Making Stars Poll" every year, beginning in 1942. She ranked at the top of the poll in 1943, and ranked second in 1947 and 1948. In 1949, although she still placed in the top 10, she slipped from second to seventh place in popularity. Fox became concerned that Grable might be becoming regarded as passé. Darryl F. Zanuck had the film Wabash Avenue (1950) tailored to fit Grable's talents. The film's plot closely followed the story of Grable's earlier hit Coney Island (1943). Despite the similarities, it had new songs written and dances choreographed to modernize the film. Wabash Avenue was released in May 1950, and was a box-office hit. My Blue Heaven, released in December 1950, re-teamed her with Dan Dailey, and was equally successful financially. In 1950, Grable had regained her status as the most-popular female at the box office; she ranked fourth overall, behind John Wayne, Bob Hope, and Bing Crosby.

Although, by the early 1950s, Grable was searching for originality in the scripts offered to her, she had no luck in finding the movies she wanted to do. She reluctantly agreed to make Call Me Mister (1951) with Dan Dailey, a loose musical remake of A Yank in the R.A.F.. The film was moderately successful and quickly was followed by Meet Me After the Show (1951), co-starring Macdonald Carey, Rory Calhoun, and Eddie Albert. It received favorable reviews from most critics and was a box-office success.

In 1952, Grable began re-negotiating her contract with Fox. She requested a higher salary and the option to make only those films she wanted to do. The studio refused, and she went on strike, which led to her being replaced by Marilyn Monroe in the movie adaptation of Gentlemen Prefer Blondes (1953) and by June Haver in the musical comedy The Girl Next Door (also 1953). After a year off from filming, Grable reluctantly reconciled with Fox and agreed to star in a musical remake of The Farmer Takes a Wife (1953). The film was an attempt by Fox to recapture Grable's reputation as the studio's biggest star, and although she was paired with Dale Robertson, the film was a critical and box-office flop.

She next starred in How to Marry a Millionaire, a romantic comedy about three models plotting to marry wealthy men, co-starring Marilyn Monroe and Lauren Bacall. During production, Grable and Monroe falsely were rumored to be at odds with each other. Grable, whose career was declining, was assumed to be jealous of Monroe because she was being groomed as Fox's newest star and possibly as Grable's unofficial successor. In fact, Grable and Monroe got along famously; Grable reportedly told Monroe: "Go and get yours, honey! I've had mine!" How to Marry a Millionaire was a box-office triumph when released, grossing an estimated $8 million.

After refusing the leading female role in Irving Berlin's There's No Business Like Show Business (1954), Grable again was suspended from her contract. The following year, she appeared in Three for the Show (1955) for Columbia Pictures, her first film made away from Fox in over 15 years, and featuring up-and-coming actor Jack Lemmon and dancers Marge and Gower Champion. Critics called the film a "slight, but cheerful, item", and proclaimed it "does serve to bring Betty Grable back to the screen". It enjoyed reasonable success at the box office, particularly overseas. She agreed to make How to Be Very, Very Popular (1955) for Fox on the assurance Marilyn Monroe would be her co-star. When Monroe withdrew from the production, she was replaced with Sheree North. The release of the film was surrounded by a massive publicity campaign, but despite the promotion, the film failed to fulfill its hype, and critics complained of the lack of chemistry between Grable and North. It was, however, a box-office hit, earning more than $3.7 million. It proved to be Grable's final film appearance. In 1955, she did attempt to return to acting in Samuel Goldwyn's film version of Guys and Dolls (1955). She opted to play the role of Miss Adelaide, but was passed over in favor of Vivian Blaine, who had played the role on Broadway. She then officially retired from motion-picture acting.

Grable thereafter found a new career starring in her own act in Las Vegas hotels and with her husband at the time, musician Harry James. Later, she starred in big Las Vegas stage productions such as Hello, Dolly. She also appeared on Broadway in Hello, Dolly in 1967.

Stage work

 * Tattle Tales (1932)
 * Du Barry Was a Lady (Broadway, 1939)
 * Guys and Dolls (1962–64; 1968)
 * High Button Shoes (1964)
 * Hello, Dolly! (Broadway, 1965–67; 1971)
 * Born Yesterday (1968–70; 1973)
 * Belle Starr (1969)

Death
Grable died of lung cancer on July 2, 1973, at the age of 56 in Santa Monica, California.

Her funeral was held two days later and was attended by ex-husbands Jackie Coogan and Harry James as well as Hollywood stars Dorothy Lamour, Shirley Booth, Mitzi Gaynor, Don Ameche, Cesar Romero, George Raft, Alice Faye, Johnnie Ray and Dan Dailey. "I Had the Craziest Dream", the ballad from Springtime in the Rockies, was played on the church organ.

She was entombed at Inglewood Park Cemetery in Inglewood, California.

Cultural depictions and legacy

 * Two war films set during December, 1944, make reference to Grable's 1943 marriage to Harry James:
 * Battleground (1949), set during the Battle of the Bulge, references the marriage when members of a 101st Airborne Division squad (who are suspicious after having encountered German soldiers dressed as American G.I.s) ask for extra information during a contentious password challenge.
 * In Stalag 17 (1953), a POW character is infatuated with Grable and has photos of her hanging over his bunk. He is melancholic when he mentions that she has married "some orchestra leader."

 * In the Our Miss Brooks episode "Lulu, the Pin-Up Boat", Mitchell mistakes the pin-up photo of Grable that Conklin confiscated from Walter and put into his desk drawer with Connie and Conklin's discussion about Conklin's boat Lulu.

 * Grable has a star on the Hollywood Walk of Fame at 6525 Hollywood Boulevard. She also has a star on the St. Louis Walk of Fame.

 * She was inducted into the Hall of Famous Missourians. Betty Grable Grave.JPG]]Her iconic pin-up image was named one of Time 100 Most Influential Photographs of All Time.

 * In 2003, she was included in the list of 100 Photographs That Changed the World by Life.

 * A few months following her death, Grable was memorialized in song by Neil Sedaka on a track from his 1974 LP Laughter in the Rain.Betty Grable Grauman's Chinese Theatre.jpg|220x220px|center]]

 * Nose art featuring her is painted on the Boeing B-17 Flying Fortress Sentimental Journey.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Betty Grable


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Fear Factory

Fear Factory is an American industrial metal band formed in Los Angeles in 1989. Throughout the band's career, they have released ten full-length albums and have evolved through a succession of sounds, all in their main style of industrial metal. Over the years, Fear Factory has seen frequent changes in its lineup, with lead vocalist Burton C. Bell being the only consistent member for 31 years until his departure in 2020. Guitarist Dino Cazares is the only original member still in the band. The band went on hiatus in March 2002 following some internal disputes, but resumed activity a year later without founding member Cazares. Previous bassist Christian Olde Wolbers replaced him on guitarist, while Byron Stroud handled bass duties. After a second hiatus in 2006, Fear Factory reunited in April 2009 with a new lineup that featured a returning Cazares, Gene Hoglan as the replacement of original drummer Raymond Herrera, and Bell and Stroud reprising their respective roles; this lineup recorded the band's seventh studio album titled Mechanize (2010). Wolbers and Herrera — together comprising 50% of the band's legal ownership — disputed the legitimacy of the reunited band, and a legal battle from both parties had begun. Despite this, Fear Factory has since released three more albums: The Industrialist (2012), Genexus (2015) and Aggression Continuum (2021).

The band has performed at Ozzfest four times and the inaugural Gigantour. Their singles have charted on the US Mainstream Rock Top 40 and albums on the Billboard Top 40, 100, and 200, and they have sold more than a million albums in the U.S. alone.

Early years and Concrete (1989–1991)
Fear Factory was formed in 1989 under the name Ulceration, which the band agreed would "just be a cool name". In 1990, the name "Fear the Factory" was adopted. The name was inspired by a factory that the band supposedly saw near their rehearsal space which was guarded by men carrying rifles. Later, they shortened the name to just "Fear Factory".

The band's origins can be traced to an outfit formed by guitarist Dino Cazares—formerly of The Douche Lords—and drummer Raymond Herrera in Los Angeles, California. Their first lineup was completed with the addition of bassist Dave Gibney and vocalist Burton C. Bell (ex-Hate Face ), who was allegedly recruited by an impressed Cazares, who overheard him singing "New Year's Day" by U2. Cazares played bass on the first three Fear Factory albums Concrete, Soul of a New Machine and Demanufacture, on which Cazares changed many of the riffs during the recording. It took Cazares two weeks to get the appropriate guitar tone. Cazares created, wrote and recorded all the music on the album. Wolbers joined the band two weeks before they were scheduled to go on tour to promote the album and, although he contributed musical changes to a couple of songs on the album he stated that these were not significant.

Fear Factory's earliest demo recordings are strongly reminiscent of the early works of Napalm Death and Godflesh, an acknowledged influence of the band in the grindcore-driven approach of the former and the mechanical brutality, bleakness, and vocal stylings of the latter. According to Brian Russ of The BNR Metal Pages, the demos are remarkable for integrating these influences into the band's death metal sound and for Burton C. Bell's pioneering fusion of extreme death growls and clean vocals in the same song, which was to become a significant and influential element of the band's sound throughout their career. The use of grunts and "throat singing" combined with clean vocals later defined the nu metal and other emerging subgenres of metal. Many vocalists in today's metal scene use two or more methods of singing and vocalizing lyrics. The band contributed two songs to the L.A. Death Metal Compilation in 1990. The band played its first show on October 31, 1990.

In 1991, Fear Factory recorded a series of cuts with little-known producer Ross Robinson, in Blackie Lawless's studio. Afterward, the band members were unhappy with the terms of their recording contract, and they refused to sign. The band retained the rights to the songs, many of which they re-recorded in 1992 with a different producer, Colin Richardson, for inclusion on their debut release Soul of a New Machine. Meanwhile, Ross Robinson obtained the rights to the recording, which he used to promote himself as a producer. The album was released in 2002 by Roadrunner Records under the title Concrete after the band's breakup. The release was controversial because the album was issued without the approval of Fear Factory. Robinson ended up suing the band, which Bell jokingly said in 2021 that it was foreshadowing "the entire career of Fear Factory." Concrete is viewed by the band as a demo; a developmental step toward Soul of a New Machine.

Soul of a New Machine (1992–1994)
Fear Factory shopped the Concrete demo to various labels, and was rejected by a number of well-known metal record labels, such as Metal Blade, Earache, Nuclear Blast and Peaceville Records. Eventually, after presenting the demo to Max Cavalera, Max was so impressed that he recommended Fear Factory to A&R representative Monte Conner, of the then-death-metal-focused Roadrunner Records label, which offered the band a recording contract. While the band signed the contract, it has since become controversial because of Roadrunner's treatment of the band during the events surrounding its 2002 breakup. This was reflected in the first album Archetype (2004), which was released following the band's re-formation. The opening song with lyrics by Burton C. Bell, "Slave Labor", was direct about the band's feelings on the matter. After working with numerous bassists, Andrew Shives was hired as a live bassist prior to the release of Soul of a New Machine.

Released in 1992, Soul of a New Machine, which was recorded with producer Colin Richardson, gave the band greater exposure in the music scene. The sound of the album presages the mixing of metal genres which would soon be called alternative metal. The production combined Bell's harsh and melodic vocals, Herrera's machine-like drums, the integrated industrial samples and textures and the sharp, down-tuned, rhythmic, death metal riffs of Dino Cazares. Cazares and Herrera wrote all the music. Because the band had no bass player, Cazares played both guitar and bass on the recording. Jason Birchmeier of AllMusic called the album "groundbreaking" and said that "it ushered in the '90s alternative metal era".

To promote the album, Fear Factory embarked on extensive U.S. tours with Biohazard, Sepultura, and Sick of It All. During this period, sampler-keyboardist Reynor Diego joined the group. An album tour of Europe with Brutal Truth, then Cannibal Corpse, Cathedral, and Sleep, followed. The next year, they hired Front Line Assembly member Rhys Fulber to remix some songs from the album, demonstrating the band's willingness to experiment with their music. The results took on a predominantly industrial guise, and were released as the Fear Is the Mindkiller EP (1993). Soul of a New Machine and Fear is the Mindkiller were released (2004) as a package in a new re-mastered reissue by Roadrunner Records.

In 1994, Andrew Shives was forced to leave the band. Cazares recorded both the guitar and bass for the entire album. In November the same year, the band met Belgian Christian Olde Wolbers through Evan Seinfeld of Biohazard. Wolbers auditioned for Fear Factory's permanent bassist. Wolbers joined the band immediately since the band's tour was starting in two weeks.

Demanufacture (1995–1997)
In June 1995, the band participated at the Dynamo Open Air festival in Netherlands.

Fear Factory's second album, Demanufacture, was released on June 12. Generally considered to be the band's defining work, features an alternative metal sound characterized by a mix of rapid-fire thrash metal/industrial metal guitar riffs and tight, pulse driven drum beats, roaring (rather than growled, but still aggressive) vocals that made way for melodic singing and powerful bass lines. The album's production is more refined and the integration of atmospheric keyboard parts and industrial textures upon Cazares' and Herrera's precise musicianship made the songs sound clinical, cold and machine-like and gave the band's music a futuristic feel. There were extensive contributions from Reynor Diego as well; adding key samples, loops and electronic flourishes to the group dynamics.

Demanufacture was awarded the maximum five-star rating in the UK's Kerrang! rock magazine. It went on to become a fairly successful album; whereas Soul of a New Machine failed to chart anywhere, Demanufacture made the Top 10 of the Billboard Heatseekers charts and a video was produced for the song "Replica". The video was featured in the Test Drive 5 video game for the PlayStation. The song "Zero Signal" was featured on the Mortal Kombat film soundtrack (1995). Instrumental versions of Demanufacture songs were later used in PC video games Carmageddon and Messiah.

Fear Factory spent the next few years touring with such bands Black Sabbath, Megadeth and Iron Maiden, and opened for Ozzy Osbourne in North America and Europe during late 1995. They went on their first headlining European tour in mid-1996, with Manhole and Drain S.T.H. playing in clubs and music festivals, such as With Full Force, Wâldrock or Graspop Metal Meeting. They also appeared at the Ozzfest in 1996 and 1997. In early 1997, they participated at the Big Day Out festival in Australia and New Zealand. In May 1997, the band released a new album composed of Demanufacture remixes by artists such as Rhys Fulber, DJ Dano or Junkie XL called Remanufacture - Cloning Technology. This was the band's first appearance on the Billboard 200. Roadrunner Records re-released, in a 10th Anniversary single package, Demanufacture and Remanufacture in 2005, which is similar to that of Soul of a New Machine (2004). This edition also includes bonus tracks from the digipak version of Demanufacture (1995).

Obsolete (1998–2000)
Fear Factory's third studio album, Obsolete (July 1998), was reportedly completed earlier than planned by canceling an appearance at the Dynamo Open Air Festival.

Obsolete was similar in sound to Demanufacture, emphasizing progressive metal elements. For the first time, the album featured Christian Olde Wolbers writing and recording full time with the band. It also featured Cazares' debut use of 7-string Ibanez guitars tuned to A tuning (A, D, G, C, F, A, D), and paved the way for a lower-tuned sound than previously. The album is also notable for Rhys Fulber's increased involvement with the band.

While Fear Factory had explored the theme of "Man versus Machine" in their earlier work, Obsolete was their first concept album that dealt specifically with a literal interpretation of this subject. It tells a story called Conception 5, which was written by Bell, that takes place in a future world where mankind is rendered "obsolete" by machines. Its characters include the "Edgecrusher", "Smasher/Devourer", and the "Securitron" monitoring system. The story is presented in the lyrics booklet in a screenplay format between the individual songs. The printed story parts link the lyrics of the songs together thematically.

Obsolete was released during the alternative metal boom of the late 1990s. It was supported by tours with Slayer and later Rammstein, and a headlining spot on the second stage at Ozzfest in 1999 as last-minute replacements for Judas Priest. They also toured in Europe in December 1998 with Spineshank and Kilgore, and went on their first headlining tour in North America with Static-X the next year, though the first leg was interrupted due to the band's tour bus and material being stolen. They also played in Japan for the first time. Obsolete became the band's highest selling album, marking the band's first entry into the Top 100 on the Billboard charts. The album also spawned singles "Descent" and a digipak bonus track, "Cars", a cover of the Gary Numan song featuring a guest appearance by Numan on the song. The single made the Mainstream Rock Top 40 in 1999 and was also featured in the video game, Test Drive 6. Numan also performed a spoken-word sample on the album's title track. A video was filmed for the song "Resurrection". To date, Obsolete remains the only Fear Factory album to have achieved gold sales in the U.S.

Digimortal and demise (2001–2002)
In early 2001, Fear Factory was asked to headline SnoCore Rock. The success of Obsolete and "Cars" was a turning point for the band; Roadrunner Records was now keen on capitalizing on the band's sales potential and pressured the band to record more accessible material for the follow-up album, titled Digimortal, which was released in April 2001. Few weeks before its release, they were touring in Europe with One Minute Silence.

They went on a long headlining North American tour during 2001, then played in much larger European festivals like Bizarre Festival, Pukkelpop, Lowlands Festival and Leeds & Reading Festival. They then went on the first Roadrunner Roadrage tour in North America, toured Europe with Devin Townsend and Godflesh and played in Japan, Australia and New Zealand.

Digimortal made the Top 40 on the Billboard album charts, the Top 20 in Canada and the Top 10 of the Australian album charts. The track "Linchpin" reached the Mainstream Rock Top 40. A remix of "Invisible Wounds" was included on the Resident Evil film soundtrack, and an instrumental digipak bonus track called "Full Metal Contact" was originally written for the video game, Demolition Racer. A VHS/DVD release called Digital Connectivity, which documents each of the four album periods of the band via interviews, live clips, music videos and tour/studio footage, was released in January 2002.

Although Digimortal had a successful start, the sales did not reach the levels of Obsolete and the band received little tour support. The direction of the album coupled with strong personal differences between some of the band members created a rift that escalated to the point where Bell announced his exit in March 2002. The band disbanded immediately thereafter; its publicists said this was "largely because vocalist Burton C. Bell is tired of playing angry, aggressive music and wants to form a band that's more indie-rock-oriented". In a final collaboration, the group recorded two songs for the video game The Terminator: Dawn of Fate that month. Fear Factory's contractual obligations remained unfulfilled, however, and Roadrunner did not release them without controversially issuing the Concrete album in 2002 and the B-sides and rarities compilation, Hatefiles, in 2003. During his time away from Fear Factory, Bell with John Bechdel started a side project called Ascension of the Watchers, which released its first EP, Iconoclast, independently via their online store in 2005.

First return and Archetype (2002–2004)
Over time, tensions within the band developed between Dino Cazares and the other members, particularly Burton C. Bell and Raymond Herrera. When asked about the breakup in May 2002, Cazares made claims and allegations against Bell and the other members, stating that Fear Factory could continue without Christian Olde Wolbers and that he and Raymond Herrera were primarily motivated by money. Herrera responded to these allegations on behalf of the other band members, saying that Cazares was motivated by money and emphasizing Olde Wolbers' influence on the band's sound. According to Herrera, the other band members would often come up with new ideas they wanted to incorporate into Fear Factory's sound, but their suggestions were dismissed or openly ridiculed by Cazares, causing a rift between him and the other members that ultimately led to the band's breakup. In the same interview, Herrera also revealed that Cazares had attempted to control the direction of the band by manipulating their business management and record company, and had openly lied to the other members about his actions.

Herrera and Olde Wolbers reunited later in 2002 and laid the foundations for the return of Fear Factory. Cazares was then permanently out of the band. Bell was approached with their demo recordings and was impressed enough to rejoin the band and Fear Factory was re-formed. Olde Wolbers switched to guitar and Byron Stroud of Strapping Young Lad was approached to join the band as a bassist. He was a member from 2003 until 2012. The bassist would also be in a side project with Bell called City OF Fire. Cazares continued recording and performing with his side project called Asesino, a Mexican deathgrind band. In 2007, he also started a new group called Divine Heresy.

Fear Factory made its live return as the mystery band at the Australian Big Day Out festival in January 2004, followed by its first American shows since re-forming on the spring Jägermeister tour with Slipknot and Chimaira. The new lineup's first album Archetype was released on April 20, 2004, through new record label Liquid 8 Records based in Minnesota. With Archetype, Fear Factory returned to an alternative, industrial, metal sound; the album is generally considered to be a strong 'return-to-form' record, if not a particularly innovative effort, with most of the trademark elements of the band firmly in place.

Videos were shot for the songs "Cyberwaste", "Archetype", and "Bite the Hand That Bleeds"; the latter featured on the Saw film soundtrack. The band performed on further tours with Lamb of God and Mastodon in the US and with Mnemic in Europe. The new Fear Factory has largely abandoned the direct "Man versus Machine" theme prevalent on earlier releases in favor of subjects such as religion, war, and corporatism.

Transgression (2005–2006)
Fear Factory announced plans to record and release its next full-length album over a very short period of time with mainstream rock producer Toby Wright, who had worked with Korn and Alice in Chains. This was allegedly due to pressure from Fear Factory's new label Calvin Records, which preponed the album's release date from four months away to just a month and a half so the band would have a new album to support on the inaugural Gigantour, which they had been invited to participate on by Dave Mustaine.

The resulting album, Transgression, was released on August 22, 2005, in the United Kingdom, and on the following day in North America, almost a year after Archetype. The album garnered highly polarized reviews; some critics hailed the album as diverse and progressive, and other reviewers did not receive the record very well. Although the album starts off as a Fear Factory record, subsequent songs include mellow/alt-rock numbers "Echo of My Scream" (featuring Faith No More's Billy Gould on bass) and "New Promise", a pop-rock song "Supernova", and a faithful cover of U2's rock song "I Will Follow".

In 2013, Wolbers posted more details about writing and recording of Transgression and Archetype on his Facebook page. He said he was disappointed with Transgression, calling it half-finished, and blamed the label for the severe time constraints imposed during the recording sessions and for the inclusion of the U2 cover. However, Burton C. Bell said he is proud of the album and sees it as the band "stepping over boundaries". In 2015 however, in an interview with Nuclear Blast Records, Bell called Transgression, a "failed experiment".

Late in 2005, Fear Factory toured the U.S. again on the "Machines at War" tour, with an all-star death metal lineup of guests in Suffocation, Hypocrisy, and Decapitated; they played old classics from Soul of a New Machine, such as "Crash Test", which they had not performed live in many years. During 2005 and 2006, Fear Factory promoted the album on the "Fifteen Years of Fear" world tour in celebration of their fifteenth anniversary. The members invited bands including Darkane, Strapping Young Lad and Soilwork to join them on the U.S. leg, and Misery Index to join them on the European leg.

Hiatus and other projects (2006–2008)
An online statement from Wolbers in December 2006 said the band would return to the studio to record a new album, produced by the band, immediately after the completion of the Transgression touring cycle. That month, Bell confirmed in an interview that the band would leave Liquid 8 Records.

Rather than begin work on a new studio album, the band members briefly parted and began working with other projects. Bell contributed vocals to the songs "End of Days, Pt.1", "End of Days, Pt. 2", and "Die in a Crash" on Ministry's 2007 album The Last Sucker, and later toured with Ministry in support of the album. In an interview for the website Metalsucks, Bell called this a "dream come true", describing Ministry frontman Al Jourgensen as "one of [his] heroes". In the same interview, Bell talked at length about his new band Ascension of the Watchers, providing insight into the inspiration behind the project's formation.

On March 21, 2008, while Fear Factory was on hiatus, Bell spoke in a video interview about the band's future, saying he no longer wanted to contribute to the violence and aggression he saw in the world with the aggressive type of music Fear Factory produced. Wolbers and Herrera started a new band called Arkaea, with vocalist Jon Howard and bassist Pat Kavanagh of Threat Signal. Wolbers said, "Ironically, half of the Arkaea album consists of songs that were intended to be the next Fear Factory record". Arkaea's debut album Years in the Darkness was released on July 14, 2009.

Second return, internal disputes, and Mechanize (2009–2011)

On April 8, 2009, Bell and Cazares announced the reconciliation of their friendship, and the formation of a new project with Byron Stroud on bass and drummer Gene Hoglan of Testament, Death, Strapping Young Lad, Dark Angel, and Dethklok. On April 28, this project was announced to be a new version of Fear Factory without Herrera and Wolbers. When asked about their exclusion, Bell said, "[Fear Factory is] like a business and I'm just reorganizing ... We won't talk about [their exclusion]". Hoglan in retrospect has expressed some hesitation joining the band, saying that he only did it as a favour for Stroud.

In June 2009, Wolbers and Herrera spoke about the issue on the radio program Speed Freaks. Herrera said he and Wolbers were still in the band. "[Christian and I] are actually still in Fear Factory ... [Burton and Dino] decided to start a new band, and furthermore, they decided to call it Fear Factory. They never communicated with us about it", said Herrera. Herrera also said the four original members—Bell, Cazares, Wolbers, and Herrera—were contractually regarded as Fear Factory Incorporated, and, "it's almost like them two against us two, so it's kind of a stalemate". The drummer also said he and Wolbers had written eight songs for the next Fear Factory record, but that a "personal disagreement" had arisen between them and Bell, which left Bell not wanting to continue work with the band.

Bell and Cazares later spoke about their reasons for excluding Herrera and Wolbers. Cazares said Bell wanted to reunite the classic Fear Factory lineup of himself, Cazares, Herrera, and Wolbers, but that Herrera and Wolbers refused to be part of any reunion with Cazares. Bell also said he wanted to fire the band's manager Christy Priske, who was also Wolbers' wife, and Herrera and Wolbers refused. Herrera and Wolbers threatened to sign a new record deal without Bell, prompting him to form a new version of Fear Factory without them. In some interviews, Wolbers said Bell had made "growing unacceptable demands", which were declined. He said, "Ray and I wanted what was best for the business and what he [Burton] was trying to change wasn't really good for the business. It was only bad for the business, so that's why he went into that whole phase of hijacking the name and trying to run with it."

Fear Factory featuring Bell and Cazares was due to make its live debut on June 21 at the Metalway Festival in Zaragoza, Spain. However, the show was canceled "at the last minute", apparently because of the legal complications referenced by Herrera. The rest of that lineup's planned performances in mid-2009, which included a tour of the United Kingdom, Germany, Australia, and New Zealand that August, had also been canceled. The group said they canceled the tour to finish writing and recording the next Fear Factory album. Despite the canceled performances in Europe, they performed some shows in December in South American countries including Argentina, Chile, and Brazil.

During an interview on June 23, 2009, Cazares said he could never have a working relationship with Raymond and Wolbers again, saying they were too money-driven and criticized the music they recorded on Archetype for being too similar to the band's earlier output. Despite ongoing issues between the two parties, the new Fear Factory went ahead with the recording process. In late July 2009, a short video shot with a cell telephone showed Cazares recording drum tracks with longtime contributor Rhys Fulber. On November 6, 2009, blabbermouth.net said a new album, Mechanize, would be released on February 9, 2010, on Candlelight Records. On November 8, 2009, Fear Factory released a track titled "Powershifter" on YouTube. On November 10, 2009, Bell announced the track list for Mechanize, along with an explanation of each song.

In January 2010, Fear Factory played in Australia and New Zealand tour on the Big Day Out tour, playing their first Australian dates since 2005 on January 17 at Parklands Showgrounds on Queensland's Gold Coast. Fear Factory released Mechanize on February 5, 2010, and began a U.S. tour titled "Fear Campaign Tour 2010", in late March. In August 2010, the band headlined the Brutal Assault open air festival in Czech Republic. In September 2010, Fear Factory toured Australia, New Zealand, and Tokyo as the opening act for Metallica. The New Zealand concerts were in Christchurch, two shows that were brought about by a petition sent to Metallica asking them to visit New Zealand's second-largest city. After the 2010 Canterbury earthquake, the South Island concerts were in doubt, but on September 15, 2010, an official announced the CBS Arena had escaped harm and both shows went ahead.

The Industrialist (2011–2013)
In an interview during the 70000 Tons of Metal cruise, Bell said Fear Factory was planning to write and record a "full-on concept" album, which was due for release in 2012. He said, "We're gonna kind of take a break a little bit, but we're definitely going into the studio at some point and start writing. We wanna take our time doing it. Personally ... Mechanize, don't get me wrong, is a good record—I'm very proud of it—but it's gotta be better than that. I've got plans where I'd like to do a full-on concept again—story, artwork. Just make it real cerebral. But there'll definitely be another Fear Factory record, maybe in 2012." On August 3, 2011, Dino Cazares said on his Twitter feed that he was working and demoing new material for the next Fear Factory album. On January 25, 2012, the band announced the new album will be titled The Industrialist. The album was again co-produced by the band with Rhys Fulber and mixed by Greg Reely.

Byron Stroud left the band early in 2012, saying, "Life's too short to spend it with people who don't respect you". In one interview, Cazares said he did not know why Stroud decided to leave and that he could not play the bass parts on Mechanize, prompting Cazares to do it himself.

In February 2012, former Chimaira guitar player Matt DeVries replaced Stroud. On April 19, 2012, Mike Heller of Malignancy and System Divide was announced as the band's new drummer, replacing Gene Hoglan; in a 2013 interview, Hoglan claimed that he only found out through Blabbermouth.net that he was no longer needed, and expressed some disappointment about the course of events. At the same time, Cazares confirmed on his Facebook page that John Sankey of Devolved had programmed the drums on The Industrialist. Burton described The Industrialist as another concept album "sonically, conceptually, and lyrically". Cazares also said he and Burton were the two in control of the record's outcome, and that the songwriting on the album was much more "definitive" in regards to Fear Factory's platform sound. On June 4, 2012,The Industrialist was available to stream through AOL Music. The album was released through Candlelight Records on June 5, 2012.

On May 2, 2013, Cazares commented regarding the status of Fear Factory albums Archetype and Transgression, which were recorded without his participation, and the band's decision not to play songs from them live, saying "they don't count" as Fear Factory albums. Contradicting this, Fear Factory played the track "Archetype" on its 2013 Australian tour in early July, with minor changes to the song's lyrics; as of 2023, the band continues to play songs from the album, with Cazares saying "The fans want it, and I got used to playing it, so it's all good."

Genexus (2013–2015)
On May 1, 2013, Dino Cazares told Songfacts.com Fear Factory would begin work on their ninth studio album after the end of The Industrialist tour. The album was expected to be released in early 2014. On May 13, 2013, Burton C. Bell told Metal-Rules.com, "Fear Factory will continue to tour North America and Europe 2013. We've got some more tours scheduled, some summer festivals next year. During that time our plan is to start writing a new record and we would like to have a new record out by spring 2014". On March 19, 2014, Bell told Brave Words & Bloody Knuckles he would like to have the new album released by August, followed by a tour in September. On September 12, 2014, the band announced it had signed to record label Nuclear Blast and would enter the studio in October. The band also confirmed that the album would be mixed by Andy Sneap, and that Rhys Fulber would again produce it.

The band played their first shows in India, in November 2014, as part of the Weekender Tour, and on February/March 2015, they participated at the Soundwave Festival in Australia and New Zealand.

On May 1, 2015, it was announced that former Static-X and Soulfly bassist Tony Campos joined the band. Later that month, Fear Factory announced that they would release their ninth studio album, titled Genexus, on August 7, 2015.

They toured in European festivals in July 2015, and then onto North America, as an opening act for Coal Chamber. From late August until mid-September 2015, the band toured the midwestern, southern and southwestern United States with support from Once Human (starring Logan Mader), Los Angeles melodic metal band Before the Mourning and Chicago rock band The Bloodline. They also announced that they would play the entire Demanufacture album in Europe between November and December 2015, a tour which again included Once Human with the addition of Irish band Dead Label as openers.

Hiatus and lawsuits (2016–2019)
In a November 2016 interview with Loudwire, guitarist Dino Cazares revealed that Fear Factory had planned to release their tenth studio album in mid-to-late 2017. He stated, "Right now we're going to be home and doing a new record. We're writing already and in the process of doing a new record, but it probably won't be out until late summer of next year or maybe even October. I'm not exactly sure."

In a December 2016 interview with The Ex-Man, despite an ongoing "huge legal battle" with Bell and Cazares, former bassist-guitarist Christian Olde Wolbers stated that he was "trying to reach out and try to get this reunion thing happening." He added, "There would be nothing better for this band [than] to reconcile our differences, fucking write a killer record, which I know we can, and fucking we would be doing really big tours. My passion for playing and what we have invested in this band is very big, and I know it's really big for Dino as well, 'cause he started it with Raymond back in the day." More fuel to the possibility of a reunion with the "classic" lineup of Bell, Cazares, Herrera and Olde Wolbers was added later that month, when Olde Wolbers posted an image on his Instagram account, suggesting Fear Factory's official website was "under construction."

On May 7, 2017, Wolbers posted a blank picture on his Instagram (which was later deleted), claiming that Fear Factory had broken up. Later that day, Cazares was asked via Twitter if they were still together, and his response was, "Not sure why your asking that and rant by who?".

In an interview with Kilpop in May 2017, Burton C. Bell said that the new songs were "even stronger than Genexus, 'cause it just seems even more tight. We're on a groove, and it's kicking ass."

In an interview with SiriusXM's Jose Mangin at November 2018's inaugural Headbangers Con in Portland, Oregon, Bell revealed Monolith as the title of Fear Factory's tenth studio album and its tentative artwork via his smartphone. In October 2019, this was refuted by guitarist Dino Cazares who stated via his Twitter account that there was no new Fear Factory album. Shortly thereafter, Cazares expressed uncertainty towards the band's future, indicating that a lawsuit filed by former members Raymond Herrera and Christian Olde Wolbers had prevented him and Bell from using the Fear Factory name.

Split with Burton C. Bell and Aggression Continuum (2020–2022)
On September 2, 2020, Dino Cazares announced he would be releasing new Fear Factory music in 2021. Less than a month later, Burton C. Bell announced he quit Fear Factory citing "consistent series of dishonest representations and unfounded accusations from past and present band members", leaving no original members left in the band besides Cazares. However, Bell's contributions to their upcoming album remained, as he recorded his vocals in 2017. He claimed his relationship with Cazares began to fray when they got into a physical altercation during the recording of Genexus, "because [Cazares] said something he shouldn't have".

In an interview with Robb Flynn on September 28, 2020, which took place within hours after Bell announced his departure from Fear Factory, Cazares claimed that he was not aware of the split until he "found out [about it] via social media." He also claimed that one of the reasons behind Bell's departure was not only due to the lawsuit that prevented the release of the band's new album, but because the latter's portion of the Fear Factory "trademark ownership became available", which left Cazares as the sole owner of the band name. Cazares reiterated that Bell's vocals would appear on the new album, which was being mixed by Andy Sneap for a March 2021 release, and hoped the pair would continue to work together in order to support it.

On April 1, 2021, Fear Factory announced that their first new song in over five years would be released on April 16. A short riff teaser of the song from Cazares was released soon after. The new single "Disruptor" was released on April 16, followed by the announcement of the tenth studio album Aggression Continuum, which was released on June 18.

Arrival of Milo Silvestro and next album (2023–present)
While deciding on a new vocalist through auditions, Cazares said that gender would not play a role, expressing an open interest in hiring a woman; however, he said that he would not announce it for a while. Out of all the potential talents, he decided on a replacement who had yet to be revealed, with the member being a male and "kind of known" within the metal scene. He also said that the new member would be introduced through new songs. Wolbers expressed support for Cazares carrying on with the band. On February 21, 2023, the band finally unveiled that after auditioning over 300 people, Italian singer Milo Silvestro was their new vocalist. During the cancelation of the first date of the 2023 North American tour, it was revealed on an Instagram story post that Pete Webber of Havok would be filling in as drummer for the band.

In May 2023, Webber was confirmed as the new settled percussionist for the ensemble.

In June 2023, a revised version of Fear Factory's 2012 album The Industrialist was released with the new title "Re-Industrialized." This version featured re-recorded drum tracks performed by the band's previous drummer, Mike Heller, as well as remixes of two songs from the album: "Recharger" and "Difference Engine". Cazares also re-recorded all his guitar tracks with a different tone and some alterations to certain musical sections in each track. Three cover songs were also added to this new edition: "Landfill," "Saturation," and "Passing Complexion."

In July 2024, Cazares confirmed that a new Fear Factory album will be released in 2025.

Musical style, influences, and legacy
Fear Factory has been classified under several metal genres, most often as industrial metal  and groove metal,  but also as nu metal,   alternative metal, thrash metal, and death metal. The band began as a death metal band with their debut album Soul of a New Machine, but quickly moved to industrial metal after that album. Fear Factory's influences include Slayer, Exodus, Napalm Death, Ministry, Nine Inch Nails, and Godflesh. In terms of influences on the group's work, Dino Cazares has cited the band members' interests in fantasy and science fiction alternative universes such as the Terminator mythos as well as the Dune mythos. As a specific example, their debut album, Soul of a New Machine, picked up its name directly from a line in a movie critic review of the Terminator 2: Judgment Day film (discussing the T-1000 villain). Cazares has also cited recurring influences on Fear Factory coming from conventional popular music, outside of the genres of hard rock and heavy metal, for instance looking to singer-songwriter Paul McCartney's sounds in both The Beatles and Wings. Over the years the film Blade Runner has become a recurring theme as the band often makes lyrical reference to the plot, as well as directly quote and sample lines from the film.

Fear Factory's innovative approach towards and hybridization of the genres industrial metal, death metal, and alternative metal has had a lasting impact on other artists coming later, the band putting a stamp on metal music ever since the release of their first album in 1992. Fear Factory is noteworthy among contemporaries for its lyrical focus on science fiction, with much of the band's music telling a single story spanning several concept albums. The band has been called a "stepping stone", leading mainstream listeners to venture into less-known, more extreme bands, and are consistently appreciated. Despite the heavy use of ambient and sampling sounds, the band has never had an official keyboardist in their lineup; they instead employ session/touring members.

In the liner notes of the re-released version of Soul of a New Machine, Machine Head vocalist Robb Flynn, Chimaira vocalist Mark Hunter, and Spineshank guitarist Mike Sarkisyan cited Fear Factory as an influence. Robb Flynn said his vocal style was influenced by Burton C. Bell's vocals and Machine Head have been wrongly credited for the vocal style. Mark Hunter said Chimaira's drumming was heavily influenced by Raymond Herrera. Slipknot, Killswitch Engage, As I Lay Dying, Static-X, and Coal Chamber have also mentioned Fear Factory in their liner notes.

Modern bands including Mnemic, Scarve, Stiff Valentine, and Threat Signal contain significant influences from Fear Factory's technique and have also credited a substantial debt of gratitude to the band. Peter Tägtgren of Hypocrisy said, "Fear Factory are close to our hearts" and, "Soul of a New Machine was the influence for me to start my other project, 'Pain'". Devin Townsend of Strapping Young Lad said his main influences for Heavy as a Really Heavy Thing were Fear Factory and Napalm Death. In an interview on That Metal Show, Black Sabbath drummer Bill Ward said Fear Factory is one of the bands he wishes he could play with, and picked Mechanize as one of his favourite albums.

Current members

 * Dino Cazares – guitars, backing vocals (1989–2002, 2009–present)
 * Tony Campos – bass, backing vocals (2015–present)
 * Milo Silvestro – lead vocals (2023–present)
 * Pete Webber – drums (2023–present)

Former members

 * Burton C. Bell – lead vocals (1989–2002, 2003–2006, 2009–2020) ; keyboards (1995)
 * Raymond Herrera – drums (1989–2002, 2003–2006)
 * David Gibney – bass (1989–1991)
 * Andy Romero – bass (1991–1992)
 * Andrew Shives – bass (1992–1994)
 * Christian Olde Wolbers – bass (1994–2002) ; guitars (2003–2006) ; backing vocals (1994–2006)
 * Byron Stroud – bass (2003–2006, 2009–2012)
 * Gene Hoglan – drums (2009–2012)
 * Matt DeVries – bass, backing vocals (2012–2015)
 * Mike Heller – drums (2012–2023)

Touring musicians

 * Javier Arriaga – bass (2023, 2024)
 * Alexandro Hernandez – bass (2023)
 * Ricky Bonazza – bass (2024–present)

Session musicians

 * Rhys Fulber – keyboards, samples (1993–2002, 2003–2004, 2009–present)
 * Reynor Diego – keyboards, samples (1992–1995)
 * Steve Tushar – keyboards, synthesizer, samples (1995–1997, 2003–2005)
 * John Morgan – keyboards, samples (1997)
 * John Bechdel – keyboards, synthesizer, samples (1998–2002, 2002–2004)

Discography

 * Soul of a New Machine (1992)
 * Demanufacture (1995)
 * Obsolete (1998)
 * Digimortal (2001)
 * Archetype (2004)
 * Transgression (2005)
 * Mechanize (2010)
 * The Industrialist (2012)
 * Genexus (2015)
 * Aggression Continuum (2021)

title: Fear Factory


text:
Charles Mason

Charles Mason (25 April 1728 – 25 October 1786) was an English-American astronomer who made significant contributions to 18th-century science and American history, particularly through his survey with Jeremiah Dixon of the Mason–Dixon line, which came to mark the border between Maryland and Pennsylvania (1764–1768). The border between Delaware and Maryland is also defined by a part of the Mason–Dixon line.

Early career
Mason's early career was spent at the Royal Greenwich Observatory near London. He served as assistant astronomer from 1756 to 1760 under the Reverend James Bradley, the third Astronomer Royal.

While employed at the Greenwich Observatory, Mason became familiar with Professor Tobias Mayer's Tables of the Moon. The Lunar Tables were designed to solve the problem of determining longitude at sea, a challenge that frustrated scientists and navigators for decades. Mason worked throughout his life to perfect the Lunar Tables as a method of improving navigation at sea. In 1787, Mason's work was recognized, and he was awarded £750 (not the full prize of £10,000 to £20,000) by the Board of Longitude for his work on perfecting the Tables.

1761 transit of Venus
In 1761, Mason was assigned to travel to the island of Sumatra to observe the transit of Venus as part of an international effort to record data that would enable scientists to determine the distance from the Earth to the Sun. Mason was joined by Jeremiah Dixon, a surveyor and amateur astronomer from Cockfield in the County of Durham. Owing to an attack by a French man-of-war, they did not reach their destination in time for the transit and were forced to record their observations from the Cape of Good Hope. On the way back from the Cape they visited St Helena where they made a series of observations with the astronomer Nevil Maskelyne.

The Mason–Dixon line survey
From November 1763 to 1768, Mason and Jeremiah Dixon established the boundary line between the American provinces of Pennsylvania and Maryland. Colonial surveyors had been unable accurately to establish the boundary due to their poor training and inadequate scientific instruments. Mason and Dixon, accompanied by a large party of assistants, established three important boundaries: (1) the south boundary line of Pennsylvania separating it from Maryland and Virginia; (2) the west boundary of the three lower counties of Pennsylvania (now Delaware) separating it from Maryland; and (3) the south boundary of the three lower counties. The pair also conducted a number of experiments for the Royal Society such as measuring a degree of latitude. Mason's journal provides the most complete record of the survey and its progress. The journal includes his astronomical observations and personal notes about the American frontier environment and his experiences in colonial America.

Mason and Dixon failed to measure the entire length of the south boundary of Pennsylvania as determined by its charter. In the summer of 1767, the surveying party crossed the Monongahela River and the Great Catawba War Path, violating a treaty limiting the westward expansion of English settlements. Not wishing to risk inciting native hostilities, Mason and Dixon were forced to return east after making their final observations at the crest of Brown's Hill.

Career after the Mason–Dixon line survey
After completing the boundary survey in the United States, Mason returned to Greenwich where he continued work on Mayer's Lunar Tables. He also contributed to the Nautical Almanac, working under Nevil Maskelyne, the fifth Astronomer Royal.

On 27 September 1786, Mason wrote to Benjamin Franklin, whom he knew from his election to the American Philosophical Society in 1767 where Franklin was a founding member, informing him that he had returned to Philadelphia with his wife, seven sons, and one daughter. Mason was very ill and confined to his bed. Mason also shared with Franklin the design for an astronomical project. Mason provided no explanation for his return to the United States, and nothing more is known of Mason's proposed project.

Mason died on 25 October 1786, in Philadelphia. He was buried there in Christ Church Burial Ground.

Posthumous recognition
The crater Mason on the Moon is named after him.

Mason is one of the title characters of Thomas Pynchon's 1997 novel Mason & Dixon. The song "Sailing to Philadelphia", inspired by Pynchon's book, appears on Mark Knopfler's album of the same name; on the original version, Knopfler sings the role of Dixon and James Taylor that of Mason.

Surveying organizations dedicated a memorial at his previously unmarked grave on 31 August 2013, using a Mason–Dixon line stone that was found displaced from its position.

title: Charles Mason


text:
Arsenal

An arsenal is a place where arms and ammunition are made, maintained and repaired, stored, or issued, in any combination, whether privately or publicly owned. Arsenal and armoury (British English) or armory (American English) are mostly regarded as synonyms, although subtle differences in usage exist.

A sub-armory is a place of temporary storage or carrying of weapons and ammunition, such as any temporary post or patrol vehicle that is only operational in certain times of the day.

Etymology
The term in English entered the language in the 16th century as a loanword from arsenal, itself deriving from the term arsenale, which in turn is thought to be a corruption of دار الصناعة, dār aṣ-ṣināʿa, meaning "manufacturing shop".

Types
A lower-class arsenal, which can furnish the materiel and equipment of a small army, may contain a laboratory, gun and carriage factories, small-arms ammunition, small-arms, harness, saddlery tent and powder factories; in addition, it must possess great storehouses. In a second-class arsenal, the factories would be replaced by workshops. The situation of an arsenal should be governed by strategic considerations. If of the first class, it should be situated at the base of operations and supply, secure from attack, not too near a frontier, and placed so as to draw in readily the resources of the country. The importance of a large arsenal is such that its defences would be on the scale of those of a large fortress.

In the early 21st century, the term "floating armoury" described a ship storing weapons to be supplied to merchant vessels in international waters subject to piracy, so that the weapons do not enter territorial waters where they would be illegal.

Operational subdivision
The branches in a great arsenal are usually subdivided into storekeeping, construction and administration:

 * Under storekeeping the arsenal should have the following departments and stores: Departments of issue and receipt, pattern room, armoury department, ordnance or park, harness, saddlery and accoutrements, camp equipment, tools and instruments, engineer store, timber yard, breaking-up store, and unserviceable store.
 * Under construction: Gun factory, carriage factory, laboratory, small arms factory, harness and tent factory, gunpowder factory, etc. In a second-class arsenal there would be workshops instead of factories.
 * Under the head of administration would be classed the chief director of the arsenal, officials military and civil, non-commissioned officers and military artificers, civilian foremen, workmen and laborers, with the clerks and writers necessary for the office work of the establishments.

In the manufacturing branches are required skill, and efficient and economical work, both executive and administrative; in the storekeeping part, good arrangement, great care, thorough knowledge of all warlike stores, both in their active and passive state, and scrupulous exactness in the custody, issue and receipt of stores. Frederick Taylor introduced command and control techniques to arsenals, including the U.S.'s Watertown Arsenal (a principal center for artillery design and manufacture) and Frankford Arsenal (a principal center for small arms ammunition design and manufacture).

title: Arsenal


text:
Jeremiah Dixon

Jeremiah Dixon (27 July 1733 – 22 January 1779) was an English surveyor and astronomer who is best known for his work with Charles Mason, from 1763 to 1767, in determining what was later called the Mason–Dixon line.

Early life and education
Dixon was born in Cockfield, near Bishop Auckland, County Durham, in 1733, one of seven children, to George Dixon, a coal mine owner, and Mary Hunter, a native of Newcastle who was said to have been "the cleverest woman" to ever marry into the Dixon family. Dixon became interested in astronomy and mathematics during his education at Barnard Castle. Early in life he made acquaintances with the eminent intellectuals of Southern Durham: mathematician William Emerson, and astronomers John Bird and Thomas Wright.

Career
It was probably the astronomer John Bird, an active Fellow of the Royal Society, who recommended Dixon as suitable to serve as assistant to Charles Mason in 1761 when the Royal Society sent them to observe the transit of Venus from Sumatra. However, their passage to Sumatra was delayed, and they landed instead at the Cape of Good Hope where the transit was observed on 6 June 1761. Dixon returned to the Cape once again with Nevil Maskelyne's clock to work on experiments with gravity.

Dixon and Mason signed an agreement in 1763 with the proprietors of Pennsylvania and Maryland, Thomas Penn and Frederick Calvert, sixth Baron Baltimore, to assist with resolving a boundary dispute between the two provinces. They arrived in Philadelphia in November 1763 and began work towards the end of the year. The survey was not complete until late 1766, following which they stayed on to measure a degree of Earth's meridian on the Delmarva Peninsula in Maryland, on behalf of the Royal Society. They also made a number of gravity measurements with the same instrument that Dixon had used with Maskelyne in 1761. Before returning to England in 1768, they were both admitted to the American Society for Promoting Useful Knowledge, in Philadelphia.

Dixon sailed to Norway in 1769 with William Bayly to observe another transit of Venus. The two split up, with Dixon at Hammerfest Island and Bayly at North Cape, in order to minimize the possibility of inclement weather obstructing their measurements. Following their return to England in July, Dixon resumed his work as a surveyor in Durham.

Private life
Dixon died unmarried in Cockfield on 22 January 1779, and was buried in an unmarked grave in the Quaker cemetery in Staindrop. Although he was recognised as a Quaker, he was known to violate rules by wearing a long red coat and occasionally drinking to excess. His nephew, John Dixon, came into possession of his "common theodolite", a work of George Adams. John's grandson, Edward, donated it to the Royal Geographical Society circa 1916.

Legacy
It is possible, though not confirmed, that Dixon's name was the origin for the nickname Dixie used in reference to the U.S. Southern States.

Jeremiah Dixon is one of the two title characters of Thomas Pynchon's 1997 novel Mason & Dixon. The song Sailing to Philadelphia from Mark Knopfler's album of the same name, also refers to Mason and Dixon, and was inspired by Pynchon's book.

An exhibition about the life and work of Jeremiah Dixon was mounted at the Bowes Museum in Barnard Castle in England in 2013. Titled Jeremiah Dixon: Scientist, Surveyor and Stargazer, it was scheduled to run from 27 April to 6 October.

In September 2013, a locomotive operating on the Weardale Railway in County Durham was named after Jeremiah Dixon. The locomotive now operates in the Willesden area of northwest London.

title: Jeremiah Dixon


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Talk:Nunavik

Untitled
"Covering an area of approximately 660 000 km², north of the 55th parallel, it is the homeland of the Quebec Inuit."

Are the Quebec Inuit a distinct group? The word "homeland" seems a little odd. - stewacide 23:42 Mar 2, 2003 (UTC)

I believe they are, they have their own dialect Kmorrow 21:45, 21 June 2006 (UTC)

Question?
Do we need the (????)? Is there some questions as to the legitimacy of the name Nunavik?

 * You need to install an Inuktitut font - it's the name of the place in Inuktitut syllabics. --Diderot 23:15, 2 September 2005 (UTC)

Accessibility
Is there some other way than air to get there from southern Quebec ? I'd welcome boat or any other means that doesn't require driving permit or need to bring my gear beside camping and food. An estimated time table would be great with that ! --DynV 06:38, 8 October 2006 (UTC)

Boat in summmer RIII 00:39, 28 January 2007 (UTC)

It looks like a personal question, not a suggested edit to the page, but as far as adding travel to the page, I would think specific time and costs to travel is outside the purpose of Wikipedia (it changes too quickly). I like what is currently written, it serves the purpose to show how remote it is, but don't think it should be enlarged. --Paddling bear (talk) 19:30, 25 February 2010 (UTC)

Nunavik is not comprised as the northern 1/3 of Quebec. That claim is just insane. Nunavik is totally separate from Quebec. It was formed when a part of the Canadian Northwest_Territories was broken off to form a 'Inuit Self Governed' portion of Canada - something that has been a complete economic and social disaster. — Preceding unsigned comment added by 66.176.200.150 (talk • contribs)
 * I think you might have confused Nunavik with Nunavut. CambridgeBayWeather (Talk) 15:57, 24 May 2007 (UTC)
 * It's been eight years, but CambridgeBayWeather, you actually have it backwards. I have NO CLUE how that's possible with a user name like yours.184.145.42.19 (talk) 06:55, 25 February 2017 (UTC)
 * The original comment stated Nunavik was split from the Northwest Territories, and CambridgeBayWeather correctly replied that this was wrong. Perhaps you were thrown off because the original comment had no signature, which I've now added. Mind  matrix  13:50, 25 February 2017 (UTC)

Language
Could we add a "language" section here? How many speak Cree languages, how many speak French, how many speak English? samwaltz (talk) 00:31, 26 December 2007 (UTC)

Question
"Negotiations for regional autonomy are underway, and negotiators expect Nunavik will become a self-governing region within the province of Quebec, with outstanding land claims resolved, in 2011.[2][3] The seat of government is to be Kuujjuaq.[4]"

=> Why should Nunavik become a self-governing region within the province of Quebec? Nunavut got their own government as a territory. So, in my opinion Nunavik must be treated equally. No territory in Canada belongs to a province or another territory. Because it was once in the province of Quebec, it shouldn't be treated differently. It should become a self-governing territory just like Nunavut, not as a region in a province in a nation. —Preceding unsigned comment added by 142.150.49.174 (talk) 02:04, 16 January 2009 (UTC)

> Answer, Dec. 2009: It is out of necessity. Nunavut was able to be created because its lands were not part of a province - the Federal government could mandate division alone, without the consent of the territorial government of NWT. Sadly, because provinces "own" their land and more importantly, have jurisdiction over its resources, no province would likely agree to losing any part of its territory. Changing the boundaries of a province would require constitutional amendment approved by the House of Commons and the National Assembly (Prov. Leg. in other provinces). A similar arrangement can be found in Labrador with the Regional Government of Nunatsiavut. It really is a shame, I too think they should have the profile of Nunavut, as should all Aboriginal Self-Governments.

DM - Canadian Studies, PoliSci @McGill —Preceding unsigned comment added by 132.216.46.69 (talk) 22:11, 20 December 2009 (UTC)

I'm not familiar with the specifics to have a useful opinion, but while "independce" (as it's own territory) might be good for self-esteem, and a lofty goal, it may still not be the best option. A comment above mentioned that Nunavut was "something that has been a complete economic and social disaster." Perhaps having more autonomy in how they are governed within the province of Quebec is the best option. Just my 2 cents.

About wikipedia: I recalled hearing about another 'new soon-to-be territory called Nunavik when Nunavut was formed. I was always confused over what it was, and just thought to look it up here. Wikipedia really does have everything now. Good detailed replies about governement and formation from territory vs. providences! --Paddling bear (talk) 19:30, 25 February 2010 (UTC)

Referendum results
A link from the main page on the status of negotiations got me results of an April 2011 referendum: "no" on autonomy, with 66% of the vote. I'd like to update the article to show this, but I'm not fluent in French: can someone verify this, please? Vicki Rosenzweig (talk) 14:29, 31 May 2011 (UTC)

External links modified
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 * Added archive https://web.archive.org/20080309192001/http://www.cbc.ca:80/canada/ottawa/story/2007/08/13/inuit-territory.html to http://www.cbc.ca/canada/ottawa/story/2007/08/13/inuit-territory.html
 * Added archive https://web.archive.org/20100821101338/http://www.cbc.ca:80/canada/north/story/2010/08/18/apology-inuit-relocation.html? to http://www.cbc.ca/canada/north/story/2010/08/18/apology-inuit-relocation.html

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External links modified
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 * Added archive https://web.archive.org/web/20081228115824/http://www.grisefiord.ca/eng/history.html to http://www.grisefiord.ca/eng/history.html
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Wiki Education assignment: Science and colonialism
— Assignment last updated by Lpregers (talk) 02:27, 28 February 2023 (UTC)

title: Talk:Nunavik


text:
Local community

A local community has been defined as a group of interacting people living in a common location. The word is often used to refer to a group that is organized around common values and is attributed with social cohesion within a shared geographical location, generally in social units larger than a household. The word can also refer to the national community or global community.

The word "community" is derived from the Old French communité which is derived from the Latin communitas (cum, "with/together" and munus, "gift"), a broad term for fellowship or organized society.

A sense of community refers to people's perception of interconnection and interdependence, shared responsibility, and common goals.

Understanding a community entails having knowledge of community needs and resources, having respect for community members, and involving key community members in programs.

Benefits of local community
The author Robert Putnam refers to the value which comes from social networks as social capital in his book Bowling Alone: The Collapse and Revival of American Community. He writes that social capital "makes an enormous difference in our lives", that "a society characterized by generalized reciprocity is more efficient that a distrustful society" and that economic sociologists have shown a minimized economic wealth if social capital is lacking.

Putnam reports that the first use of the social capital theory was by L. J. Hanifan, a practical reformer during the Progressive Era in the United States of America. The following description of social capital is a quote from L.J. Hanifan in Putnam's Book:

"Those tangible substances [that] count for most in the daily lives of people: namely good will, fellowship, sympathy, and social intercourse among individuals and families who make up a social unit…. The individual is helpless socially, if left to himself…. If he comes into contact with neighbor, and they with other neighbors, there will be an accumulation of social capital, which may immediately satisfy his social needs and which may bear a social potentiality sufficient to the substantial improvement of living conditions in the whole community. The community as a whole will benefit by the cooperation of all its parts, while the individual will find in his associations the advantages of the help, sympathy, and fellowship of his neighbors."

Putnam reported that many studies have shown that the highest predictor of job satisfaction is the presence of social connection in the workplace. He writes that "people with friends at work are happier at work." And that "social networks provide people with advice, a bonus, a promotion, and other strategic information, and letters of recommendation."
 * Employment

Community engagement has been proven to counteract the most negative attributes of poverty and a high amount of social capital has been shown to reduce crime.

"Social connectedness matters to our lives in the most profound way." -Robert Putnam.
 * Local community and health

Robert Putnam reports, in the chapter Health and Happiness from his book Bowling Alone, that recent public research shows social connection impacts all areas of human health, this includes psychological and physical aspects of human health. Putnam says "...beyond a doubt that social connectedness is one of the most powerful determinates of our well being." In particular it is face to face connections which have been shown to have greater impacts then non-face to face relationships.

Specific health benefits of strong social relationships are a decrease in the likelihood of: seasonal viruses, heart attacks, strokes, cancer, depression, and premature death of all sorts.

There are online initiatives to improve local communities like LOCAL (www.localchange.com).
 * Online initiatives

Community sustainability
Sustainability in community programs is the capacity of programs (services designed to meet the needs of community members) to continuously respond to community issues.

A sustained program maintains a focus consonant with its original goals and objectives, including the individuals, families, and communities it was originally intended to serve. Programs change regarding the breadth and depth of their programming. Some become aligned with other organizations and established institutions, whereas others maintain their independence. Understanding the community context in which programs serving the community function has an important influence on program sustainability and success. See table:

Local economy
According to Washington state's Sustain South Sound organization, the top ten reasons to buy locally are:

 * 1) To strengthen local economy: Studies have shown that buying from an independent, locally owned business, significantly raises the number of times your money is used to make purchases from other local businesses, service providers and farms—continuing to strengthen the economic base of the community.
 * 2) Increase jobs: Small local businesses are the largest employer nationally in the United States of America.
 * 3) Encourage local prosperity: A growing body of economic research shows that in an increasingly homogenized world, entrepreneurs and skilled workers are more likely to invest and settle in communities that preserve their one-of-a-kind businesses and distinctive character.
 * 4) Reduce environmental impact: Locally owned businesses can make more local purchases requiring less transportation and generally set up shop in town or city centers as opposed to developing on the fringe. This means contributing less to greenhouse gas emissions, sprawl, congestion, habitat loss and pollution.
 * 5) Support community groups: Non-profit organizations receive an average 250% more support from smaller business owners than they do from large businesses.
 * 6) Keep your community unique: Where we shop, where we eat and have fun—all of it makes our community home.
 * 7) Get better service: Local businesses often hire people with a better understanding of the products they are selling and take more time to get to know customers.
 * 8) Invest in community: Local businesses are owned by people who live in the community, are less likely to leave, and are more invested in the community's future.
 * 9) Put your taxes to good use: Local businesses in town centers require comparatively little infrastructure investment and make more efficient use of public services as compared to nationally owned stores entering the community.
 * 10) Buy what you want, not what someone wants you to buy: A marketplace of tens of thousands of small businesses is the best way to ensure innovation and low prices over the long-term. A multitude of small businesses, each selecting products based not on a national sales plan but on their own interests and the needs of their local customers, guarantees a much broader range of product choices.

Suggested reading

 * A Guide to Community Visioning; Hands-On Information For Local Communities. Oregon Visions Project.

title: Local community