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The Slim Shady LP

The Slim Shady LP is the second studio album by the American rapper Eminem. It was released on February 23, 1999, through Aftermath Entertainment and Interscope Records. Recorded in Ferndale, Michigan following Eminem's recruitment by Dr. Dre and Jimmy Iovine, the album features production from Dr. Dre, the Bass Brothers, and Eminem himself.

Featuring West Coast hip hop, G-funk and horrorcore musical styles, the majority of The Slim Shady LP's lyrical content is written from the perspective of Eminem's alter ego, named Slim Shady, whom he created on the Slim Shady EP (1997). The Slim Shady LP contains cartoonish depictions of violence and heavy use of profanity, which Eminem described as horror film-esque, in that it is solely for entertainment value. Although many of the lyrics on the album are considered to be satirical, Eminem also depicts his frustrations of living in poverty.

The Slim Shady LP debuted at number two on the Billboard 200, just below TLC's FanMail, and number one on the Top R&B/Hip-Hop Albums chart. It was a critical and commercial success, with critics praising Eminem for his unique lyrical style, dark humor lyrics, and unusual personality. The first single, "My Name Is", became Eminem's first entry on the Billboard Hot 100. The album won Best Rap Album at the 2000 Grammy Awards, while "My Name Is" won Best Rap Solo Performance. In 2000, The Slim Shady LP was certified quadruple platinum by the Recording Industry Association of America (RIAA). It is often mentioned in lists of the greatest albums of all time. While The Slim Shady LP's success turned Eminem from an underground rapper into a high-profile celebrity, he became a highly controversial figure due to his lyrical content, which some perceived to be misogynistic and a negative influence on U.S. youth.

Background
Eminem, whose real name is Marshall Bruce Mathers III, began rapping at age fourteen. In 1996, his debut album Infinite, which was recorded at the Bassmint, a recording studio owned by the Bass Brothers, was released under their independent record label Web Entertainment. Infinite achieved very little commercial success and was largely ignored by Detroit radio stations. The commercial disappointment from this experience greatly influenced his lyrical style: "After that record, every rhyme I wrote got angrier and angrier. A lot of it was because of the feedback I got. Motherfuckers was like, 'You're a white boy, what the fuck are you rapping for? Why don't you go into rock & roll?' All that type of shit started pissing me off." After the release of Infinite, Eminem's personal struggles and abuse of methadone and alcohol culminated in a suicide attempt.

The commercial disappointment inspired Eminem to create the alter ego Slim Shady: "Boom, the name hit me, and right away I thought of all these words to rhyme with it." Slim Shady served as Eminem's vent for his frustration and rage to the world. In the spring of 1997, he recorded the eight-song extended play Slim Shady EP. During this time, Eminem and his girlfriend Kim Scott lived in a high-crime neighborhood with their newborn daughter Hailie, where their house was burglarized numerous times. After being evicted from his home, Eminem traveled to Los Angeles to participate in the Rap Olympics, an annual nationwide rap battle competition. He placed second, and the staff at Interscope Records who attended the Rap Olympics sent a copy of the Slim Shady EP to company CEO Jimmy Iovine. Iovine played the tape for hip hop producer Dr. Dre, founder of Aftermath Entertainment. Dr. Dre recalled, "In my entire career in the music industry, I have never found anything from a demo tape or a CD. When Jimmy played this, I said, 'Find him. Now.'" Some urged Dr. Dre not to take a chance on Eminem because he was white. Dr. Dre responded, "I don't give a fuck if you're purple. If you can kick it, I'm working with you."

Recording
The Slim Shady LP was recorded at Studio 8 at 430 8 Mile Road in Ferndale, Michigan. Eminem, who had idolized Dr. Dre since listening to his group N.W.A as a teenager, was nervous to work with him on the album: "I didn't want to be starstruck or kiss his ass too much ... I'm just a little white boy from Detroit. I had never seen stars, let alone Dr. Dre." However, Eminem became more comfortable working with Dr. Dre after a series of highly productive recording sessions. The recording process generally began with Dr. Dre creating a beat and Eminem using the tracks as a template for his freestyle raps; "Every beat he would make, I had a rhyme for", Eminem recalled. He later said: "Every time I sat down with a pen, everything was just like: fuck you, fuck this, fuck them, fuck that, fuck the world, fuck what everybody thinks. Fuck them." On the first day of recording, Eminem and Dr. Dre finished "My Name Is" in an hour. Three other songs, including "Role Model", were also recorded that day.

"'97 Bonnie & Clyde", which was formerly featured on the Slim Shady EP as "Just the Two of Us", was re-recorded for The Slim Shady LP to feature his daughter Hailie's vocals. Because the song focuses on disposing of his girlfriend's corpse, Eminem was not comfortable with explaining the situation to Kim, and instead told her that he would be taking Hailie to Chuck E. Cheese's. He explained, "When she found out I used our daughter to write a song about killing her, she fucking blew. We had just got back together for a couple of weeks. Then I played her the song and she bugged the fuck out." Eminem also said, "When she (Hailie) gets old enough, I'm going to explain it to her. I'll let her know that Mommy and Daddy weren't getting along at the time. None of it was to be taken too literally, although at the time I wanted to fucking do it." Eminem asked Marilyn Manson to guest appear on the song, but the singer declined because he felt that the song was "too misogynistic". The song "Guilty Conscience" contains a humorous reference to an occasion in which Dr. Dre assaulted Dee Barnes. Having only known Dr. Dre for a few days, Eminem was anxious about how he would react to such a line, and to his relief, Dr. Dre "fell out of his chair laughing" upon hearing the lyric.

"Ken Kaniff", a skit involving a prank call to Eminem, featured fellow Detroit rapper Aristotle. After a falling out between the two in the wake of Eminem's breakthrough success, Eminem instead played Ken Kaniff on skits on future albums. Ken Kaniff would end up appearing in more Eminem albums over the course of his career and was last heard in The Death of Slim Shady (Coup de Grâce). Another skit, "Bitch", is an answering machine message in which Zoe Winkler, daughter of actor Henry Winkler, tells a friend that she was disgusted by Eminem's music. He met and had dinner with her in order to get permission to use the recording on the album. During the mixing process of The Slim Shady LP, at the same time, Kid Rock was recording his fourth studio album, Devil Without a Cause; being friends with Kid Rock, Eminem asked Kid Rock to record scratching for Eminem's song "Just Don't Give A Fuck", which appears on both Slim Shady EP & The Slim Shady LP; in return, Eminem delivered a guest rap verse on Kid Rock's song "Fuck Off" for Devil Without a Cause.

Production
The album's production was handled primarily by Dr. Dre, the Bass Brothers, and Eminem. The beats have been compared to West Coast hip hop and G-funk musical styles. Kyle Anderson of MTV wrote that "The beats are full of bass-heavy hallucinations and create huge, scary sandboxes that allow Em to play." According to the staff at IGN, "'97 Bonnie & Clyde" is backed by the "lulling serenity of a super silky groove". "Cum on Everybody"; which features guest vocals from American singer Dina Rae contains an upbeat dance rhythm, while "My Name Is", which is built around a sample from British musician Labi Siffre's "I Got The...", features a prominent bassline and psychedelic-style keyboards. "I'm Shady" was originally written over a Sade track, but after hearing a sample of Curtis Mayfield's "Pusherman" in Ice-T's song "I'm Your Pusher", Eminem decided it would be more fitting to use "Pusherman".

Eminem's vocal inflection on the album has been described as a "nasal whine"; Jon Pareles of The New York Times likened his "calmly sarcastic delivery" to "the early Beastie Boys turned cynical". Writing for the Chicago Tribune, columnist Greg Kot compared the rapper's vocals to "Pee-wee Herman with a nasal Midwestern accent". A skit entitled "Lounge" appears before "My Fault" featuring Eminem and the Bass Brothers imitating rat pack crooners. Jeff Bass came up with the line "I never meant to give you mushrooms" for the skit, which in turn inspired Eminem to write "My Fault".

Lyrical themes
Many of the songs from The Slim Shady LP are written from the perspective of Eminem's alter ego, Slim Shady, and contain cartoonish depictions of violence, which he refers to as "made-up tales of trailer-park stuff". The rapper explained that this subject matter is intended for entertainment value, likening his music to the horror film genre: "Why can't people see that records can be like movies? The only difference between some of my raps and movies is that they aren't on a screen." Some of the lyrics have also been considered to be misogynistic by critics and commentators. Eminem acknowledged the accusations, and clarified, "I have a fairly salty relationship with women ... But most of the time, when I'm saying shit about women, when I'm saying 'bitches' and 'hoes', it's so ridiculous that I'm taking the stereotypical rapper to the extreme. I don't hate women in general. They just make me mad sometimes.'" Despite the album's explicit nature, Eminem refused to say the word "nigga" on the album, noting, "It's not in my vocabulary." The Slim Shady LP begins with a "Public Service Announcement" introduction performed by producer Jeff Bass of the Bass Brothers, and serves as a sarcastic disclaimer discussing the album's explicit lyrical content. Later in the album, a skit entitled "Paul" features a phone call from Paul Rosenberg to Eminem telling him to "tone down" his lyrics.

"Guilty Conscience" is a concept song featuring Dr. Dre. The song focuses on a series of characters who are faced with various situations, while Dr. Dre and Eminem serve as the "angel" and "devil" sides of the characters' conscience, respectively. The song draws inspiration from a scene in the 1978 comedy film National Lampoon's Animal House, in which a man takes advice from an angel and devil on his shoulder while considering raping an unconscious girl at a party. In the film, he ends up deciding not to go through with the rape, but in "Guilty Conscience", the outcome is unclear. On "My Fault", Eminem tells the story of a girl who overdoses on psychedelic mushrooms at a rave. "'97 Bonnie & Clyde" features Eminem convincing his infant daughter to assist him in disposing of his wife's corpse. It is an epilogue to the song "Kim", although "'97 Bonnie & Clyde" was released first. Eminem wrote the song at a time in which he felt that Kim was stopping him from seeing his daughter. Stephen Thomas Erlewine of Allmusic explained that "There have been more violent songs in rap, but few more disturbing, and it's not because of what it describes, it's how he describes it -- how the perfectly modulated phrasing enhances the horror and black humor of his words." On the song "Brain Damage", Eminem discusses his childhood experiences with bullies at school, particularly recalling a traumatic incident where he sustained a serious concussion after he was severely beaten by a bully.

Although many of the lyrics on the album are intended to be humorous, several songs depict Eminem's frustrations with living in poverty. When discussing The Slim Shady LP, Anthony Bozza of Rolling Stone described Eminem as "probably the only MC in 1999 who boasts low self-esteem. His rhymes are jaw-droppingly perverse, bespeaking a minimum-wage life devoid of hope, flushed with rage and weaned on sci-fi and slasher flicks." Eminem was inspired to write "Rock Bottom" after being fired from his cooking job at a restaurant days before his daughter's birthday. The song bemoans human dependency on money, discussing its ability to brainwash an individual. He illustrates his struggles to provide for his daughter, describing himself as "discouraged, hungry, and malnourished." "If I Had" follows a similar theme, as he describes living on minimum wage and remarks that he is "tired of jobs starting off at $5.50 an hour". In the song, he expresses his irritation with fitting the "white trash" stereotype.

Critical reception
The album was met with critical acclaim. Stephen Thomas Erlewine of AllMusic gave the album five stars out of five, praising the rapper's "expansive vocabulary and vivid imagination", adding that "Years later, as the shock has faded, it's those lyrical skills and the subtle mastery of the music that still resonate, and they're what make The Slim Shady LP one of the great debuts in both hip-hop and modern pop music." David Browne of Entertainment Weekly described the album's "unapologetic outrageousness" as a reaction to the "soul positivity" of conscious hip hop, noting that "The Slim Shady LP marks the return of irreverent, wiseass attitude to the genre, heard throughout the album in its nonstop barrage of crudely funny rhymes ... Even pop fans deadened to graphic lyrics are likely to flinch." Soren Baker of the Los Angeles Times gave the album three and a half stars out of four and stated that "He isn't afraid to say anything; his lyrics are so clever that he makes murder sound as if it's a funny act he may indulge in simply to pass the time" but lamented the "sometimes flat production that takes away from the power of Eminem's verbal mayhem."

Many reviewers commented on the album's lyrical content. Gilbert Rodman of Popular Communications states, "Eminem's music contains more than its fair share of misogynistic and homophobic lyrics, but simply to reduce it to these (as many critics do) doesn't help to explain Eminem. It merely invokes a platitude or a sound bite to explain him away." Rob Sheffield of Rolling Stone enjoyed the record's comedic nature, writing "Simply put: Eminem will crack you up", but also felt that the misogynistic lyrics grow tiresome, noting that "the wife-killing jokes of '97 Bonnie and Clyde' aren't any funnier than Garth Brooks', and 'My Fault' belongs on some sorry-ass Bloodhound Gang record." Nathan Rabin of The A.V. Club felt that although the album is "sophomoric and uninspired" at times, Eminem's "surreal, ultraviolent, trailer-trash/post-gangsta-rap extremism is at least a breath of fresh air in a rap world that's despairingly low on new ideas." Mike Rubin of Spin noted that "his scenarios are so far-fetched the songs almost never sound as ugly as they actually are." Chris Dafoe of The Globe and Mail opined that "Abused by fellow students and teachers, cheated on by his girlfriend, despised by society, Shady goes over the top now and then - or rather way over the top - but Dre's lean production, full of strange voice and comic interjections, hold things together." Reviewing for The Village Voice in 1999, Robert Christgau called the record a "platinum-bound cause celebre" and, despite succumbing to "dull sensationalism" toward the end, Eminem shows "more comic genius than any pop musician since", possibly, Loudon Wainwright III."

Accolades
At the 42nd Grammy Awards in 2000, the album won Best Rap Album, while "My Name Is" won Best Rap Solo Performance. Rolling Stone ranked The Slim Shady LP number 275 on its list of The 500 Greatest Albums of All Time and 33 on its list of the "100 Best Albums of the '90s". In 2020, Rolling Stone ranked The Slim Shady LP as the 352nd greatest album of all time on their 500 Greatest Albums of All Time. NME ranked it number 248 in its list of The 500 Greatest Albums of All Time. Blender ranked it number 49 in its list of The 100 Greatest American Albums of All Time. "Ken Kaniff" was listed as number 15 on Complex's "50 Greatest Hip-Hop Skits" list, while the "Public Service Announcement" introduction to the album, along with the "Public Service Announcement 2000" introduction from The Marshall Mathers LP, was listed as number 50 on the list. Spin later included it in their list of "The 300 Best Albums of 1985–2014". It also won Outstanding National Album at the 2000 Detroit Music Awards. In 2015, it was ranked at number 76 by About.com in their list of "100 best hip-hop albums of all time". Christgau later named it among his 10 best albums from the 1990s. In 2022, Rolling Stone ranked The Slim Shady LP number 85 in their list of "The 200 Greatest Rap Albums of all time".

Commercial performance
In the album's first week of release, The Slim Shady LP sold 283,000 copies, debuting at number two on the Billboard 200 chart behind TLC's FanMail. The record remained on the Billboard 200 for 100 weeks. It also reached number one on the R&B/Hip Hop Albums chart, staying on the chart for 92 weeks. On April 5, 1999, The Slim Shady LP was certified platinum by the Recording Industry Association of America for sales of over one million copies. On November 15, 2000, the album was certified quadruple platinum by the RIAA. "My Name Is", the album's lead single, peaked at number 36 on the Billboard Hot 100, remaining on the chart for ten weeks. The single additionally peaked at number 18 on the magazine's R&B/Hip-Hop Songs chart, 29 on the Pop Songs chart, and 37 on the Alternative Songs chart. "Guilty Conscience" reached number 56 on the Billboard R&B/Hip-Hop Songs chart, while "Just Don't Give a Fuck" peaked at number 62 on the chart.

By November 2013, the album sold 5,437,000 copies in the United States. on the weekly Canadian Albums Chart and remained on the chart for twelve weeks. Additionally, the album was certified triple platinum by the Canadian Recording Industry Association for shipments of over 200,000 units. The album was also certified double platinum in the United Kingdom, where it peaked at number ten on the UK Albums chart and remained on the chart for a total of 114 weeks. In Australia, the album peaked at number 49 on the ARIA Chart, and was eventually certified platinum in the country. The album had also peaked at the number 20 and 23 chart positions in the Netherlands and New Zealand, respectively. It was certified gold in the Netherlands and platinum in New Zealand.

Aftermath
After the success of The Slim Shady LP, Eminem went from an underground rapper into a high-profile celebrity. Interscope Records awarded him with his own record label, Shady Records; the first artist Eminem signed was rapper and his best friend Proof. Eminem, who had previously struggled to provide for his daughter, noted a drastic change in his lifestyle: "This last Christmas, there were so many fucking presents under the tree ... My daughter wasn't born with a silver spoon in her mouth. But she's got one now. I can't stop myself from spoiling her."

To promote The Slim Shady LP, Eminem embarked on an extensive tour schedule. He joined the Vans Warped Tour as a last-minute replacement for Cypress Hill, a schedule that included 31 North American dates from June 25 to July 31, beginning in San Antonio and ending in Miami. He often played a show in the afternoon on the Warped Tour, and then drove to another location to perform at a hip hop club at night. During a performance in Hartford, Connecticut near the end of the Warped Tour, Eminem slipped on a puddle of liquid and fell ten feet down off the stage, cracking several ribs. He recalled that the stress of his newfound fame led him to drink excessively, and reflected, "I knew I had to slow it down. The fall was like a reminder." However, after receiving medical attention, he was well enough to travel to New York the following day for a performance on Total Request Live.

Eminem also became a highly controversial figure due to his lyrical content. He was labeled as "misogynist, a nihilist and an advocate of domestic violence", and in an editorial by Billboard editor in chief Timothy White, the writer accused Eminem of "making money by exploiting the world's misery." During a radio interview in San Francisco, Eminem reportedly angered local DJ Sista Tamu due to a freestyle about "slapping a pregnant bitch" to the extent that on air she broke a copy of The Slim Shady LP. The rapper defended himself by saying, "My album isn't for younger kids to hear. It has an advisory sticker, and you must be eighteen to get it. That doesn't mean younger kids won't get it, but I'm not responsible for every kid out there. I'm not a role model, and I don't claim to be."

Lawsuits
On September 17, 1999, Eminem's mother, Deborah Nelson, filed a $10 million lawsuit against him for slander based on his claim that she uses drugs in the line "I just found out my mom does more dope than I do" from "My Name Is". After a two-year-long trial, she was awarded $25,000, of which she received $1,600 after legal fees. Eminem was not surprised that his mother had filed the lawsuit against him, referring to her as a "lawsuit queen", and alleging that "That's how she makes money. When I was five, she had a job on the cash register at a store that sold chips and soda. Other than that, I don't remember her working a day in her life." She later filed another lawsuit against him for emotional damages suffered during the first trial, which was later dismissed.

In December 2001, DeAngelo Bailey, a janitor living in Roseville, Michigan who was made the subject of the song "Brain Damage" in which he is portrayed as a school bully, filed a $1 million lawsuit against Eminem for slander and invasion of privacy. Bailey's attorney stated "Eminem is a Caucasian male who faced criticism within the music industry that he had not suffered through difficult circumstances growing up and he was therefore a 'pretender' in the industry ... Eminem used Bailey, his African-American childhood schoolmate, as a pawn in his effort to stem the tide of criticism." In 1982, Eminem's mother unsuccessfully sued the Roseville school district for not protecting her son, as she claimed that attacks from bullies caused him headaches, nausea, and antisocial behavior. Additionally, Bailey had previously admitted to bullying Eminem in the April 1999 issue of Rolling Stone Magazine. The lawsuit was dismissed by judge Deborah Servitto in 2003, who wrote her ruling in the form of rap-like rhyme. She ruled that the lyrics—which include the school principal collaborating with Bailey, and Eminem's entire brain falling out of his head—were too exaggerated for a listener to believe that they were recalling an actual event. The verdict was upheld in 2005, and Bailey's lawyer ruled out any further appeals.

In September 2003, 70-year-old widow Harlene Stein filed suit against Eminem and Dr. Dre on the grounds that "Guilty Conscience" contains an unauthorized sample of "Go Home Pigs" composed for the film Getting Straight by her husband, Ronald Stein, who died in 1988. Although the album's liner notes state that the song contains an interpolation of "Go Home Pigs", Stein is not credited as a composer and his wife was not paid royalties for use of the song. The lawsuit requested for 5 percent of the retail list price of 90 percent all of the copies of the record sold in America, and 2.5 percent of the retail price of 90 percent of the copies of the album sold internationally. The suit was dismissed in June 2004 for lack of subject matter jurisdiction.

Track listing
Notes
 * $undefined$ signifies a co-producer.
 * $undefined$ signifies a pre-production.
 * On the clean version of the album, "Bitch", "Cum on Everybody", "Just Don't Give a Fuck", and "Still Don't Give a Fuck" are respectively retitled "Zoe", "Come on Everybody", "Just Don't Give", and "Still Don't Give".
 * Some online platforms (such as Myspace) include an alternate clean version of the album which completely removes the song "Guilty Conscience".

title: The Slim Shady LP


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Felice Orsini

Felice Orsini (10 December 1819 – 13 March 1858) was an Italian revolutionary and leader of the Carbonari who tried to assassinate Napoleon III, Emperor of the French.

Early life
Felice Orsini was born at Meldola in Romagna, then part of the Papal States. He was encouraged to become a priest, but he abandoned that lifestyle and became an ardent liberal, joining the Giovane Italia, a political society founded by Giuseppe Mazzini.

Arrest and revolutionary activities
Orsini was arrested in 1844 along with his father, implicated in revolutionary plots and condemned to imprisonment for life. The new pope, Pius IX set him free, and he led a company of young Romagnols in the First War of Italian Independence in 1848, distinguishing himself in the engagements at Treviso and Vicenza.

Orsini was elected member of the Roman Constituent Assembly in 1849, and after the fall of the revolutionary republic in Rome, he conspired against the papal autocracy in the interest of the Mazzinian party. Mazzini sent him on a secret mission to Hungary, but he was arrested in 1854 and imprisoned at Mantua. He escaped a few months later using a tiny saw to cut through two grids of bars, climbed out of the window 100 feet above ground and slid down using a rope he had made of bedsheets. Passing as a sympathetic peasant, he managed to get past the Austrian guards.

In 1856, he briefly visited Great Britain and received a favourable welcome. The daily news had published the first English translation of his tale of escape. He published The Memoirs and Adventures of Felice Orsini in 1856. In 1857, he also published an account of his prison experiences in English under the title of The Austrian Dungeons in Italy, which led to a rupture between him and Mazzini. Then he began to negotiate with Ausonio Franchi, editor of the Ragione of Turin, which he proposed to make the organ of pure republicans.

Orsini became convinced that Napoleon III was the chief obstacle to Italian independence and the principal cause of the anti-liberal reaction throughout Europe. He plotted his assassination with the logic that after the emperor's death, France would rise in revolt and the Italians could exploit the situation to revolt themselves. He went to Paris in 1857 to conspire against the emperor.

At the end of 1857, Orsini briefly visited England, where he contacted gunsmith Joseph Taylor and asked him to make six copies of a bomb of Orsini's own design; it would explode on impact and used fulminate of mercury as an explosive. The bomb was tested in Sheffield and Devon with the aid of French radical Simon Bernard. Satisfied, Orsini returned to Paris with the bombs and contacted other conspirators, Giuseppe Pieri, Antonio Gomez and Carlo di Rudio (later changed to Charles DeRudio).

Assassination attempt on Louis Napoleon
On the evening of 14 January 1858, as the Emperor and Empress were on their way to the theatre in the Rue Le Peletier, the precursor of the Opera Garnier, to see Rossini's William Tell, Orsini and his accomplices threw three bombs at the imperial carriage. The first bomb landed among the horsemen in front of the carriage. The second bomb wounded the animals and smashed the carriage glass. The third bomb landed under the carriage and seriously wounded a policeman who was hurrying to protect the occupants. Eight people were killed and 142 wounded, though the emperor and empress were unhurt. They judged it best to proceed to the performance and appear before the public in their box.

Orsini himself was wounded on the right temple and stunned. He tended his wounds and returned to his lodgings, where police found him the next day.

The attempted assassination actually increased Napoleon III's popularity. Because the bombs had been made and tested in England, it caused a brief anti-British furore in France because of suspicion of British involvement. The Emperor refused to escalate the situation and the indignation eventually died down.

Letter to Napoleon III
On 11 February Orsini wrote his famous letter to Napoleon, in which he exhorted him to take up the cause of Italian independence—a cause Napoleon III had already supported in his youth. Modern historians have even suspected that Napoleon wrote some of the letter himself. He addressed another letter to the youth of Italy and condemned political assassination.

Judgment
Orsini was sentenced to death and went calmly to the guillotine on 13 March 1858. Accomplices Pieri was executed and Gomez condemned to hard labour for life. Di Rudio was sentenced to death, which was commuted to life imprisonment on Devil's Island near Cayenne, whence he escaped and later went to America. He became an officer in the United States Army, was appointed to the U.S. 7th Cavalry, and participated in—and survived—the 1876 Battle of the Little Big Horn.

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

title: Felice Orsini


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Fred Durst

William Frederick Durst (born Frederick Allen Mayne III; August 20, 1970) is an American rapper, singer, songwriter, and director. He is the frontman and lyricist of the nu metal band Limp Bizkit, formed in 1994, with whom he has released six studio albums.

Since 2006, Durst has worked on a number of independent films. He co-starred in Population 436, and made his directorial debut in 2007 with The Education of Charlie Banks. He followed with The Longshots in 2008. His latest film, The Fanatic, came out in 2019.

Early life
Durst was born Frederick Allen Mayne III in Jacksonville, Florida, but soon moved to Orlando and then a farm in Cherryville, North Carolina, at one year old. His mother Anita had him rechristened as William Frederick Durst after remarrying Bill Durst, a local police officer. Shortly after, Durst's parents had another child, his half-brother Cory Durst. In the fifth grade, he moved to Gastonia, North Carolina, where he graduated from Hunter Huss High School. As a child, Durst was bullied, which he incorporated into his music. At the age of 12, Durst took an interest in breakdancing, hip hop, punk rock, and heavy metal. He began to rap, skate, beatbox, and DJ. Leaving the Navy after two years (1988–1990), Durst moved back to Jacksonville with his father where he worked as a landscaper and a tattoo artist while developing an idea for a band that combined elements of rock and hip-hop.

Formation of Limp Bizkit (1994–1998)
In 1994, Durst, Malachi Sage bassist Sam Rivers, and Rivers' highschool friend John Otto jammed together and wrote three songs. Guitarist Wes Borland later joined. Durst named the band Limp Bizkit because he wanted a name that would repel listeners. Limp Bizkit developed a cult following in the underground music scene when its covers of George Michael's "Faith" and Paula Abdul's "Straight Up" began to attract curious concertgoers.

Later, when Korn performed in town as the opening act for Sick of It All, Durst invited Korn to his house. He was able to persuade bassist Reginald Arvizu to listen to demos of the songs "Pollution", "Counterfeit", and "Stalemate". Korn added a then-unsigned Limp Bizkit to two tours, which gave the band a new audience. DJ Lethal, formerly of the hip hop group House of Pain, joined the band as a turntablist. During this time Durst's disagreements with Borland led the guitarist to briefly leave the band, but re-join soon after.

In 1997, Limp Bizkit signed with Flip Records, a subsidiary of Interscope Records, and released their debut album, Three Dollar Bill, Y'all to moderate response. On October 23, 1997, Durst met the band Staind, but friction quickly emerged between the two over the cover art of Staind's album. Durst unsuccessfully attempted to remove Staind from a concert bill shortly before their performance, but after hearing the band play, he was so impressed that he signed them to Flip/Elektra, recorded a demo with the band, and co-produced their next album, Dysfunction.

After Limp Bizkit finished a tour with the band Deftones, Durst and DJ Lethal were asked by Max Cavalera, formerly of the band Sepultura, to appear on "Bleed", a song from the self-titled debut of his new band Soulfly. Cavalera stated that producer Ross Robinson recommended that he work with Durst. Durst also made an appearance on Korn's album Follow the Leader. Jonathan Davis had intended to write a battle rap with B-Real of Cypress Hill, but the latter's label wouldn't let him do it, and Durst was tapped instead. Davis and Durst wrote the lyrics for "All in the Family", which featured the two vocalists trading insults. Davis and Durst would often offer suggestions for each other's lyrics; a lyric written by Durst as "tootin' on your bagpipe" was changed to "fagpipes" by Davis, who stated "I helped him bag on me better".

Durst began to take an interest in filmmaking, directing the music video for Limp Bizkit's single "Faith" in promotion for its appearance in the film Very Bad Things; he was unsatisfied with it and made a second video which paid tribute to tour mates Primus, Deftones and Mötley Crüe, who appeared in the video.

Mainstream success (1998–2005)

Limp Bizkit achieved mainstream success with the albums Significant Other (1999) and Chocolate Starfish and the Hot Dog Flavored Water (2000). In June 1999, Durst was appointed Senior Vice President of A&R at Interscope. Durst utilized his connections through the label and scouted numerous bands; landing record deals for Cold, Staind, Puddle of Mudd, and She Wants Revenge. Durst would also aid in attracting other bands such as 30 Seconds to Mars and Taproot, though Durst would pass on 30 Seconds to Mars, and he later engaged in a minor feud with Taproot after they rejected his original offer to sign the group to interscope in 1999. In the summer of 1999, Limp Bizkit played at the highly anticipated Woodstock '99 festival in front of approximately 200,000 people. The concert was tarnished by violent behavior from the crowd, much of which occurred during and after their performance, including fans tearing plywood from the walls during the song "Break Stuff". Several sexual assaults were reported in the aftermath of the concert. Durst stated during the concert, "People are getting hurt. Don't let anybody get hurt. But I don't think you should mellow out. That's what Alanis Morissette had you motherfuckers do. If someone falls, pick 'em up. We already let the negative energy out. Now we wanna let out the positive energy". Durst later stated in an interview, "I didn't see anybody getting hurt. You don't see that. When you're looking out on a sea of people and the stage is twenty feet in the air and you're performing, and you're feeling your music, how do they expect us to see something bad going on?" Les Claypool told the San Francisco Examiner, "Woodstock was just Durst being Durst. His attitude is 'no press is bad press', so he brings it on himself. He wallows in it. Still, he's a great guy." "It's easy to point the finger and blame [us], but they hired us for what we do — and all we did is what we do. I would turn the finger and point it back to the people that hired us," said Durst, in reference to original Woodstock co-founder, Michael Lang.

In June 2000, Limp Bizkit's tour was sponsored by the controversial file sharing service Napster. Durst was an outspoken advocate of file sharing. During the 2000 MTV Video Music Awards, Durst performed Limp Bizkit's song "Livin' It Up", as a duet with Christina Aguilera. In response to the performance, Filter frontman Richard Patrick claimed that "Fred getting onstage with Christina Aguilera embarrassed us all." In response to the negative reactions to the performance, Durst remarked, "People always just wanna talk about Britney or Christina. What's the problem? Because they make a type of music we aren't allowed to like? Or you think they are the nemesis of what our music is about? Why segregate? Why be so musically fuckin' racist? What do you mean, I can't hang out with these types of people? Clearly I didn't give a fuck, which fed a lot of it, too. I mean, someone that's not going to give in and apologise... it's gonna make people carry on talking."

During a 2001 tour of Australia at the Big Day Out festival in Sydney, fans rushed the stage in the mosh pit, and teenager Jessica Michalik died of asphyxiation. In Auckland, New Zealand, on the same tour, Durst threw water over the head of a security personnel tasked with defusing a similar situation. During the Big Day Out crush, Durst has been accused of taunting security guards intervening in the situation. In court, Durst, represented by his long-time attorney, Ed McPherson, testified he had warned the concert's organizers Aaron Jackson, Will Pearce and Amar Tailor and promoter Vivian Lees of the potential dangers of such minimal security. After viewing video and hearing witness testimony, the coroner said it was evident that the density of the crowd was dangerous at the time Limp Bizkit took the stage and Durst should have acted more responsibly when the problem became apparent. Durst stated that he was "emotionally scarred" because of the teenager's death.

In 2002, Durst was tapped to write songs for Britney Spears, and later said that he was in a relationship with her. Spears denied Durst's claims. In a 2009 interview, he explained that "I just guess at the time it was taboo for a guy like me to be associated with a gal like her." In February 2005, a sex tape featuring Durst was released on the Internet. Durst filed a $70 million lawsuit against ten websites that posted the video.

In May 2003, it was reported that Durst was working on a New Wave side-project alongside Limp Bizkit's Results May Vary album. The band, named Pacifica, was reportedly in its "very early stages" and had a sound reminiscent of Duran Duran and Soft Cell. News about the band stopped quickly and no releases ever surfaced.

In July 2003, Limp Bizkit participated on the Summer Sanitarium Tour, headlined by Metallica. In the days preceding the tour's stop in Chicago, local radio personality Mancow Muller mocked Durst and suggested that listeners who were attending the concert should heckle the singer and throw debris. With the crowd chanting "fuck Fred Durst" and pelting the stage with garbage, Durst erupted after six songs, threw the microphone down and walked off stage. Durst was eventually sued for breach of contract (for not completing the show) by Chicago lawyer Michael Young in a class-action suit.

In May 2005, The Unquestionable Truth (Part 1) was released. Sammy Siegler took over drumming duties for the band for much of the album. At Durst's insistence, the album was released as an underground album, without any advertising or promotion. The album sold over 2,000,000 copies worldwide, peaking at number 24 on the Billboard 200. Durst later announced that despite the album's title, no sequel to The Unquestionable Truth would be produced. Later in the year, the band released a Greatest Hitz album.

Having been bullied while growing up, Durst disliked seeing people "using my music as fuel to torture other people"; feeling that his music was being misinterpreted, he would later cite this as the reason for the band taking a hiatus.

Durst also said that he created a character for his music, but that he was also misunderstood by the public: "I always knew the guy in the red cap was not me. I'm Dr Frankenstein and that's my creature. Being a breakdancer, a graffiti artist, a tattoo artist and liking rock and hip hop was too much; it was a conscious effort to create Fred Durst and eventually I had to bring that guy out more than I wanted to. It took on a life of its own. I had to check into that character – the gorilla, the thing, the red cap guy. It's a painful transformation, but I do it 'cos that's what I was taught to do when you have people pulling at you".

Start of film career (2006–2009)

While Limp Bizkit was on hiatus, Durst began working in independent films. In 2006, Durst costarred in the film Population 436. His directorial debut, The Education of Charlie Banks, was released the following year. The film, which starred Jesse Eisenberg, Chris Marquette and Jason Ritter, received mixed reviews; Rotten Tomatoes gave the film a score of 48% based on reviews from 31 critics. The website's consensus stated, "Unevenness and earnestness mire this otherwise sweet, surprising coming of age drama." A second directorial effort, The Longshots, starring Ice Cube and Keke Palmer, was released in 2008. Rotten Tomatoes gave the film a score of 41% based on 71 reviews, with the site's consensus indicating that the film was "a largely formulaic affair, rarely deviating from the inspirational sports movie playbook." The same year, Durst appeared as a bartender in two episodes of the television medical drama House, M.D.

Limp Bizkit reunion (2009–present)
In 2009, the original lineup of Limp Bizkit reunited and began touring. Durst announced that they had begun to record a new album, Gold Cobra. The album was released on June 28, 2011, receiving mixed reviews. It peaked at number 16 on the Billboard 200.

In 2012, Durst appeared on the Insane Clown Posse cover album Smothered, Covered & Chunked on a cover of AMG's "Bitch Betta Have My Money". In February 2012, Lil Wayne announced in a radio interview that Limp Bizkit had signed to his label, Cash Money Records, which Durst confirmed on his Twitter page. A few months later Durst was featured alongside Lil Wayne and Birdman on the Kevin Rudolf song "Champions", which peaked in the top 10 on iTunes.

Originally, Durst was to direct and produce the film Pawn Shop Chronicles, starring Paul Walker; but Wayne Kramer was later chosen to direct the film. In 2014, Durst shot three commercials for the website Eharmony, In February 2018, Durst began filming The Fanatic, starring John Travolta.

Personal life
Whilst serving in the Navy, Durst was stationed in Oakland, California, where he married his first wife Rachel Tergesen in 1990. They had a daughter named Adriana Durst, born on June 3, 1990. Durst and Tergesen divorced in 1993 following a domestic disturbance in which the couple engaged in a heated argument. Durst was later arrested and charged with disorderly conduct, receiving fine of $5000.

Durst has a son named Dallas born August 30, 2001, with his ex-girlfriend, actress Jennifer Thayer.

On July 13, 1999, Durst was arrested for kicking a stage security guard in the head. Durst was released on $50,000 bail and was later fined in exchange for reduced charges.

In 2007, Durst pleaded no-contest to seven misdemeanor charges, including battery, assault and reckless driving. According to court documents, Durst hit two Los Angeles residents with his car on October 25, 2006. He was given a 120-day suspended sentence, 20 hours community service and a $1,500 fine.

In 2009, Durst married Esther Nazarov and split after three months. Durst married his third wife, make-up artist Kseniya Beryazina, in 2012. They filed for divorce in September 2018 and finalized it in 2019. Durst married Arles Durst in 2022.

In 2015, Durst stated his interest in obtaining a Russian passport and spending half of the year in Crimea. He wrote a letter in which he stated that Vladimir Putin is "a great guy with clear moral principles and a nice person." Following that, Durst was banned by the Security Service of Ukraine from entering Ukraine for five years "in the interests of guaranteeing the security" of the country. According to other sources, his ban was not only due to a letter to Putin, but also participating in the pro-Russian propaganda promoting its aggressive actions against neighboring Ukraine (Russo-Ukrainian War).

During the 2018 California wildfires, Durst's house burned down and he lost a majority of his possessions. His bandmate, Wes Borland, also lost several pieces of equipment in the fire due to them being stored in Durst's home in anticipation of a scheduled recording session.

Durst is a notable sports fan. He is known to be a fan of the National Football League's Jacksonville Jaguars and Las Vegas Raiders. Durst has shown his support for the NBA's Boston Celtics. Most famously, Durst is known for his unique style of regularly wearing a New York Yankees baseball cap backwards.

Slipknot
Following Slipknot lead vocalist Corey Taylor's (also known as "#8") publicly displayed distaste for Korn drummer David Silveria's magazine photo campaign for Calvin Klein, Taylor burned copies of the magazine issues during multiple Slipknot live performances, culminating in Durst taking offense to the gestures. It was rumored that Durst would later make retaliatory comments towards Slipknot's fans in the spring of 1999, referring to them as "fat, ugly kids". Durst has denied these comments. Slipknot singer Corey Taylor responded during a February 2000 appearance in Sydney, Australia by claiming that the fans of Slipknot "for the most part, enjoy all kinds of music, like Limp Bizkit… maybe." Taylor went on to claim that insulting fans of Slipknot could also be insulting fans of Limp Bizkit. During an interview with VH1 in October 2000, Durst praised Slipknot's music, expressing his desire to quell the tension between both sides, telling interviewers, "Man this band is super phat, man; we don't even know them. That's their whole thing, that's their chant, that's their thing, that's cool. Maybe all this hate that's going around the world, that's why I said 'It's all the world has even seen lately'". However, while Taylor responded with praise for Durst's financial ventures, he also attacked Durst's artistic motives and ability, claiming "Fred Durst is a great businessman, but he is not an artist". Despite the hostility between the two bands, they both shared numerous UK festival dates in 2000, with some reports of Durst supporting Slipknot's music.

The two would find themselves on friendlier terms in 2010, while Limp Bizkit was recording their album Gold Cobra; Durst included lyrics on the album's song "90.2.10" as a shout-out to Taylor: "Corey Taylor got a harem chasin' him around / We ain't slippin' with his knot, then we goin' down". Taylor stated in a live interview in 2011 that Durst's children were allegedly fans of Slipknot. Limp Bizkit was later booked on the 2014 Japanese leg of Slipknot's Knotfest tour, along with Korn.

In 2021, after the death of ex-Slipknot drummer Joey Jordison, Limp Bizkit paid tribute to him at one of their shows. On May 19, 2024, Limp Bizkit brought Slipknot turntablist Sid Wilson and a fan dressed as Slipknot lead vocalist Corey Taylor on stage during their live performance at Sonic Temple Art & Music Festival in Columbus, Ohio.

Britney Spears
Durst and Britney Spears were linked to have written numerous songs for her then-upcoming 2003 album In the Zone. At the time Spears was making numerous headlines as reports surfaced of her fractured relationship with former boyfriend Justin Timberlake (with whom Spears had split from in 2002), later linking her with Durst as the two were spotted together on numerous occasions. In response to initial allegations that Spears had engaged in an affair with Durst, Timberlake released the track Cry Me a River in November 2002, aimed at Spears. In January 2003, Durst claimed he and Spears were in a relationship stemming from their collaborations on three upcoming tracks for the album. Upon hearing Durst's claims; Spears denied the two were in a relationship and said "I'm confused about that whole thing. We worked together for three days and he's a really cool guy, but there's no relationship...He's really sweet." Out of anger at Spears' denial of the affair; Durst scrapped his three songs for Spears' album and leaked the song "Just Drop Dead" on February 18, 2003, through Limp Bizkit's website. The song depicts Durst's vulgar recounting of their alleged relationship. Durst continued to expose numerous sexual encounters between the two during a later appearance on Howard Stern. During a 2009 interview, Durst explained that "I just guess at the time it was taboo for a guy like me to be associated with a gal like her." In 2013, Durst later made another derogatory reference aimed at Spears on Limp Bizkit's song Ready to Go.

Taproot and System of a Down
Taproot had been an up-and-coming band from Ann Arbor, Michigan. In 1998 the band sent their demo to Durst who quickly befriended them, often invited them to various press releases in Los Angeles and occasionally bringing them to Limp Bizkit's concerts throughout the region. During this time; Taproot were simultaneously receiving attention from other labels; notably being Arista Records and Atlantic Records. Durst was impressed with the band's material and had initially lined up Taproot to land a record contract through Interscope; however, executives from Interscope proved to be difficult to negotiate with as they wanted the rights to the 3 songs recorded by the band through their demo deal. The band eventually rejected the offer from Interscope and sought to sign with Atlantic Records through their new found friendship with System of a Down. Durst was enraged to eventually discover Taproot had defected to Atlantic, leading him to leave a threatening message on frontman Stephen Richards' mother's answering machine. Durst was later alleged to have personally removed System of a Down from the 1999 Family Values Tour as a retaliatory action.

Creed
In June 2000, Limp Bizkit performed at the WXRK Dysfunctional Family Picnic in Holmdel, New Jersey, but arrived an hour late for their set. An Interscope spokesman later stated that there was confusion over the band's set time. During the band's performance, Durst criticized Creed and their lead singer Scott Stapp in a lengthy diatribe before the performance of 'Break Stuff', calling him "an egomaniac". Creed's representatives later presented Durst with an autographed anger management manual following the show, as described by Durst during an appearance on Total Request Live.

Placebo
A feud between Limp Bizkit and Placebo began at a show Durst was hosting at Irving Plaza in December 1998. A side stage spat with Placebo singer Brian Molko led to Durst asking the crowd to chant "Placebo sucks!" prior to Placebo's performance. Molko later commented that nobody had told him that Durst would be hosting the show and that Placebo would have to follow opening act Kid Rock. Prior to introducing Staind as a part of K-Rock's Dysfunctional Family Picnic in Holmdel, New Jersey in 1999, Durst once again encouraged the crowd to chant "Fuck Placebo". The feud was reignited during Big Day Out 2001, on which Placebo were billed below Limp Bizkit. By 2004, the feud had supposedly ended.

Trent Reznor and Marilyn Manson
Trent Reznor of Nine Inch Nails was noted by Durst as an influence during several interviews. Displeased by Durst's statements, Reznor repeatedly attacked Durst and Limp Bizkit to several interviews in response. In a profile for Kerrang!, Reznor mocked Durst saying "It's one thing if you know your place; like, 'Hey, I'm an idiot who plays shitty music but people buy it – fuck it, I'm having fun. But it's another thing when you think you're David Bowie after you've stayed up all night to write a song called 'Break Stuff'. I mean, Fred Durst probably spelt the word 'break' wrong the first couple of times. Fred Durst might be a cool guy; I don't know him. But his 'art' – in the word's loosest sense – sucks." Durst in turn made several references to Nine Inch Nails in the Limp Bizkit song "Hot Dog", leading to Reznor earning a co-writer credit. Reznor said there was no issue, jokingly stating that "When his record was going to print, [Durst] realised 'Fuck, I'd better ask permission first or I might get sued!' I let him do it – I wasn't gonna hold his record up.".

In 1999, Marilyn Manson insulted Limp Bizkit and their fans, calling them "illiterate apes that beat your ass in high school for being a 'fag' and now sell you tuneless testosterone anthems of misogyny and pretend to be outsiders...".

Reznor and Manson once again took aim at Durst and Limp Bizkit during a 2000 interview when Manson was asked about his opinion of Nine Inch Nails' recent video for the single Starfuckers, Inc. in which the two take aim at multiple artists ranging from Billy Corgan, Michael Stipe, and notably Durst. Manson later exclaimed: "With this video, we didn't wanna seem bitching like about somehow that Limp Bizkit's doing better than we are, in their mind." Reznor later exclaimed; "I don't have to say Limp Bizkit sucks, you know it, I know it, I shouldn't have to say it".

Durst responded to Manson and Reznor's insults: "I understand that Marilyn Manson is very unhappy that his career has gone in a shambles and he's alienated his fans so if he has to say things like that because he's very mad at himself, I would forgive him. And Trent Reznor's in the fucking same boat. Trent Reznor is obviously unhappy with how he's alienated the world, how long he took to make a record, and how he thought he was immortal. We're just here doing what we do and we have nothing to say about anybody. I wish them both luck and I feel sorry that they're so jealous and mad at themselves that they have to talk shit."

Durst's relationship with Manson had reportedly grown cordial as the two appeared on the cover of a Rolling Stone magazine issue in June 2003 alongside James Hetfield and Ozzy Osbourne.

Despite this, Limp Bizkit guitarist Wes Borland would join Manson's touring band in 2008. During a show in Seoul, South Korea on August 15, 2008; Manson would introduce Borland onstage and attacked Limp Bizkit, claiming to the crowd "Here's our new guitarist, he used to play for a really bad band…". Borland would depart Manson's touring band after less than nine months.

In the wake of multiple allegations of sexual abuse and assault accusations against Manson, Borland would later attack Manson in several interviews in 2021, denouncing him as a "Bad fucking dude". Reznor in response supported Borland's claims against Manson's misconduct while he also attacked Manson for the abuse allegations during an interview with Ultimate Guitar.

Puddle of Mudd
Due to the notoriety surrounding Puddle of Mudd receiving a record deal through Durst in 2000, the band was often asked in regards to their relationship with him. Wes Scantlin criticized Durst in an interview in 2004 with Canada's Chart magazine: "'He doesn't write our songs, he doesn't produce our songs, he doesn't do anything for us. He doesn't do our videos anymore. He doesn't do anything for this band. I don't know what he's doing, I don't know what the guy's like. All I know is that he's like Mr Hollywood guy, Mr Celebrity. Like, 'I don't hang out with anybody except Hollywood celebrities'. Every single fucking interview I've ever fucking done, I get asked about that fucking guy... And for me to do interviews all the time and be asked about this certain individual... People think he writes music with me or something. He does not do that. I just don't get it. We have nothing in common. He doesn't even call us, he has his assistant call us to congratulate us on our record. Yeah, that's how pathetic he is.'"

On April 22, 2008, in an interview with Artisan News Service, Wes Scantlin retracted his previous criticism of Fred Durst: "'Fred got our foot in the door and helped us out tremendously. I think nowadays he's doing a lot of directing and we don't really speak to him too much but we appreciate everything he's ever done for our careers.'"

title: Fred Durst


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The League of Gentlemen (disambiguation)

The League of Gentlemen may refer to:

 * The League of Gentlemen, a black comedy television series that premiered on BBC Two in 1999
 * The League of Gentlemen (novel), (1958)
 * The League of Gentlemen (film), (1960)
 * The League of Gentlemen (band)
 * The League of Gentlemen (album), (1980)
 * The League of Gentlemen, a film in the Pandora's Box TV documentary series (1992)


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National Security Entry-Exit Registration System

The National Security Entry-Exit Registration System (NSEERS) or INS Special Registration was a system for registering certain non-citizens within the United States, initiated in September 2002 as part of the War on Terrorism. Portions were suspended as of April 27, 2011, and the entirety of the regulation was removed on December 23, 2016.

This system had two separate components: port-of-entry registration and domestic registration. In each case, those who registered were fingerprinted, photographed, and interviewed. They were required to provide detailed information about their plans and to update Immigration and Customs Enforcement (ICE) if their plans changed. They were only permitted to enter and depart the U.S. through designated ports of entry. On December 22, 2016 the Obama administration announced that it would dismantle the NSEERS regulatory framework, which would essentially cancel the program.

History
The Bush administration started the program in September 2002. A goal of the program was to increase screening of travelers from specific countries. Because a majority of these countries were predominantly Muslim cultures, the American Civil Liberties Union said the program unjustly targeted individuals based on religion.

In January 2003 a Justice Department spokesperson said NSEERS helped law enforcement authorities apprehend 330 "known criminals" and three "known terrorists"; The spokesperson made these remarks in order to advocate for renewed funding for the program, for which the Bush administration was requesting $16.8 million per fiscal year. However, by 1 December 2016, "[n]o known terrorism convictions resulted from the program," according to a letter from some Democratic Members of Congress and New York Attorney General Eric Schneiderman. By January 2003, at least 138,000 individuals were registered in NSEERS, according to testimony by the Department of Homeland Security to Congress. As of May 2003, 82,581 individuals had complied with the domestic portion of the program. Of these, at least 13,153 were placed in deportation proceedings. Although the program originally included a requirement to re-register annually, the Department of Homeland Security, which gained jurisdiction over the program, eliminated this requirement.

Immigrant rights advocates such as Rabia Chaudry criticized the program, particularly the domestic portion of it, for profiling on the basis of ethnicity and religion as well as generally undermining immigrants' rights. They noted that 24 of the 25 countries included on the list are predominantly Muslim, while all of the countries are in Asia or Africa. The ACLU said that the program was ineffective due to it producing no terrorism-related convictions in the 93,000 cases it created. Given the large numbers involved and the nature of the requirements, they argued, it was unlikely to find any members of Al Qaeda. NSEERS was probed in the documentary film "Aliens Among Us", by Martina Radwan, for the effect it had on immigrant families of Arab origin.

Suspension
The system was discontinued in 2011 under the Obama administration, whereupon the Department of Homeland Security said that the registration system had become outdated in the wake of new technology.

NSEERS was indefinitely suspended as of April 27, 2011, when the US-VISIT program was instituted as its replacement. The Department of Homeland Security website said, "Because the Secretary of Homeland Security's authority under the NSEERS regulations is broader than the manual information flow based on country designation that has now ended, the underlying NSEERS regulation will remain in place in the event a special registration program is again needed."

Removal
On November 22, 2016, the American-Arab Anti-Discrimination Committee submitted a letter co-signed by nearly 200 organizations to President Barack Obama, calling on his administration to rescind the regulatory framework behind the NSEERS. The letter was submitted on behalf of nearly 200 civil and human rights, civil liberties, education, social justice, and inter-faith organizations, including the American Civil Liberties Union, the Leadership Conference on Civil Human Rights, American Immigration Council, Center for American Progress, National Council of La Raza, the National Immigration Forum, and the Southern Poverty Law Center. The letter reads in part, "As organizations that represent diverse communities and that are committed to civil and immigrant rights, we firmly believe that removal of the NSEERS framework is a necessary imperative. We ask the Administration to immediately take steps to remove the regulatory structure of NSEERS and stop any future use of the program."

The registration system was ordered to be removed near the end of the President Obama's second term in 2016. The removal order occurred after New York Attorney General Eric Schneiderman wrote, "We can't risk giving President-elect Trump the tools to create an unconstitutional religious registry." However, because the order occurred within the last 60 days of a President's term, if it is a "major regulation" (major social policy significance or cost of more than $100 million), it is subject to Congressional review (see Midnight regulations) and may be voided by Congress under the Congressional Review Act. Trump's advisers had suggested keeping the system to track immigrants. The Obama administration's order to remove the system said the program was redundant because it called for manual collection of data that is now captured automatically.

Registration
Port-of-entry registration was required for nationals of Iran, Iraq, Libya, Sudan, and Syria (including those that were born in these countries but have a passport from a different country), in addition to any other non-citizen, non-permanent residents determined in advance by the United States Department of State or the INS, or as they enter the country by INS inspectors. According to the September 2002 notice signed by Attorney General John Ashcroft announcing the update to special registration in the Federal Register, some form of special registration was already in effect for the above countries as early as 1998. The new system began on September 11, 2002.

Certain non-citizens who were in the United States on or prior to September 10, 2002, were required to register in person at an INS office. This procedure was required of males over the age of sixteen who entered the United States legally on particular types of visa (primarily student, work, and tourist) from certain countries. Countries were named on four occasions:

 * Group 1: Iran, Iraq, Libya, Sudan or Syria
 * Group 2: Afghanistan, Algeria, Bahrain, Eritrea, Lebanon, Morocco, North Korea, Oman, Qatar, Somalia, Tunisia, the United Arab Emirates, Yemen
 * Group 3: Pakistan, Saudi Arabia
 * Group 4: Bangladesh, Egypt, Indonesia, Jordan, Kuwait

The deadlines for registration were December 16, 2002 (Group 1), January 10, 2003 (Group 2), February 21, 2003 (Group 3), and March 28, 2003 (Group 4). The deadlines for Group 1 and 2 registration were later extended to February 7, 2003. The deadlines for Groups 3 and 4 were extended to March 21, 2003 and April 25, 2003.


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Cave painting

In archaeology, cave paintings are a type of parietal art (which category also includes petroglyphs, or engravings), found on the wall or ceilings of caves. The term usually implies prehistoric origin. These paintings were often created by Homo sapiens, but also Denisovans and Neanderthals; other species in the same Homo genus. Discussion around prehistoric art is important in understanding the history of the Homo sapiens species and how Homo sapiens have come to have unique abstract thoughts. Some point to these prehistoric paintings as possible examples of creativity, spirituality, and sentimental thinking in prehistoric humans.

The oldest known are more than 40,000 years old (art of the Upper Paleolithic) and found in the caves in the district of Maros (Sulawesi, Indonesia). The oldest are often constructed from hand stencils and simple geometric shapes. More recently, in 2021, cave art of a pig found in Sulawesi, Indonesia, and dated to over 45,500 years ago, has been reported.

A 2018 study claimed an age of 64,000 years for the oldest examples of non-figurative cave art in the Iberian Peninsula. Represented by three red non-figurative symbols found in the caves of Maltravieso, Ardales and La Pasiega, Spain, these predate the appearance of modern humans in Europe by at least 20,000 years and thus must have been made by Neanderthals rather than modern humans.

In November 2018, scientists reported the discovery of the then-oldest known figurative art painting, over 40,000 (perhaps as old as 52,000) years old, of an unknown animal, in the cave of Lubang Jeriji Saléh on the Indonesian island of Borneo. In December 2019, cave paintings portraying pig hunting within the Maros-Pangkep karst region in Sulawesi were discovered to be even older, with an estimated age of at least 43,900 years. This finding was recognized as "the oldest known depiction of storytelling and the earliest instance of figurative art in human history." On July 3, 2024, the journal Nature published research findings indicating that the cave paintings, which depict anthropomorphic figures interacting with a pig and measure 36 by 15 inches, in Leang Karampuang are approximately 51,200 years old, establishing them as the oldest known paintings in the world.

Dating

Nearly 350 caves have now been discovered in France and Spain that contain art from prehistoric times. Initially, the age of the paintings had been a contentious issue, since methods like radiocarbon dating can produce misleading results if contaminated by other samples, and caves and rocky overhangs (where parietal art is found) are typically littered with debris from many time periods. But subsequent technology has made it possible to date the paintings by sampling the pigment itself, torch marks on the walls, or the formation of carbonate deposits on top of the paintings. The subject matter can also indicate chronology: for instance, the reindeer depicted in the Spanish cave of Cueva de las Monedas places the drawings in the last Ice Age.

The oldest known cave painting is a red hand stencil in Maltravieso cave, Cáceres, Spain. It has been dated using the uranium-thorium method to older than 64,000 years and was made by a Neanderthal. The oldest date given to an animal cave painting is now a depiction of several human figures hunting pigs in the caves in the Maros-Pangkep karst of South Sulawesi, Indonesia, dated to be over 43,900 years old. Before this, the oldest known figurative cave paintings were that of a bull dated to 40,000 years, at Lubang Jeriji Saléh cave, East Kalimantan, Indonesian Borneo, and a depiction of a pig with a minimum age of 35,400 years at Timpuseng cave in Sulawesi.

The earliest known European figurative cave paintings are those of Chauvet Cave in France, dating to earlier than 30,000 BC in the Upper Paleolithic according to radiocarbon dating. Some researchers believe the drawings are too advanced for this era and question this age. More than 80 radiocarbon dates had been obtained by 2011, with samples taken from torch marks and from the paintings themselves, as well as from animal bones and charcoal found on the cave floor. The radiocarbon dates from these samples show that there were two periods of creation in Chauvet: 35,000 years ago and 30,000 years ago. One of the surprises was that many of the paintings were modified repeatedly over thousands of years, possibly explaining the confusion about finer paintings that seemed to date earlier than cruder ones. In 2009, cavers discovered drawings in Coliboaia Cave in Romania, stylistically comparable to those at Chauvet. An initial dating puts the age of an image in the same range as Chauvet: about 32,000 years old.

In Australia, cave paintings have been found on the Arnhem Land plateau showing megafauna which are thought to have been extinct for over 40,000 years, making this site another candidate for oldest known painting; however, the proposed age is dependent on the estimate of the extinction of the species seemingly depicted. Another Australian site, Nawarla Gabarnmang, has charcoal drawings that have been radiocarbon-dated to 28,000 years, making it the oldest site in Australia and among the oldest in the world for which reliable date evidence has been obtained.

Other examples may date as late as the Early Bronze Age, but the well-known Magdalenian style seen at Lascaux in France (c.15,000 BC) and Altamira in Spain died out about 10,000BC, coinciding with the advent of the Neolithic period. Some caves probably continued to be painted over a period of several thousands of years.

The next phase of surviving European prehistoric painting, the rock art of the Iberian Mediterranean Basin, was very different, concentrating on large assemblies of smaller and much less detailed figures, with at least as many humans as animals. This was created roughly between 10,000 and 5,500 years ago, and painted in rock shelters under cliffs or shallow caves, in contrast to the recesses of deep caves used in the earlier (and much colder) period. Although individual figures are less naturalistic, they are grouped in coherent grouped compositions to a much greater degree. Over a long period of time, the cave art has become less naturalistic and has graduated from beautiful, naturalistic animal drawings to simple ones, and then to abstract shapes.

Subjects, themes, and patterns in cave painting

Cave artists use a variety of techniques such as finger tracing, modeling in clay, engravings, bas-relief sculpture, hand stencils, and paintings done in two or three colors. Scholars classify cave art as "Signs" or abstract marks. The most common subjects in cave paintings are large wild animals, such as bison, horses, aurochs, and deer, and tracings of human hands as well as abstract patterns, called finger flutings. The species found most often were suitable for hunting by humans, but were not necessarily the actual typical prey found in associated deposits of bones; for example, the painters of Lascaux have mainly left reindeer bones, but this species does not appear at all in the cave paintings, where equine species are the most common. Drawings of humans were rare and are usually schematic as opposed to the more detailed and naturalistic images of animal subjects. Kieran D. O'Hara, geologist, suggests in his book Cave Art and Climate Change that climate controlled the themes depicted. Pigments used include red and yellow ochre, hematite, manganese oxide and charcoal. Sometimes the silhouette of the animal was incised in the rock first, and in some caves all or many of the images are only engraved in this fashion, taking them somewhat out of a strict definition of "cave painting".

Similarly, large animals are also the most common subjects in the many small carved and engraved bone or ivory (less often stone) pieces dating from the same periods. But these include the group of Venus figurines, which with a few incomplete exceptions have no real equivalent in Paleolithic cave paintings. One counterexample is a feminine figure in the Chauvet Cave, as described in an interview with Dominique Baffier in Cave of Forgotten Dreams. Hand stencils, formed by placing a hand against the wall and covering the surrounding area in pigment result in the characteristic image of a roughly round area of solid pigment with the negative shape of the hand in the centre, these may then be decorated with dots, dashes, and patterns. Often, these are found in the same caves as other paintings, or may be the only form of painting in a location. Some walls contain many hand stencils. Similar hands are also painted in the usual fashion. A number of hands show a finger wholly or partly missing, for which a number of explanations have been given. Hand images are found in similar forms in Europe, Eastern Asia, Australia, and South America. One site in Baja California features handprints as a prominent motif in its rock art. Archaeological study of this site revealed that, based on the size of the handprints, they most likely belonged to the women of the community. In addition to this, they were likely used during initiation rituals in Chinigchinich religious practices, which were commonly practiced in the Luiseño territory where this site is located.

Theories and interpretations
In the early 20th century, following the work of Walter Baldwin Spencer and Francis James Gillen, scholars such as Salomon Reinach, Henri Breuil and Henri Begouën interpreted the paintings as 'utilitarian' hunting magic to increase the abundance of prey. Jacob Bronowski states, "I think that the power that we see expressed here for the first time is the power of anticipation: the forward-looking imagination. In these paintings the hunter was made familiar with dangers which he knew he had to face but to which he had not yet come."

Another theory, developed by David Lewis-Williams and broadly based on ethnographic studies of contemporary hunter-gatherer societies, is that the paintings were made by paleolithic shamans. The shaman would retreat into the darkness of the caves, enter into a trance state, then paint images of their visions, perhaps with some notion of drawing out power from the cave walls themselves.

R. Dale Guthrie, who has studied both highly artistic and lower quality art and figurines, identifies a wide range of skill and age among the artists. He hypothesizes that the main themes in the paintings and other artifacts (powerful beasts, risky hunting scenes and the representation of women in the Venus figurines) are the work of adolescent males, who constituted a large part of the human population at the time. However, in analyzing hand prints and stencils in French and Spanish caves, Dean Snow of Pennsylvania State University has proposed that a proportion of them, including those around the spotted horses in Pech Merle, were of female hands.

Analysis in 2022, led by Bennet Bacon, an amateur archaeologist, along with a team of professional archeologists and psychologists at the University of Durham, including Paul Pettitt and Robert William Kentridge, suggested that lines and dots (and a commonly seen, if curious, "Y" symbol, which was proposed to mean "to give birth") on upper palaeolithic cave paintings correlated with the mating cycle of animals in a lunar calendar, potentially making them the earliest known evidence of a proto-writing system and explaining one object of many cave paintings.

Europe
Well-known cave paintings include those of:
 * Cave of El Castillo, Spain (~40.000 y.o.)
 * Kapova Cave, Bashkortostan, Russia (~36,000 y.o.)
 * Chauvet Cave, near Vallon-Pont-d'Arc, France (~35,000 y.o.)
 * Cave of La Pasiega, Cuevas de El Castillo, Cantabria, Spain (~30,000 y.o.?)
 * Caves of Arcy-sur-Cure, France (~28,200 y.o.)
 * Cosquer Cave, with an entrance below sea level near Marseille, France (~27,000 y.o.)
 * Caves of Gargas, France (~27,000 y.o.)
 * Grotte de Cussac, France (~25,000 y.o.)
 * Pech Merle, near Cabrerets, France (25,000 y.o.)
 * Lascaux, France (~17,000 y.o.)
 * Cave of Niaux, France (~17,000 y.o.)
 * Font-de-Gaume, in the Dordogne Valley, France (~17,000 y.o.)
 * Badanj Cave, Stolac, Bosnia and Herzegovina (~16,000 y.o.)
 * Cave of Altamira, near Santillana del Mar, Cantabria, Spain (~15,500 y.o.)
 * La Marche, in Lussac-les-Châteaux, France (~15,000 y.o.)
 * Les Combarelles, in Les Eyzies de Tayac, Dordogne, France (~13,600 y.o.)
 * Cave of the Trois-Frères, in Ariège, France (~13,000 y.o.)
 * Magura Cave, Bulgaria (~10,000 y.o.)
 * Solsem cave, Norway (~3,000 y.o.)

Other sites include Creswell Crags, Nottinghamshire, England (~14,500 ys old cave etchings and bas-reliefs discovered in 2003), Peștera Coliboaia in Romania (~29,000 y.o. art?).

Rock painting was also performed on cliff faces; but fewer of those have survived because of erosion. One example is the rock paintings of Astuvansalmi (3000–2500 BC) in the Saimaa area of Finland.

When Marcelino Sanz de Sautuola first encountered the Magdalenian paintings of the Cave of Altamira in Cantabria, Spain in 1879, the academics of the time considered them hoaxes. Recent reappraisals and numerous additional discoveries have since demonstrated their authenticity, while at the same time stimulating interest in the artistry and symbolism of Upper Palaeolithic peoples.

East and Southeast Asia

In Indonesia the caves in the district of Maros in Sulawesi are famous for their hand prints. About 1,500 negative handprints have also been found in 30 painted caves in the Sangkulirang area of Kalimantan; preliminary dating analysis as of 2005 put their age in the range of 10,000 years old. A 2014 study based on uranium–thorium dating dated a Maros hand stencil to a minimum age of 39,900 years. A painting of a babirusa was dated to at least 35.4 ka, placing it among the oldest known figurative depictions worldwide.

In November 2018, scientists reported the discovery of the oldest known figurative art painting, over 40,000 (perhaps as old as 52,000) years old, of an unknown animal, in the cave of Lubang Jeriji Saléh on the Indonesian island of Borneo.

And more recently, in 2021, archaeologists announced the discovery of cave art at least 45,500 years old in Leang Tedongnge cave, Indonesia. According to the journal Science Advances, the cave painting of a warty pig is the earliest evidence of human settlement of the region. It has been reported that it is rapidly deteriorating as a result of climate change in the region.

Originating in the Paleolithic period, the rock art found in Khoit Tsenkher Cave, Mongolia, includes symbols and animal forms painted from the walls up to the ceiling. Stags, buffalo, oxen, ibex, lions, Argali sheep, antelopes, camels, elephants, ostriches, and other animal pictorials are present, often forming a palimpsest of overlapping images. The paintings appear brown or red in color, and are stylistically similar to other Paleolithic rock art from around the world but are unlike any other examples in Mongolia.

The Padah-Lin Caves of Burma contain 11,000-year-old paintings and many rock tools.

India
The Ambadevi rock shelters have the oldest cave paintings in India, dating back to 25,000 years. The Bhimbetka rock shelters are dated to about 8,000 BC. Similar paintings are found in other parts of India as well. In Tamil Nadu, ancient Paleolithic Cave paintings are found in Kombaikadu, Kilvalai, Settavarai and Nehanurpatti. In Odisha they are found in Yogimatha and Gudahandi. In Karnataka, these paintings are found in Hiregudda near Badami. The most recent painting, consisting of geometric figures, date to the medieval period. Executed mainly in red and white with the occasional use of green and yellow, the paintings depict the lives and times of the people who lived in the caves, including scenes of childbirth, communal dancing and drinking, religious rites and burials, as well as indigenous animals.

Southern Africa
Cave paintings found at the Apollo 11 Cave in Namibia are estimated to date from approximately 25,500–27,500 years ago.

In 2011, archaeologists found a small rock fragment at Blombos Cave, about 300 km east of Cape Town on the southern cape coastline in South Africa, among spear points and other excavated material. After extensive testing for seven years, it was revealed that the lines drawn on the rock were handmade and from an ochre crayon dating back 73,000 years. This makes it the oldest known rock painting.

Australia
Significant early cave paintings, executed in ochre, have been found in Kimberley and Kakadu, Australia. Ochre is not an organic material, so carbon dating of these pictures is often impossible. The oldest so far dated at 17,300 years is an ochre painting of a kangaroo in the Kimberley region, which was dated by carbon dating wasp nest material underlying and overlying the painting. Sometimes the approximate date, or at least, an epoch, can be surmised from the painting content, contextual artifacts, or organic material intentionally or inadvertently mixed with the inorganic ochre paint, including torch soot.

A red ochre painting, discovered at the centre of the Arnhem Land Plateau, depicts two emu-like birds with their necks outstretched. They have been identified by a palaeontologist as depicting the megafauna species Genyornis, giant birds thought to have become extinct more than 40,000 years ago; however, this evidence is inconclusive for dating. It may suggest that Genyornis became extinct at a later date than previously determined.

Hook Island in the Whitsunday Islands is also home to a number of cave paintings created by the seafaring Ngaro people.

Asia
In the Philippines at Tabon Caves the oldest artwork may be a relief of a shark above the cave entrance. It was partially disfigured by a later jar burial scene.

The Edakkal Caves of Kerala, India, contain drawings that range over periods from the Neolithic as early as 5,000 BC to 1,000 BC.

Horn of Africa
Rock art near Qohaito appears to indicate habitation in the area since the fifth millennium BC, while the town is known to have survived to the sixth century AD. Mount Emba Soira, Eritrea's highest mountain, lies near the site, as does a small successor village. Much of the rock art sites are found together with evidence of prehistoric stone tools, suggesting that the art could predate the widely presumed pastoralist and domestication events that occurred 5000– 4000 years ago.

In 2002, a French archaeological team discovered the Laas Geel cave paintings on the outskirts of Hargeisa in Somaliland. Dating back around 5,000 years, the paintings depict both wild animals and decorated cows. They also feature herders, who are believed to be the creators of the rock art. In 2008, Somali archaeologists announced the discovery of other cave paintings in Dhambalin region, which the researchers suggest includes one of the earliest known depictions of a hunter on horseback. The rock art is dated to 1000 to 3000 BC.

Additionally, between the towns of Las Khorey and El Ayo in Karinhegane is a site of numerous cave paintings of real and mythical animals. Each painting has an inscription below it, which collectively have been estimated to be around 2,500 years old. Karihegane's rock art is in the same distinctive style as the Laas Geel and Dhambalin cave paintings. Around 25 miles from Las Khorey is found Gelweita, another key rock art site.

In Djibouti, rock art of what appear to be antelopes and a giraffe are also found at Dorra and Balho.

North Africa
Many cave paintings are found in the Tassili n'Ajjer mountains in southeast Algeria. A UNESCO World Heritage Site, the rock art was first discovered in 1933 and has since yielded 15,000 engravings and drawings that keep a record of the various animal migrations, climatic shifts, and change in human inhabitation patterns in this part of the Sahara from 6000 BC to the late classical period. Other cave paintings are also found at the Akakus, Mesak Settafet and Tadrart in Libya and other Sahara regions including: Ayr mountains, Niger and Tibesti, Chad.

The Cave of Swimmers and the Cave of Beasts in southwest Egypt, near the border with Libya, in the mountainous Gilf Kebir region of the Sahara Desert. The Cave of Swimmers was discovered in October 1933 by the Hungarian explorer László Almásy. The site contains rock painting images of people swimming, which are estimated to have been created 10,000 years ago during the time of the most recent Ice Age.

In 2020, limestone cave decorated with scenes of animals such as donkeys, camels, deer, mule and mountain goats was uncovered in the area of Wadi Al-Zulma by the archaeological mission from the Tourism and Antiquities Ministry. Rock art cave is 15 meters deep and 20 meters high.

Southern Africa
At uKhahlamba / Drakensberg Park, South Africa, now thought to be some 3,000 years old, the paintings by the San people who settled in the area some 8,000 years ago depict animals and humans, and are thought to represent religious beliefs. Human figures are much more common in the rock art of Africa than in Europe.

North America

Distinctive monochrome and polychrome cave paintings and murals exist in the mid-peninsula regions of southern Baja California and northern Baja California Sur, consisting of Pre-Columbian paintings of humans, land animals, sea creatures, and abstract designs. These paintings are mostly confined to the sierras of this region, but can also be found in outlying mesas and rock shelters. According to recent radiocarbon studies of the area, of materials recovered from archaeological deposits in the rock shelters and on materials in the paintings themselves, suggest that the Great Murals may have a time range extending as far back as 7,500 years ago.

California

Native artists in the Chumash tribes created cave paintings that are located in present-day Santa Barbara, Ventura, and San Luis Obispo Counties in Southern California in the United States. They include examples at Burro Flats Painted Cave and Chumash Painted Cave State Historic Park.

There are also Native American pictogram examples in caves of the Southwestern United States. Cave art that is 6,000 years old was found in the Cumberland Plateau region of Tennessee.

Native American tribes have contributed to the makings of Californian cave art, whether it be in Northern or Baja California. The Chumash people of Southern and Baja California made paintings in Swordfish Cave. It was given its name after the swordfish that are painted on its walls and is a sacred site for religious and cultural practices of the Chumash tribe. It was under attack of demolition, which prompted the start of its conservation with cooperation between the Vandenberg Air Force Base and the Tribal Elders Council of the Santa Ynez Band of Chumash. These two parties were able to stabilize and conserve the cave and its art. When previously studied, there were many conclusions about how the paintings were made but not a lot of conclusions about the symbolic value of the rock art and what its meaning to the Chumash tribe. The excavation of the inside of the cave became a viewing area for archaeologists and anthropologists, specifically Clayton Lebow, Douglas Harrow, and Rebecca McKim, to find out the symbolic meaning of the art. Some of the tools that were used to make the pictographs were found in the site and were connected to the two early occupations that were in the area. This pushed back the general knowledge of understood antiquity of rock art on California's Central Coast by more than 2,000 years.

Northern and Baja California
The National Institution of Anthropology and History (INAH) established in Mexico recorded over 1,500 rock art related archaeological monuments in Baja California. A little under 300 of the sites were connected to Native American Tribes. Throughout these 300 sites, 65% have paintings, 24% have petroglyphs, 10% have both paintings and petroglyphs, and 1% have geoglyphs. Five of these sites located in Baja California show hand designs or paintings, and they all spread out in that area. These sites include Milagro de Guadalupe (23 imprints), Corral de Queno (6 imprints), Rancho Viejo (1 drawing), Piedras Gordas (5 imprints), and finally Valle Seco (3 imprints).

South America
Serra da Capivara National Park is a national park in the north east of Brazil with many prehistoric paintings; the park was created to protect the prehistoric artifacts and paintings found there. It became a World Heritage Site in 1991. Its best known archaeological site is Pedra Furada.

It is located in northeast state of Piauí, between latitudes 8° 26' 50" and 8° 54' 23" south and longitudes 42° 19' 47" and 42° 45' 51" west. It falls within the municipal areas of São Raimundo Nonato, São João do Piauí, Coronel José Dias and Canto do Buriti. It has an area of 1291.4 square kilometres (319,000 acres). The area has the largest concentration of prehistoric small farms on the American continents. Scientific studies confirm that the Capivara mountain range was densely populated in prehistoric periods.

Cueva de las Manos (Spanish for "Cave of the Hands") is a cave located in the province of Santa Cruz, Argentina, 163 km (101 mi) south of the town of Perito Moreno, within the borders of the Francisco P. Moreno National Park, which includes many sites of archaeological and paleontological importance.

The hand images are often negative (stencilled). Besides these there are also depictions of human beings, guanacos, rheas, felines and other animals, as well as geometric shapes, zigzag patterns, representations of the sun, and hunting scenes. Similar paintings, though in smaller numbers, can be found in nearby caves. There are also red dots on the ceilings, probably made by submerging their hunting bolas in ink, and then throwing them up. The colours of the paintings vary from red (made from hematite) to white, black or yellow. The negative hand impressions date to around 550 BC, the positive impressions from 180 BC, while the hunting drawings are calculated to more than 10,000 years old. Most of the hands are "left hands" (that is, with thumb on the right, even though this pattern can be obtained as easily with both right and left hands, depending on whether the back or front is used) which has been used as an argument to suggest that painters held the spraying pipe with their right hand.

Southeast Asia
There are rock paintings in caves in Thailand, Malaysia, Indonesia, and Burma. In Thailand, caves and scarps along the Thai-Burmese border, in the Petchabun Range of Central Thailand, and overlooking the Mekong River in Nakorn Sawan Province, all contain galleries of rock paintings. In Malaysia, the Tambun rock art is dated at 2000 years, and those in the Painted Cave at Niah Caves National Park are 1200 years old. The anthropologist Ivor Hugh Norman Evans visited Malaysia in the early 1920s and found that some of the tribes (especially Negritos) were still producing cave paintings and had added depictions of modern objects including what are believed to be automobiles. (See prehistoric Malaysia.)

In Indonesia, rock paintings can be found in Sumatra, Kalimantan, Sulawesi, Flores, Timor, Maluku and Papua.

title: Cave painting