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Old Trafford Cricket Ground

Old Trafford is a cricket ground in Old Trafford, Greater Manchester, England. It opened in 1857 as the home of Manchester Cricket Club and has been the home of Lancashire County Cricket Club since 1864. From 2013 onwards it has been known as Emirates Old Trafford due to a sponsorship deal with the Emirates airline.

Old Trafford is England's second oldest Test venue after The Oval and hosted the first Ashes Test in England in 1884. The venue has hosted the Cricket World Cup five times (1975, 1979, 1983, 1999 and 2019). Old Trafford holds the record for both most World Cup matches hosted (17) and most semi-finals hosted (5). In 1956, the first 10-wicket haul in a single innings was achieved by England bowler Jim Laker who achieved bowling figures of 19 wickets for 90 runs—a bowling record which is unmatched in Test and first-class cricket. In 1990, a 17 year old Sachin Tendulkar scored 119 not out against England, which was the first of his 100 international centuries. In the 1993 Ashes Test at Old Trafford, leg-spinner Shane Warne bowled Mike Gatting with the "Ball of the Century". In 2020 the ground was used as one of two biosecure venues, alongside the Ageas Bowl, for the tours involving West Indies and Pakistan which were regulated due to the COVID-19 pandemic.

After Old Trafford lost test status in 2009, extensive redevelopment of the ground to increase capacity and modernise facilities saw the restoration of the pavilion and creation of The Point, a £12 million stand overlooking the pitch.

Early history
The site was first used as a cricket ground in 1857, when the Manchester Cricket Club moved onto the meadows of the de Trafford estate. Despite the construction of a large pavilion (for the amateurs—the professionals used a shed at the opposite end of the ground), Old Trafford's first years were rocky: accessible only along a footpath from the railway station, the ground was situated out in the country, and games only attracted small crowds. It was not until the Roses match of 1875 that significant numbers attended a game. When W. G. Grace brought Gloucestershire in 1878, Old Trafford saw 28,000 spectators over three days, and this provoked improvements to access and facilities.

In 1884, Old Trafford became the second English ground, after The Oval, to stage Test cricket: with the first day being lost to rain, England drew with Australia. Expansion of the ground followed over the next decade, with the decision being taken to construct a new pavilion in 1894.

The ground was purchased outright from the de Traffords in 1898, for £24,372, as crowds increased, with over 50,000 spectators attending the 1899 Test match.

In 1902, the Australian Victor Trumper hit a hundred before lunch on the first day; Australia went on to win the Test by 3 runs—the third-closest Test result in history.

Crowds fell through the early 20th century, and the ground was closed during the First World War; however, in the conflict's aftermath, crowd numbers reached new heights. Investment followed throughout the inter-war period, and during this time, Lancashire experienced their most successful run to date, gaining four championship titles in five years.

During the Second World War, Old Trafford was used as a transit camp for troops returning from Dunkirk, and as a supply depot. In December 1940, the ground was hit by bombs, damaging or destroying several stands. Despite this damage—and the failure of an appeal to raise funds for repairs—cricket resumed promptly after the war, with German PoWs being paid a small wage to prepare the ground. The 'Victory Test' between England and Australia of August 1945 proved to be extremely popular, with 76,463 seeing it over three days.

Post-Second World War
Differences of opinion between the club's committee and players led to a bad run of form in the 1950s and early 1960s; this consequently saw gate money drop, and a lack of investment. After 1964, however, the situation was reversed, and 1969 saw the first Indoor Cricket Centre opened. In 1956 Jim Laker became the first person to take all 10 wickets in a Test match innings, achieving figures of 10 for 53 in the fourth Test against Australia (the only other bowlers to take all 10 wickets in an innings are Anil Kumble of India in 1999 and Ajaz Patel of New Zealand in 2021). Having also taken 9 for 37 in the first innings, Laker ended the match with record figures of 19 for 90, which remain unmatched to this day. On 1 May 1963 the first ever one day cricket match took place at Old Trafford, as the Gillette Cup was launched. Lancashire beat Leicestershire in a preliminary knock-out game, as 16th and 17th finishers in the Championship the previous year, to decide who would fill the 16th spot in the One Day competition. Following Lancashire's reign as One Day champions in the 1970s, a programme of renovation and replacement was initiated in 1981. This changed the face of the ground to the extent that, now, only the Pavilion "is recognisable to a visitor who last watched or played a game in, say, the early 1980s". In 1981 Ian Botham hit 118, including six sixes (the second greatest number in an Ashes innings), which he has called "one of the three innings I would like to tell my grandchildren about". England went on to win the Ashes after being lampooned in the national media for such poor performances.

In 1990, Sachin Tendulkar scored his first Test hundred at the age of 17—becoming the second-youngest centurion—to help India draw. In 1993, Shane Warne bowled the "Ball of the Century" to Mike Gatting at the ground. In the same game, Graham Gooch was out handling the ball for 133—only the sixth out of nine times this has ever happened. In 1995, Dominic Cork took a hat-trick for England against the West Indies. In 2000, both Mike Atherton and Alec Stewart played their hundredth Tests, against the West Indies. In the Third Test of the 2005 Ashes series the match ended in a nailbiting draw, with 10,000 fans shut out of the ground on the final day as tickets were sold out. England went on to win the series regaining the Ashes for the first time since 1986/87. In 2020 the ground was used as one of two biosecure venues, alongside the Ageas Bowl, for the tours involving West Indies and Pakistan which were regulated due to the COVID-19 pandemic.

The ground
The cricket ground is near the Old Trafford football stadium (a five-minute walk away down Warwick Road and Sir Matt Busby Way), in the borough of Trafford in Greater Manchester, approximately two miles south west of Manchester city centre. Its capacity is 22,000 for Test matches, for which temporary stands are erected, and 15,000 for other matches. Since 1884, it has hosted 84 Tests, the third-highest number in England, behind Lord's and The Oval.

The ends
The northern End is the James Anderson End, formerly the Pavilion End. ("The Point" is the distinctive, red conference centre immediately west of The Pavilion.)

The southern End is the Brian Statham End, named in honour of the former Lancashire and England player. The red building at this Statham (south) End is the Media & Players Centre. A section of Warwick Road to the east is also called Brian Statham Way. Immediately abutting the ground to the south-east is the Old Trafford tram stop.

Old Trafford has a reputation for unpredictable weather. Old Trafford is the only ground in England where a Test match has been abandoned without a ball being bowled—and this has happened here twice in 1890 and 1938, though before five-day test matches were introduced. Before Cardiff hosted its first Test match in July 2009, Old Trafford was reputedly the wettest Test ground in the country; Manchester is situated to the west of the Pennines and faces prevailing winds and weather fronts from the Atlantic Ocean. These prevailing conditions have encouraged Lancashire to keep the ground as well-drained as possible, through the acquisition of a hover cover in 2005, and the installation of new drains towards the end of the 2008 season.

In the second Test of 1938 in a desperate effort to ensure play after heavy rain the groundstaff moved the turf from the practice pitch to the square—a unique attempt. In 2010–11 the square was relaid, changing its extremely unusual east–west axis to a more conventional north–south layout. The Brian Statham End (previously the Warwick Road End) to the east, and Stretford End to the west, were replaced by the Pavilion End to the north, and the Brian Statham End to the south.

The Pavilion
The three-tiered Victorian members' pavilion was built in 1895 for £10,000. Hit by a bomb in 1940—which destroyed the members' dining room and groundsman's quarters—most of the pavilion was rebuilt. One million pounds was spent on a new roof after it began to leak in 2003.

The Pavilion's position was noteworthy in that, until 2010, it sat parallel to the pitches, rather than behind them, presenting the members with one of the worst viewing angles possible. It contains batting and bowling Honour Boards, unveiled during the 2004 Test match. The pavilion underwent redevelopment at the start of 2012 and was reopened for the YB40 game against Scotland.

When the bowler is operating from the southern Brian Statham End, television viewers will be looking at the Pavilion with its two clock towers directly behind the keeper.

The Point
The Point, Old Trafford's distinctive £12 million conference centre, and at 1,000 seats one of the largest multi-purpose conference facilities in North West England, opened in 2010. It is positioned immediately west of the Pavilion, and hence, is northwest of the cricket pitch.

Media and Players Centre

Old Trafford was unusual in that there were two media stands at opposite ends of the ground prior to the new Media Centre which opened in September 2012. Television and radio commentators previously operated in temporary television studios and commentary boxes at the Stretford End which were perched on hospitality boxes. The Media and Players Centre is at the Brian Statham End (southern end). When the bowler is operating from the northern James Anderson End, television viewers will be looking at the Media and Players Centre directly behind the keeper.

Cricket practice school
The idea of an indoor school was born in 1951, when nets were strung up in the Members' Dining Room in the pavilion. A permanent facility was built in 1969, and replaced in 1997. The current building stands to the north-west of the pitch; it contains five 60-metre lanes on various surfaces, several conference rooms, and a large shop.

The hotel
To the north-east of the ground, immediately adjacent to the Pavilion is a 150-bed Hilton Garden hotel which opened in late 2017. Similar in architecture to The Point on the other side of the Pavilion, half the rooms have a balcony with a full view of the pitch. Previously, this was occupied by the Old Trafford Lodge which opened in 1999. The hotel had 68 rooms, 36 having unobstructed views of the playing surface. It was demolished in 2016 and the new hotel opened in late 2017.

Redevelopment 2003–2023

Following rejection of plans, in 2003, to sell Old Trafford, and move the club to a new purpose-built stadium in East Manchester, the focus was switched to upgrading the current ground. Lancashire CCC, with a coalition of businesses, are in the process of making the cricket ground the centre of an anticipated 750000 sqft development, in a mixed-use scheme involving business, residential, retail, hotel and leisure facilities.

The first phase of redevelopment saw the laying of new drains in Autumn 2008. In 2009, the Stretford end of the ground was closed to facilitate destruction of the County Suite, Tyldesley Suite, 'K' and 'L' Stands and the scoreboard; The Point, overshadowing new seating to the west of the pavilion, opened in June 2010. During the 2010/11 winter the square was turned from its previous east–west axis to a more typical north–south alignment, which prevents the low evening sun from interfering with matches, and increased the number of available pitches by five, to sixteen. Many of Lancashire's home games for the 2011 season were transferred to out grounds while the new pitches 'bedded in'.

The main planning process began in September 2008, but faced stiff legal opposition. Since Tesco pledged £21 million to the redevelopment, the stadium's planning application included a request for a new supermarket nearby. Trafford Council gave this joint proposal permission in March 2010 —a decision which was initially called in by the Communities Secretary for Judicial Review, before the go-ahead was given in September 2010. Derwent Holdings, a property development company denied permission to build a supermarket at the nearby White City retail park, then called for a Judicial Review. Although this was turned down by the High Court in March 2011, the case went to the Court of Appeal. Lancashire took the risky decision to begin work ahead of the matter being resolved, in order to qualify for grants from the North West Development Agency before it was wound up. However, the Court of Appeal ruled in Lancashire's favour in July 2011, and denied leave to further appeal.

Work therefore began on this main phase in summer 2011, beginning with the installation of permanent floodlights and a new video screen. A new 'Players and Media' facility, mimicking to some degree the design of The Point, has been built on the site of the demolished Washbrook-Statham stand, with a two-tiered cantilever stand being erected on either side. The Pavilion has been renovated to have its sloped roof replaced with two modern glass storeys, finished in April 2013.

The media facilities and corporate boxes on the western side of the ground have been demolished, leaving an empty space, which will be used for temporary seating or a stage when required.

The Old Trafford Lodge opened in 1999; however, it has been since demolished and replaced by the Hilton Garden Inn Emirates Old Trafford. It is a Hilton Garden Inn 150-bedroom hotel for Hilton Worldwide. It completed its first phase in July 2017. In 2023, an extension was built to the hotel replacing the demolished Red Rose Suite. It was completed in time for the 2023 Ashes series.

Cricket
The ground is used heavily throughout the summer as the base of Lancashire County Cricket Club, with other home games being played at Stanley Park, Blackpool, Birkdale in Southport and at Aigburth in Liverpool. Until 2008, Old Trafford commonly hosted a Test match each year; none were hosted in 2009, 2011 or 2012 due to sub-standard facilities, although following redevelopment, Old Trafford hosted an Ashes Test in 2013, and further Tests in 2014 and 2016. One Day Internationals and/or International Twenty20s continue to be hosted every year.

In Tests, the highest team score posted here is 656/8 dec by Australia against England on 23 July 1964. The leading run scorers here are Denis Compton (818 runs), Mike Atherton (729 runs) and Alec Stewart (704 runs). The leading wicket takers are Alec Bedser (51 wickets), James Anderson (28 wickets) and Jim Laker (27 wickets).

In ODIs, the highest team score posted here is 397/6 by England against Afghanistan on 18 June 2019. The leading run scorers here are Graham Gooch (405 runs), Eoin Morgan (368 runs), and Allan Lamb (341 runs). The leading wicket takers are Bob Willis (15 wickets), James Anderson (14 wickets) and Darren Gough (13 wickets).

Musical venue
The ground is occasionally used as a venue for large-scale concerts, with a maximum capacity of 50,000. Although the old stage location, in front of the Indoor Cricket School, has been built on buildings on the western side of the ground, which were cleared in 2013 to allow space for a larger stage. The concert capacity increased to 65,000 after redevelopment.

Other
The Old Trafford Lodge, The Point, and other corporate facilities are open all year round, as are the ground's car parks, situated to the north and west of the ground.

Transport
The ground is served by the adjacent Old Trafford tram stop on the Manchester Metrolink's Altrincham Line.

title: Old Trafford Cricket Ground


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Right to a fair trial

A fair trial is a trial which is "conducted fairly, justly, and with procedural regularity by an impartial judge". Various rights associated with a fair trial are explicitly proclaimed in Article 10 of the Universal Declaration of Human Rights, the Fourth, Fifth, Sixth, Seventh, and Fourteenth Amendments to the United States Constitution, and Article 6 of the European Convention of Human Rights, in addition to numerous other constitutions and declarations throughout the world. There is no binding international law that defines what is not a fair trial; for example, the right to a jury trial and other important procedures vary from nation to nation.

Definition in international human rights law
The right to fair trial is very helpful to explore in numerous declarations which represent customary international law, such as the Universal Declaration of Human Rights (UDHR). Though the UDHR enshrines some fair trial rights, such as the presumption of innocence until the accused is proven guilty, in Articles 6, 7, 8 and 11, the key provision is Article 10 which states that: Everyone is entitled in full equality to a fair and public hearing by an independent and impartial tribunal, in the determination of his rights and obligations and of any criminal charge against him. Some years after the UDHR was adopted, the right to a fair trial was defined in more detail in the International Covenant on Civil and Political Rights (ICCPR). The right to a fair trial is protected in Articles 14 and 16 of the ICCPR which is binding in international law on those states that are party to it. Article 14(1) establishes the basic right to a fair trial, article 14(2) provides for the presumption of innocence, and article 14(3) sets out a list of minimum fair trial rights in criminal proceedings. Article 14(5) establishes the right of a convicted person to have a higher court review the conviction or sentence, and article 14(7) prohibits double jeopardy. Article 14(1) states that: All persons shall be equal before the courts and tribunals. In the determination of any criminal charge against him, or of his rights and obligations in a suit at law, everyone shall be entitled to a fair and public hearing by a competent, independent and impartial tribunal established by law. The press and the public may be excluded from all or part of a trial for reasons of morals, public order or national security in a democratic society, or when the interest of the private lives of the parties so requires, or to the extent strictly necessary in the opinion of the court in special circumstances where publicity would prejudice the interests of justice; but any judgement rendered in a criminal case or in a suit at law shall be made public except where the interest of juvenile persons otherwise requires or the proceedings concern matrimonial disputes or the guardianship of children.

Geneva Conventions
The Geneva Conventions (GC) and their Additional Protocols (APs) require that any prisoners of war facing a judicial proceeding receive a fair trial. For example, Articles 102–108 of the 1949 Third Geneva Convention detail requirements for the fairness of trials against prisoners of war. Other provisions require a "fair and regular trial"; "safeguards of proper trial and defence"; an "impartial and regularly constituted court respecting the generally recognized principles of regular judicial procedure"; a "regularly constituted court affording all the judicial guarantees which are recognized as indispensable by civilized peoples"; and "court offering the essential guarantees of independence and impartiality".

Definition in regional human rights law
The right to a fair trial is enshrined in articles 3, 7 and 26 of the African Charter on Human and Peoples' Rights (ACHPR).

The right to a fair trial is also enshrined in articles 5, 6 and 7 of the European Convention on Human Rights and articles 2 to 4 of the 7th Protocol to the convention.

The right to a fair trial is furthermore enshrined in articles 3, 8, 9 and 10 of the American Convention on Human Rights.

Relationship with other rights
The right to equality before the law is sometimes regarded as part of the right to a fair trial. It is typically guaranteed under a separate article in international human rights instruments. The right entitles individuals to be recognised as subject, not as object, of the law. International human rights law permits no derogation or exceptions to this human right. Closely related to the right to a fair trial is the prohibition on ex post facto law, or retroactive law, which is enshrined in human rights instrument separately from the right to fair trial and can not be limited by states according to the European Convention on Human Rights and the American Convention on Human Rights.

Fair trial rights
The right to a fair trial has been defined in numerous regional and international human rights instruments. It is one of the most extensive human rights and all international human rights instruments enshrine it in more than one article. The right to a fair trial is one of the most litigated human rights and substantial case law that has been established on the interpretation of this human right. Despite variations in wording and placement of the various fair trial rights, international human rights instrument define the right to a fair trial in broadly the same terms. The aim of the right is to ensure the proper administration of justice. As a minimum the right to fair trial includes the following fair trial rights in civil and criminal proceedings:
 * the right to be heard by a competent, independent and impartial tribunal
 * the right to a public hearing
 * the right to be heard within a reasonable time
 * the right to counsel
 * the right to interpretation

States may limit the right to a fair trial or derogate from the fair trial rights only under circumstances specified in the human rights instruments.

In civil and criminal proceedings
The European Court of Human Rights and the Inter-American Court of Human Rights have clarified that the right to a fair trial applies to all types of judicial proceedings, whether civil or criminal. According to the European Court of Human Rights, Article 6 of the European Convention on Human Rights and the fair trial rights apply to all civil rights and obligations created under domestic law and therefore to all civil proceedings (see Apeh Uldozotteinek Szovetsege and Others v. Hungary 2000).

In administrative proceedings
Both the European Court of Human Rights and the Inter-American Court of Human Rights have clarified that the right to a fair trial applies not only to judicial proceedings, but also administrative proceedings. If an individual's right under the law is at stake, the dispute must be determined through a fair process.

In special proceedings
In Europe special proceeding may also be subject to Article 6 of the European Convention on Human Rights. In Mills v. the United Kingdom 2001 the European Court of Human Rights held that a court-martial was subject to Article 6 because of the defendants had been accused of what the court considered to be serious crime, assault with a weapon and wounding.

The African Commission on Human and Peoples' Rights (ACHPR) frequently deals with instances where civilians are tried by military tribunals for serious crimes. The ACHPR has held that on the face of it military courts to do not satisfy civilians' right to a fair trial (see Constitutional Rights Project v. Nigeria). In this respect the ACHPR has reaffirmed the right to counsel as essential in guaranteeing a fair trial. The ACHPR held that individuals have the right to choose their own counsel and that giving the military tribunal the right to veto a counsel violates the right to a fair trial.

In the United Kingdom
Right to a fair trial in the United Kingdom is guaranteed by the Article 6 of the Human Rights Act 1998.

Between 1971 and 1975, the right to a fair trial was suspended in Northern Ireland. Suspects were simply imprisoned without trial, and interrogated by the British army for information. This power was mostly used against the Catholic minority. The British government supplied deliberately misleading evidence to the European Court of Human Rights when it investigated this issue in 1978. The Irish government and human rights group Amnesty International requested that the ECHR reconsider the case in December 2014. Three court cases related to the Northern Ireland conflict that took place in mainland Britain in 1975 and 1976 have been accused of being unfair, resulting in the imprisonment of the Birmingham Six, Guildford Four and Maguire Seven. These convictions were later overturned, though an investigation into allegations that police officers perverted the course of justice failed to convict anyone of wrongdoing.

The United Kingdom created an act – the Special Immigration Appeals Act of 1997 – which led to the creation of the Special Immigration Appeals Commission (SIAC). It allowed for secret evidence to be stated in court and provided provisions for the anonymity of the sources and information itself. The judge has the power to clear the courtroom of the public and press, and the appellant if need be, if sensitive information must be relayed. The appellant is provided with a Special Advocate, who is appointed in order to represent their interests; no contact can be made with the appellant after seeing the secret evidence. SIAC is mostly used for deportation cases and other cases of public interest.

Secret evidence has seen increased use in UK courts. Some argue that this undermines the British criminal justice system, as this evidence may not come under proper democratic scrutiny. Secret evidence can now be used in wide range of cases including deportations hearings, control orders proceedings, parole board cases, asset-freezing applications, pre-charge detention hearings in terrorism cases, employment tribunals and planning tribunals.

In England and Wales, the origin of Right To Fair Trial & Right To Be Heard can be traced back in the Magna Carta Act, 1215. Art. 39 of the Act speaks about fair trial and punishment by a competent court after the trial.

Juries and a fair trial
The rationale for a jury was that it offers a check against state power.

Under Article 6 of the ECHR, the right to a fair trial implies that accused and public must be able to understand the verdict. Trials decided by jury, as they do not provide reasons for their decision, therefore do not allow for this. In Taxquet v Belgium a violation of article 6(1) was found. The court also implied a right to a reasoned verdict, irrespective of whether that was given by a judge or a jury.

Under ECHR case law, jury decisions can also be problematic in circumstances where juries draw adverse inferences from trial judges' directions in contravention of Article 6(3) (b) and (c).

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

title: Right to a fair trial


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Countervailing duties

Countervailing duties (CVDs), also known as anti-subsidy duties, are trade import duties imposed under World Trade Organization (WTO). They are applied following an investigation that determines a foreign country's subsidies on exports have harmed domestic producers in the importing country. These duties aim to counterbalance the adverse impacts of such subsidies.

According to World Trade Organization rules, a country can launch its own investigation and decide to charge extra duties, provided such additional duties are in accordance with the GATT Article VI and the GATT Agreement on Subsidies and Countervailing Measures.

Since countries can rule domestically whether domestic industries are in danger and whether foreign countries subsidize the products, the institutional process surrounding the investigation and determinations has significant impacts beyond the countervailing duties.

United States
Countervailing duties in the U.S. are assessed by the International Trade Administration of the U.S. Department of Commerce which determines whether imports in question are being subsidized and, if so, by how much. If the U.S. International Trade Commission determines that there is material injury to the competing domestic industry, the Department of Commerce will instruct U.S. Customs and Border Protection to levy duties in the amount equivalent to subsidy margins.

Petitions for remedies may be filed by domestic manufacturers or unions within the domestic industry, but the law requires that the petitioners represent at least 25% of the domestic production of the goods for which competition is causing material injury.

title: Countervailing duties


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Talk:T-square

Metric lengths
Any metric lengths? Charles Matthews 09:11, 17 May 2004 (UTC)

Link to French page
This page describes the same tool as https://fr.wikipedia.org/wiki/Té, however the French page was saved as a different Wikidata entity. I've tried changing this, but I don't know how to merge Wikidata entities properly :-/ 2601:5CC:8300:92F0:4C0:AE3C:1A21:657 (talk) 02:32, 10 November 2017 (UTC)

title: Talk:T-square


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Radio Luxembourg (disambiguation)

Radio Luxembourg was a commercial radio station in English, begun in 1933 and closed in 1992.

Radio Luxembourg may refer to:
 * Radio Luxembourg, now known as RTL, a French-language commercial radio station begun in 1933
 * Radio Luxemburg, now RTL Radio, a German-language station begun after World War II
 * Radio Luxemburg, a commercial radio station in Dutch, begun in 1933
 * Radio 1212, an Allied black propaganda radio station operated from 1944 to 1945
 * Radio Luxembourg (DRM), a commercial station operated between 2005 and 2008

title: Radio Luxembourg (disambiguation)


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Ultimate Marvel

Ultimate Marvel, later known as Ultimate Comics, was an imprint of comic books published by Marvel Comics, featuring reimagined and modernized versions of the company's superhero characters from the Ultimate Marvel Universe, later known as the Ultimate Universe. Those characters include Spider-Man, the X-Men, the Ultimates (the Ultimate Marvel Universe counterpart of the Avengers), the Fantastic Four, and others. The imprint was launched in 2000 with the publication of the series Ultimate Spider-Man and Ultimate X-Men in 2001, followed by The Ultimates and Ultimate Fantastic Four in 2002 and 2004 respectively providing new origin stories for the characters. The reality of Ultimate Marvel is designated as Earth-1610 as part of the Marvel Comics Multiverse.

The Ultimate Universe, as a part of a large-scale reboot of the All-New, All-Different Marvel Multiverse, ended at the conclusion of the 2015 "Secret Wars" storyline, when select characters from the Ultimate Universe moved to the mainstream universe. However, writer Brian Michael Bendis established at the end of the 2017 miniseries Spider-Men II that the universe and its superheroes still exist.

Between June and September 2023, Marvel published the Ultimate Invasion miniseries written by Jonathan Hickman with art by The Ultimates co-creator Bryan Hitch. The events of the miniseries culminated in the establishment of a rebooted Ultimate Universe designated as Earth-6160, which serves as the setting for a relaunched series of books under the Ultimate Marvel banner, which began with the eponymous Ultimate Universe #1 in November 2023. The new Ultimate imprint also encompasses new versions of Ultimate Spider-Man, Ultimate X-Men, and The Ultimates, as well as a standalone Ultimate Black Panther story.

Background
In the late 1990s, the US comic book industry had declining sales. Annual combined sales from all publishers, which had been close to a billion dollars in 1993, had declined to 270 million. The bubble that held comic books as valuable collectible items burst. In addition, the poor reception of the Batman & Robin film cast doubts on the prospects of any other comic book cinematic adaption. Marvel Comics went through a Chapter 11 bankruptcy, many notable artists left the company, and their rival, DC Comics, topped them in sales. Brian Michael Bendis, who was hired to start the imprint, said that "when I got hired, I literally thought I was going to be writing one of the last — if not the last — Marvel comics".

Comic book continuity, which had been a key to the success of Marvel Comics in its early years, turned into a problem for some readers. All stories had to fit into a sixty-year continuity, a bar that not all fans could reach and which scared away some new readers. The usual style of superhero comics with pages of garish colors, fantastical villains and convoluted plots was of little interest to young adult audiences, who preferred the style set by the Matrix franchise. Most superheroes were adults, even those that started as teenagers, such as Spider-Man and the X-Men. Previous attempts to cut the long continuity did not work as expected: DC's Crisis on Infinite Earths and Zero Hour: Crisis in Time caused several plot contradictions, and Marvel's Heroes Reborn was panned by critics and fans. The Dark Age of Comic Books tried to counter the campiness of the Silver Age with violence and shocking content, but the trend was declining as well.

Creation
The idea for the Ultimate imprint was developed by Bill Jemas. A lawyer who had worked mainly at the collectible-trading-card industry before that point, he had little interaction with the production of comic books. In his perspective, the main problem of Marvel Comics was that it was "publishing stories that were all but impossible for teens to read — and unaffordable, to boot". He worked on an idea given by a CEO of the Wizard magazine: reboot the heroes to their original character premise. Marvel's editor-in-chief Joe Quesada preferred to start an imprint with new heroes, but accepted Jemas' proposal. The working title for the imprint at that point was "Ground Zero". Unlike previous reboots, there was no in-story explanation for the existence of the imprint, and the standard comic books were still being published, unaffected by the new project. Thus, Ultimate Spider-Man would contain the stories of a new teenager Spider-Man starting his career, and the usual Spider-Man titles would still contain the stories of the adult Spider-Man with nearly forty years worth of continuity.

Quesada then hired Brian Michael Bendis, an artist from indie publishers, for the first comic book of the imprint, Ultimate Spider-Man. One of the previous auditioners had made a word-by-word rewrite of the Amazing Fantasy #15 comic (the debut of Spider-Man), in a modern setting. Bendis preferred to avoid that writing style completely. Instead, he changed the narration style, so that it resembled a TV series more than a classic superhero comic book. There were no thought bubbles or long expositions, and the first issue did not feature any superhero costume. Jemas tried to bring more notice into the comic book by distributing it at chain stores like Payless Shoes and Walmart. The sales rose, and the comic book was acclaimed by critics. The art was created by Mark Bagley, known for his work on Spider-Man and Venom stories in the 1990s. The Bendis/Bagley partnership of 111 consecutive issues made their partnership one of the longest in American comic book history, and the longest run by a Marvel creative team, beating out Stan Lee and Jack Kirby on Fantastic Four.

Ultimate X-Men was also launched in 2001. It was initially delayed by the search for a creative team, and even Bendis' proposed scripts were rejected. The new title was finally given to Mark Millar, who had a controversial run in DC's The Authority. The two authors had conflicting styles: Bendis sought to modernize the old superhero tropes, and Millar sought to critique them. While Bendis tried to write atemporal stories, Millar preferred to set his stories amid the political tensions of the time, with edgy, quick action-driven stories and making the relationship between humans and mutants more realistic and distrustful. The first issue of Ultimate X-Men sold 117,085 copies in a month. Lacking previous knowledge about the characters, Millar based his general draft of the series on the 2000 X-Men film.

Jemas and Quesada paired Millar with artist Bryan Hitch, who had also worked with The Authority, but in a run that did not overlap with Millar's. They would reimagine the Avengers, who were renamed as "the Ultimates". Unlike the simple updates of the Spider-Man and X-Men titles, the Ultimates were a complete reimagination of the Avengers, with very little in common with the mainstream title. Captain America got a rash soldierly personality, Hulk was written as a murderous and cannibalistic monster that kills hundreds of civilians, and Thor was ambiguously introduced as either an actual Norse god (as in the main comics) or a man with stolen weapons and a psychiatric disorder. Nick Fury, originally a caucasian character in the Marvel-616 Universe, was modeled after the actor Samuel L. Jackson, and the new design eventually overshadowed the original one, being incorporated into the mainstream Marvel-616 universe and all new media adaptions of the characters. The main premise was to write a comic that looked the way a superhero film about the Avengers should look. At that point, the Marvel Cinematic Universe had not been created, and the prospect of a film about the Avengers was remote. The series was a huge success, and became the single best-selling comic of the year.

The Ultimate Marvel imprint was benefited by the contemporary topics that took place. Terrorism resurfaced into the public perception as a clear, dangerous and complex menace, which reduced the credibility of the usual supervillains of superhero fiction. Fictional conflicts involving explosions and property damage became more ominous. The Ultimate Marvel comics incorporated those topics into their plots, which would eventually become commonplace in the whole comic book industry.

Ultimatum
Jemas was fired from Marvel in 2004, and Millar and Hitch left the Ultimates after writing a second miniseries. Sci-fi writer Orson Scott Card wrote a miniseries, Ultimate Iron Man, which was poorly received and later retconned as an in-universe television show. In 2008, Quesada considered that the Ultimate imprint needed a big crossover event to keep the interest of the audiences, and hired Jeph Loeb for a third Ultimates miniseries that would lead to such event. This miniseries relied on shock value and gratuitous amounts of death and violence, instead of the political overtones of the first two. The art by Joe Madureira was standard superhero art, instead of the cinematic action provided by Hitch. The miniseries had decent sales, but was near-universally panned by critics.

The series was followed by 2009's Ultimatum, a crossover between the Ultimate titles. In five issues, the story kills off thirty-four characters with an increased amount of graphic violence. The series was both a critical and commercial failure, and it has since been regarded as one of the worst comic books of all-time. The sales of the whole imprint were decreased, and never returned to their pre-Ultimatum figures. After the crossover, Ultimate X-Men and Ultimate Fantastic Four were cancelled, with a last issue for each title named Ultimate Requiem to give closure to their plots.

Ultimate Comics relaunches
The Ultimate Marvel imprint was re-launched, as "Ultimate Comics". Ultimate Spider-Man was renamed as Ultimate Comics: Spider-Man, and the line was joined later by Ultimate Comics: Avengers and Ultimate Comics: New Ultimates. New Ultimates featured the reconstruction of the team, and was made by Loeb and Frank Cho. Avengers features a black-operations superhero team, and was made by Millar and several artists.

There was a new relaunch shortly afterwards, named "Ultimate Comics Universe Reborn". Both teams met in Avengers vs. New Ultimates, where Nick Fury is reinstalled as director of S.H.I.E.L.D. and the teams merge again into a single team, the Ultimates. This team would then be featured in Ultimate Comics: The Ultimates, written by Jonathan Hickman. The Death of Spider-Man features the death of Peter Parker and his nemesis Green Goblin. An Afro-Hispanic teenager, Miles Morales, becomes the new Spider-Man. He was featured in Ultimate Comics: Spider-Man, still written by Bendis. The X-Men were relaunched in the miniseries Ultimate Comics: X, which introduced Jimmy Hudson, the son of Wolverine. This miniseries was followed by Ultimate Comics: X-Men, written by Nick Spencer, who explored the X-Men mythos in a setting where both Charles Xavier and Magneto are dead.

Initially, Marvel resisted the idea of crossovers between the Ultimate and the mainstream universes (although the idea had been teased for what turned out to be the beginning of the Marvel Zombies series), but eventually relented. The first crossover was the Spider-Men miniseries, between Miles Morales and the adult Peter Parker. It was made for the 50th anniversary of Spider-Man. All-New X-Men, also written by Bendis, had a story where the main characters got stranded in the Ultimate universe and teamed-up with Morales. However, Bendis and Fialkov agreed that crossovers should be done sparingly, to keep them interesting, and cited the creative decay in the Marvel/DC intercompany crossovers as a justification.

The Age of Ultron crossover, between the mainstream comics, ended with Galactus displaced into the Ultimate universe. This premise started the "Cataclysm" crossover in the Ultimate imprint, which was followed by yet another new relaunch. The Ultimates disbanded after the crossover, and were replaced by a completely different team, led by Miles Morales. This team starred in All-New Ultimates, by Michel Fiffe and Amilcar Pinna. Spider-Man was relaunched in Miles Morales: The Ultimate Spider-Man, which included the revivals of Peter Parker and Green Goblin. Ultimate FF ("FF" standing for "Future Foundation", not "Fantastic Four") featured the "incursions", a multiversal threat that was being used in Hickman's run on the main universe's Avengers, and which would lead to the Secret Wars crossover. Ultimate FF was cancelled, alongside the Fantastic Four comic book, as a result of the disputes between Marvel and 20th Century Fox over the film rights over the characters.

Conclusion
The 2015 Secret Wars storyline concluded the Ultimate Marvel imprint. In the plot, it was destroyed alongside all the other alternate realities in the multiverse, and then recreated as a region of the Battleworld. Ultimate End, set in such region, is the last story of the Ultimate imprint. It was produced by Bendis and Bagley, the team that started the imprint. Miles Morales, a character that originated in the Ultimate Universe to take over the mantle of Spider-Man when the Ultimate Universe's Peter Parker died, was migrated to the Marvel-616 universe, along with his supporting cast, a development that saw his mother restored to life, following her death in a 2013 storyline. The story, however, is largely a team-up of characters from the Ultimate and mainstream Marvel universes, with only a superficial relation with the plot of the crossover. Matt Little from CBR suspected that the story may have been conceived at some earlier point, and then slightly modified to serve as a tie-in for Secret Wars.

Reuse of characters on Earth-616
Aaron Davis, Morales' uncle, makes his first Marvel-616 appearance in Spider-Man #234. The Maker, an evil Reed Richards, is also restored to life and moved to Marvel-616, where he is a recurring villain in the Infamous Iron Man & New Avengers comic books. The hammer of Ultimate Thor (lost in the Cataclysm crossover) is found by Thor Odinson, who is not capable at the time to wield his classic hammer, owned by Jane Foster. He refuses to take the new hammer, which is then lifted by Volstagg in the Unworthy Thor miniseries. Jimmy Hudson, the son of Ultimate Wolverine, is also revealed to be alive in the new continuity, though this was not explained at first, but was eventually established that during the final incursion that caused the clash between Earth-616 and Earth-1610, with both universes' planets Earth acting as the collision point of this phenomenon, Jimmy Hudson, Quicksilver, Mach-II, Armor, and Guardian fell from their reality into the other. When the Multiverse was eventually rebuilt, these mutants became stranded in the Prime Earth, suffering from amnesia as a by-product of their transition from one reality to another.

After Secret Wars, Marvel published a new comic book named Ultimates, though it bore no relation with the imprint beyond the name. The Ultimates 2 #10, renumbered as #100 under the Marvel Legacy relaunch, features the Ultimates from the Ultimate universe. Bendis left Marvel Comics in 2017 and moved to DC Comics. One of his last comic books was a second volume of Spider-Men II, featuring Peter Parker and Miles Morales. The miniseries ends with the Marvel-616 Miles Morales emigrating to the Ultimate Universe to be reuniting with his lost love, following the death of her Marvel-616 counterpart, confirming that the universe still exists. A brief glimpse of the still-extant Ultimate universe is provided by artist Mark Bagley, showing that Ultimate Peter Parker, who had been revealed alive in one of the last issues, has returned to the role of Spider-Man, and that he is a member of the Ultimates, as is Riri Williams and Hulk. The return of the Ultimate universe was used again in 2019, in story arcs at the Venom and Miles Morales: Spider-Man comic books.

Earth-6160 version
In February 2023, Marvel Comics announced Ultimate Invasion written by Jonathan Hickman with art by Bryan Hitch. This story involves the Maker's attempts to bring back the Ultimate Universe, with the Illuminati reforming to try and stop him. Despite claiming that Earth-1610 would be revisited, the storyline went a different path and showed a new Earth called Earth-6160 and reshaped it into his own image before being thwarted by Howard Stark who operates as Iron Man. Afterwards, Earth-6160's Tony Stark (who takes up the name Iron Lad) and a Doctor Doom mask-wearing Reed Richards work to undo what Maker has done.

Marvel Comics later revealed in June that following the end of Ultimate Invasion, a one-shot called Ultimate Universe #1, written by Hickman and drawn by Stefano Caselli, will release in November and set the stage for a new line of Ultimate Universe comics. The plans have been laid out by Jonathan Hickman, Bryan Hitch, and C.B. Cebulski. In September 2023, Marvel revealed that one of these new titles would be a relaunch of Ultimate Spider-Man written by Hickman and illustrated by Marco Checchetto and will begin publication in January 2024. This iteration of the story will focus on Peter Parker, having been bitten by a radioactive spider in adulthood as opposed to a teenager, balancing his heroics with his dedication as a family man towards raising his two children with his wife Mary Jane Watson.

The following month during New York Comic Con, Cebulski and Hickman announced Ultimate Black Panther written by Bryan Hill with art by Caselli and a relaunch of Ultimate X-Men written and illustrated by Peach Momoko to begin publication following Ultimate Spider-Man in February and March 2024, respectively.

Publications
Titles in this section are organized by approximate publication date and line title.

Ultimate Marvel (2000–2009)

 * Ultimate Spider-Man #1–133 (vol. 1) (2000-2009), plus Wizard 1/2 special (134 issues in vol. 1 initial run)
 * Ultimate Marvel Magazine #1–11 (vol. 1) (2001)
 * Ultimate Marvel Team-Up #1–16 (2001–2002)
 * Ultimate Spider-Man Super Special #1 (2002)
 * Ultimate X-Men #1–100 (2001–2009), plus Wizard 1/2 special (101 issues total)
 * The Ultimates #1–13 (2002–2003)
 * Ultimate Daredevil and Elektra #1–4 (2002–2003)
 * Ultimate Adventures #1–6 (2002–2004)
 * Ultimate War #1–4 (2002–2003)
 * Ultimate Six #1–7 (2003–2004)
 * Ultimate Fantastic Four #1–60 (2004–2009)
 * Ultimate Elektra #1–5 (2004)
 * Ultimate Galactus Trilogy (2004–2006)
 * Ultimate Nightmare #1–5 (2004–2005)
 * Ultimate Secret #1–4 (2005)
 * Ultimate Extinction #1–5 (2006)
 * The Ultimates 2 #1–13 (2005–2007)
 * The Ultimates Saga #1 (written by C. B. Cebulski and Mindy Owens and penciled by Travis Charest with stock art by Bryan Hitch, 2007)
 * Ultimate Iron Man #1–5 (2005–2006)
 * Ultimate Wolverine vs. Hulk #1–6 (2005–2009)
 * Ultimate X4 #1–2 (2005–2006)
 * Ultimate Vision #0–5 (2006–2007)
 * Ultimate Power #1–9 (2006–2008)
 * Ultimate Iron Man II #1–5 (2007–2008)
 * Ultimate Human #1–4 (2008)
 * The Ultimates 3 #1–5 (2008)
 * Ultimate Origins #1–5 (2008)
 * March on Ultimatum Saga #1 (2008)
 * Ultimate Captain America Annual #1 (2008)
 * Ultimate Fantastic Four/Ultimate X-Men Annual #1 (2008)
 * Ultimate Hulk Annual #1 (2008)
 * Ultimate X-Men/Ultimate Fantastic Four Annual #1 (2008)
 * Ultimatum (2008–2009)
 * Ultimatum #1–5 (2008–2009)
 * Ultimatum: Spider-Man Requiem #1–2 (2009)
 * Ultimatum: Fantastic Four Requiem #1 (2009)
 * Ultimatum: X-Men Requiem #1 (2009)

Ultimate Comics (2009–2011)

 * Ultimate Comics: Spider-Man #1-15 (vol. 2) (2009-2011)
 * Ultimate Comics: Armor Wars #1–4 (2009–2010)
 * Ultimate Comics: Avengers #1–6 (2009–2010)
 * Ultimate Comics: Avengers 2 #1–6 (2010)
 * Ultimate Comics: Doomsday Trilogy (2010–2011)
 * Ultimate Comics: Enemy #1–4 (2010)
 * Ultimate Comics: Mystery #1–4 (2010)
 * Ultimate Comics: Doom #1–4 (2011)
 * Ultimate Comics: X #1–5 (2010–2011)
 * Ultimate Comics: New Ultimates #1–5 (2010–2011)
 * Ultimate Comics: Thor #1–4 (2010–2011)
 * Ultimate Comics: Captain America #1–4 (2011)
 * Ultimate Comics: Avengers 3 #1–6 (2010–2011)
 * Ultimate Comics: Spider-Man #150-160 (reverted to original numbering) (2011)
 * Ultimate Comics: Avengers vs. New Ultimates #1–6 (2011)

Ultimate Comics: Reborn (2011–2014)

 * Ultimate Comics: Fallout #1-6 (2011)
 * Ultimate Comics: The Ultimates #1-30 (2011–2013) plus #18.1 (31 issues total)
 * Ultimate Comics: X-Men #1-33 (2011–2013) plus #18.1 (34 issues total)
 * Ultimate Comics: All-New Spider-Man #1-28 (2011–2013) plus #16.1 (29 issues total)
 * Ultimate Comics: Hawkeye #1–4 (2011–2012)
 * Ultimate Comics: Iron Man #1-4 (2012–2013)
 * Ultimate Comics: Wolverine #1-4 (2013)
 * Hunger #1-4 (2013)
 * Cataclysm (2013–2014)
 * Cataclysm #0.1 (2013)
 * Cataclysm: The Ultimates' Last Stand #1-5 (2013–2014)
 * Cataclysm: Ultimates #1-3 (2013–2014)
 * Cataclysm: Ultimate Spider-Man #1-3 (2013–2014)
 * Cataclysm: Ultimate X-Men #1-3 (2013–2014)
 * Ultimate Spider-Man #200 (vol. 1) (2014)
 * Survive! #1 (2014)

Ultimate Marvel NOW! (2014–2015)

 * All-New Ultimates #1-12 (2014–2015)
 * Ultimate FF #1-6 (2014)
 * Miles Morales: Ultimate Spider-Man #1-12 (2014-2015)
 * Ultimate End #1-5 (2015)

Ultimate Marvel characters

 * Spider-Man (Ultimate Marvel character)
 * Captain America (Ultimate Marvel character)
 * Iron Man (Ultimate Marvel character)
 * Thor (Ultimate Marvel character)
 * Hulk (Ultimate Marvel character)
 * Ultimate X-Men
 * Wolverine (Ultimate Marvel character)
 * Spider-Woman (Ultimate Marvel character)
 * Nick Fury (Ultimate Marvel character)
 * Ultimate Fantastic Four
 * Maker (Reed Richards)
 * Green Goblin (Ultimate Marvel character)
 * Jimmy Hudson
 * Tyrone Cash
 * Geldoff
 * Miles Morales

Timeline
• 1-2. Ultimate Origins #1-2

• 3. The Ultimates #1

• 4-5. Ultimate Origins #3-4

• 6-9. Ultimate Daredevil and Elektra #1-4

• 10-14. Ultimate Elektra #1-5

• 15. Ultimate Origins #5

• 16-27. Ultimate Fantastic Four #1-12

• 28-35. Ultimate Spider-Man #1-8

• 36-38. Ultimate Marvel Team-Up #1-3

• 39-43. Ultimate Spider-Man #9-13

• 44-45. Ultimate Marvel Team-Up #4-5

• 46-51. Ultimate X-Men #1-6

• 52. Ultimate X-Men #½

• 53-56. Ultimate Marvel Team-Up #6-8, #10

• 57-59. Ultimate Spider-Man #14-16

• 60. Ultimate Marvel Team-Up #11

• 61. Ultimate X-Men #7

• 62-63. Ultimate Marvel Team-Up #12-13

• 64-66. Ultimate Comics: Thor #1-3

• 67-71. Ultimate X-Men #8-12

• 72. Ultimate Marvel Team-Up #14

• 73-74. The Ultimates #2-3

• 75-85. Ultimate Spider-Man #17-27

• 86-87. Ultimate Marvel Team-Up #15-16

• 88. Ultimate Spider-Man Super Special #1

• 89-96. Ultimate X-Men #13-20

• 97. Ultimate Comics: Thor #4

• 98-99. The Ultimates #4-5

• 100-104. Ultimate Spider-Man #28-32

• 105-112. The Ultimates #6-13

• 113-119. Ultimate Spider-Man #33-39

• 120-125. Ultimate X-Men #21-26

• 126-128. Ultimate War #1-4

• 129-135. Ultimate X-Men #27-32

• 136-150. Ultimate Spider-Man #40-45, #½, #46-53

• 151-156. Ultimate Adventures #1-6

• 157-163. Ultimate Six #1-7

• 164. Ultimate X-Men #33

• 165-170. Ultimate Spider-Man #54-59

• 171-176. Ultimate X-Men #34-39

• 177-178. Ultimate Spider-Man #60-61

• 179-184. Ultimate X-Men #40-45

• 185-188. Ultimate Spider-Man #62-65

• 189-192. Ultimate X-Men #46-49

• 193-212. Ultimate Spider-Man #66-85

• 213-216. Ultimate X-Men #50-53

• 217-237. Ultimate Fantastic Four #13-26, Annual #1, #27-32

• 238-242. Ultimate Nightmare #1-5

• 243-246. Ultimate Secret #1-4

• 247. "Ultimate Vision" #0

• 248-252. Ultimate Extinction #1-5

• 253-257. Ultimate Vision #1-5

• 258-264. Ultimate X-Men #54-60

• 265-270. The Ultimates 2 #1-6

• 271. The Ultimates Annual #1

• 272. Ultimate X-Men Annual #1

• 273-277. Ultimate X-Men #61-65

• 278. Ultimate Spider-Man Annual #1

• 279-283. Ultimate Spider-Man #86-90

• 284-285. Ultimate X4 #1-2

• 286-291. Ultimate X-Men #66-71

• 292-297. Ultimate Wolverine vs. Hulk #1-6

• 298-304. Ultimate Spider-Man #91-96, Annual #2

• 305. Ultimate Fantastic Four Annual #2

• 306-309. Ultimate X-Men #72-74, Annual #2

• 310-316. The Ultimates 2 #7-13

• 317. The Ultimates Annual #2

• 318. Ultimate Captain America Annual #1

• 319-327. Ultimate Fantastic Four #33-41

• 328-336. Ultimate Spider-Man #97-105

• 337-340. Ultimate X-Men #75-78

• 341-345. Ultimate Fantastic Four #42-46

• 346-350. Ultimate X-Men #79-83

• 351-357. Ultimate Fantastic Four #47-53

• 358-362. Ultimate X-Men #84-88

• 363-366. Ultimate Fantastic Four #54-57

• 367-375. Ultimate Power #1-9

• 376-387. Ultimate Spider-Man #106-117

• 388-392. Ultimate X-Men #89-93

• 393-404. Ultimate Spider-Man #118-120, Annual #3, #121-128

• 405. Ultimate Hulk Annual #1

• 406-409. Ultimate Human #1-4

• 410. The Ultimates Saga #1

• 411-415. The Ultimates 3 #1-5

• 416-419. Ultimate X-Men #94-97

• 420. Ultimate X-Men/Fantastic Four Annual #1

• 421. Ultimate Fantastic Four/X-Men Annual #1

Notable writers
Brian Michael Bendis wrote the first comic book of the Ultimate imprint, Ultimate Spider-Man, launched in 2000. This was his first work for Marvel Comics. He later worked in other comics of the imprint, such as Ultimate Marvel Team-Up (2001–2002), Ultimate X-Men (2003–2004), Ultimate Fantastic Four (2003–2004) and Ultimate Origins (2008). He is recognized as the main author of the whole Ultimate imprint. Most characters were reimaginations of classic Marvel characters; Miles Morales was an original character of his own creation. Given the success of the Ultimate imprint, Marvel asked him to write mainstream Marvel comics as well. He started a successful run on The Avengers, starting with Avengers Disassembled. He created Jessica Jones in the Alias comic book, part of the R-rated MAX imprint. He wrote major crossover events such as House of M, Age of Ultron and Civil War II. He wrote Cataclysm, the last crossover event within the Ultimate imprint, and Ultimate End, that closed it. He moved to DC Comics in 2017.

Mark Millar is a Scottish comic book writer, and started his career with British comics such as Judge Dredd. He was hired by DC Comics, and worked in several titles. His most successful work was Superman: Red Son, which reimagined Superman as a newborn alien whose ship fell in the Soviet Union instead of Kansas. This work was published in 2003, two years after his departure from DC. Millar started the Ultimate X-Men comics, the Ultimate Fantastic Four, and The Ultimates. Stan Lee, creator of many characters of Marvel comics, praised his work, but also advised him: "That's great, but you should do your own characters instead of doing mine. I didn't do Superman and Batman and Tarzan and Sherlock Holmes. I went off and did the X-Men". Dave Gibbons, artist of Watchmen, was impressed by his work and started working with him in Kingsman, published by Marvel at the Icon Comics imprint, which allowed Millar to retain the rights. Millar then created Millarworld, with his own comic books, such as Wanted and Kick-Ass. Wanted, Kingsman, and Kick-ass had cinematic adaptations. Millarworld was acquired by the American streaming media company Netflix in August 2017.

Television
The only adaptations of the Ultimate Marvel works to other media are two direct-to-video films by Marvel Animated Features, Ultimate Avengers and Ultimate Avengers 2: Rise of the Panther, based on the Ultimates. The plot was simplified and the political aspects of the original work were removed, turning it into a standard superhero animated film. Other animated series incorporated aspects of the Ultimate comics, despite not being direct adaptations. The 2008 animated series The Spectacular Spider-Man shared many similarities with the Ultimate version of the titular character, including his age, his personal relationship with Eddie Brock, and a supporting cast largely based on their Ultimate counterparts. Despite the name and the involvement of Bendis, Ultimate Spider-Man is a different work (although Peter Parker is modeled after his appearance in the comics though with a slightly bulkier build), aimed primarily at a younger audience. Being criticized by this, Bendis said that the show was made for Disney XD and "not for Showtime". The series adapted some specific storylines such as the episode "Freaky" where Spider-Man and Wolverine switch bodies as in Ultimate Spider-Man #66-67. Miles Morales appeared in that TV series as well first in a cameo before becoming a major character later on for the series adaptation of Spider-Verse. Also in this series, the host for Venom is Harry Osborn instead of Eddie Brock, and takes the form of Spider-Man's black suit. As for the Avengers, some character designs from The Avengers: Earth's Mightiest Heroes were based on the Ultimate comics, such as Captain Marvel and the suit of Captain America during the second season. Nick Fury was based on Ultimate Nick Fury since season 2, which was kept for the following series, Avengers Assemble which also drew influence from Ultimate Marvel comics. As for the X-Men, the 2000 animated series X-Men: Evolution also had important members reimagined as teenagers, and eventually incorporated costumes from the comics as well. Similarly, Wolverine and the X-Men in 2009 had Magneto disassemble and reprogram the Sentinels like in the Ultimate X-Men storyline "Tomorrow People".

Films
Ultimate Marvel has also been a strong influence in the early stages of the Marvel Cinematic Universe. Joss Whedon said that The Ultimates brought Marvel into the modern age in a way no other book did. Tony Stark's personality was based on that of his Ultimate counterpart, and Millar and Bendis were included in the staff as consultants. Samuel L. Jackson, whose likeness was used to create the new version of Nick Fury, was cast as the character in a multi-picture deal, starting in a post-credits scene in Iron Man. The script of the scene was written by Bendis. As a comic book fan, Jackson had noticed the use of his likeness and asked to be included in some eventual film. Bruce Banner's origin story in The Incredible Hulk is based on his origin story from the Ultimate Universe, as both versions become the Hulk while attempting to recreate the Super Soldier Serum that turned Steve Rogers into Captain America. Hawkeye and Captain America's costumes were based on their Ultimate uniforms as well and elements of Captain America's origin story are adapted from the Ultimate comics such as Bucky Barnes being his childhood friend who protected him from bullies and being around the same age, him found and being thawed out of ice by S.H.I.E.L.D. rather than the founding members of the Avengers. Hawkeye also has a family, a context exclusive to the Ultimate comics. The film The Avengers featured the Ultimate take on the team, as a military operation organized by S.H.I.E.L.D. rather than an autonomous superhero group. Kevin Feige based the script of the film broadly on the first miniseries of the Ultimates and the ending of the second. The S.H.I.E.L.D. Helicarrier's design throughout the films is also modeled after the Ultimate Marvel version. The depiction of Falcon in the films is derived from the Ultimate incarnation, and Rogers' relationship with Nick Fury in Captain America: The Winter Soldier is reminiscent of the one in the comics with the Triskellion, a notable landmark in the comics being featured in the film. Spider-Man: Homecoming also had aspects of the comics like Parker's age, a younger Aunt May, introducing Aaron Davis and revealing the presence of Miles Morales and Stark mentoring Spider-Man though without S.H.I.E.L.D. and other heroes being involved like in the comics, and in the same film where Stark sports an armor reminiscent of the Ultimate version. This also extends to Spider-Man: Far From Home where Nick Fury is seen mentoring Spider-Man. Thor has similar traits to his Ultimate counterpart, such as his personality, powers, costume elements, and hammer. Thor ends up getting a new hammer during Avengers: Infinity War which is based on the Ultimate version of Mjolnir.

Other films based on Marvel comics were also influenced by Ultimate Marvel, albeit in a less notable degree. The film Spider-Man was released in 2002, two years after the start of Ultimate Spider-Man, and also provided a higher character development for Uncle Ben before killing him in Spider-Man's origin story, while also modifying the character's origin story, by writing a genetically-modified spider, instead of a radioactive spider, as the source of his spider-powers and replacing Mary Jane-Watson, as the main character's primary love interest. The series was rebooted with The Amazing Spider-Man in 2012, and Sony asked Bendis for suggestions. He proposed that Spider-Man should use artificial web-shooters, as in the comics, instead of portraying the ability as a part of the character's mutation, through the form of organic web-shooters in his wrists, as was depicted in the Raimi trilogy. The film series also featured elements and aesthetics borrowed from his Ultimate counterpart's personality and background, such as the emphasis and focus on his parents and their subsequent disappearance; his father Richard Parker being a scientist specializing in biology, who worked on a secret project/experiment regarding the procurement of a special serum that was intended to cure terminal illnesses (which is depicted as being derived from the blood of genetically-modified spiders, encoded to the bloodline of Peter's family, instead of the Venom symbiote in the comics); his signature wise-cracking and motor-mouthed sense of humor; his uncle's speech on responsibility and subsequent argument with Peter, moments before his death; a genetically-modified spider being responsible for Peter's spider-powers; his relationship with Gwen Stacy, mirroring his relationship with Mary Jane-Watson from the comics; Gwen being somewhat rebellious like her Ultimate incarnation and sticking up for Peter, albeit non-violently when he was being bullied by Flash (though in the comics it was Kenny Kong), in addition Flash having a crush on her like he did in the Ultimate comics; his friendship with Harry Osborn being modeled after that of Eddie Brock Jr. in the comics, being childhood friends who have not seen each other in a long time and whose fathers had worked together on a project (with the name Spider-venom being a slight nod to the Venom project and both were intended as a cure for diseases) and it is implied that Norman Osborn betrayed Richard much like Eddie Brock Sr. had in the comics when they both selfishly wanted the research for their own ends and being responsible, even if indirectly in Norman's case for the deaths of Peter's parents. The villains featured in the films are modeled after their Ultimate counterparts, Electro in particular being a blue being of energy and the depiction of Harry's transformation into Green Goblin. The 2007 sequel Fantastic Four: Rise of the Silver Surfer is based on the Ultimate Galactus Trilogy, in particular the design of Galactus. The franchise was rebooted in 2015 with Fantastic Four, which is strongly based on the first arcs of Ultimate Fantastic Four. Sony made an animated Spider-Man film, Spider-Man: Into the Spider-Verse, which starred Miles Morales. The plot is an adaptation of the 2014 storyline Spider-Verse and was released in 2018.

Video games
The 2005 video game Ultimate Spider-Man is a direct adaptation of the storylines and characters from the eponymous comics. The game is centered around the Ultimate Marvel versions of Spider-Man and Venom, but also features appearances from The Human Torch, Wolverine, and Nick Fury, and the 2006 prequel Spider-Man: Battle for New York features a retelling of the story of Spider-Man and Green Goblin, in addition featuring The Ultimates and Kingpin. The 2004 video game X-Men: Legends and its 2005 sequel X-Men Legends II: Rise of Apocalypse have the titular characters wear their Ultimate costumes as do the Brotherhood of Mutants. Other Marvel video games have also featured Ultimate influences such as Marvel Ultimate Alliance and its sequel Marvel Ultimate Alliance 2 featuring the main costumes of Captain America, Thor, Colossus, Invisible Woman, Mr. Fantastic, and the Human Torch based on their Ultimate counterparts as well as alternate costumes for Iron Man, Elektra, Storm, Wolverine, Moon Knight, Doctor Strange, Nick Fury, Deadpool, Magneto, Doctor Doom, Venom, Sabretooth, The Thing, Nightcrawler, Cyclops, and Hawkeye also based on the Ultimate versions of the characters for the first game. The 2010 video game Spider-Man: Shattered Dimensions features the Ultimate version of Spider-Man possessed with a symbiote.

title: Ultimate Marvel


text:
Chinese Peruvians

Chinese Peruvians, also known as tusán (a loanword from ), are Peruvian citizens whose ancestors came from China.

Due to acculturation, most third and fourth generation Chinese Peruvians do not speak the language of their Asian ancestors. However, some second generation Chinese Peruvians can speak one or more varieties of Chinese that may include Mandarin, Cantonese, Hakka and Minnan (Hokkien), in addition to Spanish.

Outside of the predominant Amerindian, mestizo, white, and black populations, Chinese are estimated to constitute less than 1% of the Peruvian population. In the 2017 Census in Peru, only 14,307 people claimed tusán or Chinese ancestry. However, according to the embassy, it was estimated that 15% (or 4 million) of the 30 million Peruvians had Chinese roots and ancestry, tracing back to the 19th century arrival of 100,000 Chinese immigrants that migrated to Peru and entered relationships with many Peruvian women.

Early history
Workers who were shipped from the Spanish Philippines to Acapulco via the Manila-Acapulco galleons were all called Chino ("Chinese"), although in reality they were not only from China but also other places, including what are today the Philippines itself, Japan, Malaysia, Indonesia, East Timor and further afield such as India and Sri Lanka. Filipinos made up most of their population. The people in this community of diverse Asians in Mexico were called "los indios chinos" by the Spanish. Most of these workers were male and were obtained from Portuguese traders, who obtained them from Portuguese colonial possessions and outposts of the Estado da India, which included parts of India, Bengal, Malacca, Indonesia, Nagasaki in Japan and Macau. Spain received some of these coolies from Mexico, where owning a Chino coolie showed high status. Records of three Japanese coolies dating from the 16th century, named Gaspar Fernandes, Miguel and Ventura who ended up in Mexico showed that they were purchased by Portuguese slave traders in Japan, brought to Manila from where they were shipped to Mexico by their owner Perez. Some of these Asian slaves were also brought to Lima in Peru, where it was recorded that in 1613 there was a small community of Asians, consisting of Chinese, Japanese, Filipinos, Malays, Cambodians and others.

Chinese immigrants, who in the 19th century took a four-month trip from Macau (then a Portuguese territory), settled as contract laborers or coolies. Other Chinese coolies from Guangdong followed. 80,000 to 100,000 Chinese contract laborers, 95% of which were Cantonese and almost all of which were male, were sent mostly to the sugar plantations from 1849 to 1874, during the termination of slavery. They were to provide continuous labor for the coastal guano mines and especially for the coastal plantations where they became a major labor force (contributing greatly to the Peruvian guano boom) until the end of the century. While the coolies were believed to be reduced to virtual slaves, they also represented a historical transition from slave to free labor. A third group of Chinese workers was contracted for the construction of the railway from Lima to La Oroya and Huancayo. Chinese migrants were barred from using cemeteries reserved for Roman Catholics and were instead buried at pre-Incan burial sites. Between 1849 and 1874 half the Chinese population of Peru perished due to abuse, exhaustion and suicide caused by forced labor.

There were almost no women among the nearly entirely male Chinese coolie population that migrated to Peru and Cuba. Peruvian women were married to these Chinese male migrants.

Interracial marriages between Cantonese-Chinese males and Peruvian females was quite large resulting in large number of mixed children and people with some Chinese ancestry in Peru. There is no prevailing racist attitude against intermarriage between the Chinese and non-Chinese in Peru, so the number of interracial marriages is quite large. According to one source, the number of mix raced children born was 180,000. Half of that number was in Lima alone, with the ratio between Chinese mestizo and the full-blooded Chinese at 90,000 to 15,000 (6:1). The recent census only estimates 14,307 Peruvians of Chinese descent (2017).

Many Peruvian women of different origins married to these Chinese male migrants. Most of the women that married Chinese were Amerindians (including Mestiza) and Black. Some lower class white women also married Chinese men but in a lower ratio. Chinese had contact with Peruvian women in cities; there they formed relationships and sired mixed babies. These women originated from Andean and coastal areas and did not originally come from the cities; in the haciendas on the coast in rural areas, native young women of indígenas ("native") and serranas ("mountain") origin from the Andes mountains would come down to work. These Andean native women were favored over Africans as marital partners by Chinese men, with matchmakers arranging for communal marriages of Chinese men to young indígenas and serranas. There was a racist reaction by Peruvians to the marriages of Peruvian women and Chinese men. When native Peruvian women (cholas et natives, Indias, indígenas) and Chinese men had mixed children, the children were called injerto; once these injertos emerged, Chinese men sought out girls of injerta origin as marriage partners. Children born to black mothers were not called injertos. Peruvians of low class established sexual unions or marriages with the Chinese men, and some black and Indian women "bred" with the Chinese according to Alfredo Sachettí, who claimed the mixing was causing the Chinese to suffer from "progressive degeneration". In Casa Grande, highland Indian women and Chinese men participated in communal "mass marriages" with each other, arranged when highland women were brought by a Chinese matchmaker after receiving a down payment.

In Peru and Cuba, some Indian (Native American), mulatto, black, and white women engaged in carnal relations or marriages with Chinese men, with marriages of mulatto, black, and white woman being reported by the Cuba Commission Report. In Peru, it was reported by The New York Times that Peruvian black and Indian (Native) women married Chinese men to their own advantage and to the disadvantage of the men since they dominated and "subjugated" the Chinese men despite the fact that the labor contract was annulled by the marriage, reversing the roles in marriage with the Peruvian woman holding marital power, ruling the family and making the Chinese men slavish, docile, "servile", "submissive" and "feminine" and commanding them around, reporting that "Now and then...he [the Chinese man] becomes enamored of the charms of some sombre-hued chola (Native Indian and mestiza woman) or samba (mixed black woman), and is converted and joins the Church, so that may enter the bonds of wedlock with the dusky señorita." Chinese men were sought out as husbands and considered a "catch" by the "dusky damsels" (Peruvian women) because they were viewed as a "model husband, hard-working, affectionate, faithful and obedient" and "handy to have in the house", the Peruvian women became the "better half" instead of the "weaker vessel" and would command their Chinese husbands "around in fine style" instead of treating them equally, while the labor contract of the Chinese coolie would be nullified by the marriage, the Peruvian wife viewed the nullification merely as the previous "master" handing over authority over the Chinese man to her as she became his "mistress", keeping him in "servitude" to her, speedily ending any complaints and suppositions by the Chinese men that they would have any power in the marriage.

Although Chinese Peruvians were well-integrated into Peruvian society, it did not come with an easy beginning. During the War of the Pacific, Chinese labors led an uprising in support to Chile against Peru. Peruvians held Chinese as responsible to the Chilean invading army, and this led to the first ever Sinophobia in Latin America. Chinese were targeted and murdered by native Peruvians and it was not until 1890s that anti-Chinese pogroms stopped. In one 1881 pogrom in the Cañete Valley it is estimated that 500 to 1,500 Chinese were killed. Despite this, Chinese were barred from immigrating to the country until the 1970s.

Another group of Chinese settlers came after the founding of Sun Yat-sen's republic in 1912, and another after the establishment of Communist rule in 1949. At the time of the Chinese Civil War, the Chinese community in Peru identified with the Nationalist government in Taipei, although as time passed, they became adherent to the government in Beijing instead.

In 1957, Cantonese speakers constituted 85 per cent of the total Chinese immigrant population, the rest of whom were Hakka speakers.

Modern-day immigration
Recent Chinese immigrants settled in Peru from Hong Kong and Macau in 1997 and 1999, owing to fear of those territories returning to Communist rule, while others have come from other places in mainland China, Taiwan, and southeast Asian Chinese communities, including those of Malaysia, Indonesia, Singapore and the Philippines. Many Chinese Indonesians came to Peru after anti-Chinese riots and massacres in those countries in the 1960s, 1970s, and late 1990s. These recent Chinese immigrants make Peru currently the home of the largest ethnically Chinese community in Latin America.

Emigration
Many Chinese Peruvians left Peru in the 1960s and 1970s. Most of them headed to the United States, where they were called Chinese Americans or Peruvian Americans of Chinese descent.

Role in the economy
After their contracts ended, many of them adopted the last name of their patrons (one of the reasons that many Chinese Peruvians carry Spanish last names). Some freed coolies (and later immigrants) established many small businesses. These included chifas (Chinese-Peruvian restaurants - the word is derived from Chinese term,  which means "to eat rice or to have a meal"). Calle Capón, Lima's Chinatown, also known as Barrio Chino de Lima, became one of the Western Hemisphere's earliest Chinatowns. The Chinese coolies married Peruvian women, and many Chinese Peruvians today are of mixed Chinese, Spanish, African or Native American descent. Chinese Peruvians also assisted in the building of railroad and development of the Amazon Rainforest, where they tapped rubber trees, washed gold, cultivated rice, and traded with the natives. They even became the largest foreign colony in the Amazon capital of Iquitos by the end of the century.

In 1942, a Chinese-Peruvian, Erasmo Wong, started a small store in a residential district in Lima, which grew into a large supermarket chain in Peru known as Wong supermarkets. Wong supermarkets was later acquired by the Chilean multinational retail company Cencosud on December 16, 2007, helping it grow further.

Notable people
The majority of Chinese descendants in Peru do not carry a Chinese surname, since their ancestors, when they arrived in Peru, were baptized or adopted the surnames of their patrons, Catholic saints or some very common Castilian surname.

title: Chinese Peruvians


text:
Yuri II Boleslav

Yuri II Boleslav (Юрій-Болеслав Тройденович; Bolesław Jerzy II; c. 1305/1310 – April 7, 1340), was King of Ruthenia and Dominus of the lands of Galicia–Volhynia (1325–1340). A foreigner and a Catholic by birth, he was the son of Trojden I, Duke of Masovia and a member of the Polish Piast dynasty. Highly unpopular in Orthodox Ruthenia, his murder prompted a war of succession, known as the Galicia–Volhynia Wars.

Biography
Bolesław was born between 1305 and 1310 to Trojden I of Masovia and Maria, daughter of Yuri I of Galicia. Since his father was still a ruler of the family's Masovian lands, in 1323 Bolesław succeeded Leo II of Galicia and became the ruler over Ruthenia as Yuri II. He also received the Duchy of Belz after the childless death of Andrew of Galicia. In 1331, he married the daughter of Grand Duke of Lithuania Gediminas and sister of Aldona of Lithuania, wife of Casimir III of Poland. The name of Bolesław's wife is disputed; Teodor Narbutt claimed her pagan name was Eufemia and her Christian name was Maria. In opposition, Oswald Balzer claimed that Eufemia was a Christian name. It is widely believed that Narbutt's account was a fabrication.

In a treaty of 1338 Yuri ІІ offered Casimir III of Poland succession to the throne of Galicia-Volhynia. In 1324, Yuri granted city rights to Volodymyr and Sanok in 1339, both under Magdeburg Law. He was poisoned in 1340 by Orthodox Ruthenian boyars and died without an heir, before his father who continued rule the Duchy of Mazovia.

Yuri's murder sparked the Galicia–Volhynia Wars fought in the years 1340–1392 over the succession in the Kingdom of Ruthenia.

title: Yuri II Boleslav


text:
Talk:Toledoth Yeshu

Someone listed this for cleanup. I had the temerity of adding the required cleanup notice. I've personally never heard of the work - can you make any pronouncements as to its influence? Is anything known of its author? JFW | T@lk   12:12, 16 May 2004 (UTC)

I copied that text almost directly form another wiki article to start a stub on the subject. Unfortunately I only know that it is an adult satirical/cautionary tale against would-be false messiahs combining many a varied reference from the Mishnah dating from the 2ndC.BCE to the 5thC.CE and apparently including some references to the scriptures of the you know who. In all it includes 25 short traditions dating back perhaps as far as the 6th century merged into one narrative in the 12th century. I do not know who the author was but probably anonymous. Maybe it was even written by a chrstian as anti-Jewish propaganda. I have never seen an objective study on the work. Many chrstians have also jumped upon it as an independent historical confirmation on the existence of their ManG-d from an albeit hostile source. However it is anything but historical. It changes the details mentioned in the mishnah to fit with the narrative and is not considered part of the mishnah though many anti-Judaists love to use it on the ignorant to defame the mishnah (which is the kind of site you will find it mentioned on most frequently). It is for these reasons I thought it would be a good idea to start a stub about it to work on and cut through the varied POVs on the subject. I only made it yesterday so User:Burgundavia must be a very dilligent newcommer. The only possible references to the historical personality behind the man the chrstians worship might be the two about Yeshu Pandera taken from Tosefta Hullin 2: 22-24 concerning the arrest and death of Rabbi Eliazer. Also Shabbath 104b insinuates that the same Pandera was the illegitimate father of a certain young mamzer student of R. Eliazer known as Plony Ben Stada (Stada being a certain Marym Magdalen who was apparently already married to someone called Paphos ben Yehuda). Zestauferov 09:26, 17 May 2004 (UTC)

I hope to make a start on this a little later.Zestauferov 09:31, 17 May 2004 (UTC)

Some of the 26 themes are repeated in the story. They include

 * 1) 3671 (91BCE) disaster in the days of King Jannaeus (103-76BCE) (origin=)
 * 2) Miriam & Soldier Joseph Pandera (origin=Mandaean/Celsus)
 * 3) Rabban Simeon ben Shetach's records (80-50 BCE) (origin= Mishnah Yevamot 4:18?)
 * 4) Mamzer plony Ben Stada descended from Pandera (origin=Talmud Shabbat 104b, Sanhedrin 67a)
 * 5) Moses not the greatest (origin=)
 * 6) The Name in the temple at the time of Queen Helene (early 1st C.BCE) (origin=)
 * 7) Mamzer Ben Stada cuts letters into his thigh (origin=Talmud Shabbat 104b, Sanhedrin 67a)
 * 8) Getting The Name past the lions (origin=)
 * 9) Followed as Messiah by 310 men (origin=)
 * 10) Enters Jerusalem on an ass (origin=)
 * 11) Accused before the Ruler (origin=)
 * 12) Royal support against those who accuse him of being Navi Sheker (origin=)
 * 13) Ananui & Ahazia report many signs to the ruler (origin=)
 * 14) Judah Iskarioto makes Yeshu forget The Name (origin=)
 * 15) Crucified at Tiberias (origin=)
 * 16) Escape to Antioch (origin=)
 * 17) Entering the temple with 310 men before passover (origin=)
 * 18) Judah Iskarioto's betrayal (origin=)
 * 19) The trial of Ha Notzri & his Disciples (origin= Talmud Sanhedrin 43a)
 * 20) Put to death on a carob stalk (origin=European Mythological Archetype)
 * 21) Burried before Sabbath (origin)
 * 22) Missing body (origin=)
 * 23) Rabbi Tanhuma Bar Abba 5thC appeases the Ruler (origin=)
 * 24) Division in Israel because of the Wicked Teacher(origin=Essene)
 * 25) The Disciples preach abroad (origin=)
 * 26) Simon Kepha the man behind Paul (origin=)

Explain
At least, there should be a initial paragraph saying something like:
 * The Toledoth Yeshu is a book written in Hebrew in the city of Toledo, Spain (or wherever) in the nth century by an anonymous rabbi. It has n short chapters.

I mean, the article seems written for people who already know all about the work. Most of mankind don't know a bit about the book. Explain us.

title: Talk:Toledoth Yeshu


text:
Lito Mayo

Manolito Tolentino Mayo (December 17, 1954 – May 4, 1983) was a Filipino graphic artist, printmaker, avantgarde poet, sculptor, and art professor. His prolific career was brief – it lasted only a decade, as he died at the age of 28. He was one of the active young artists who experimented, collaborated, and exhibited art works in the thriving hubs of modernist and contemporary galleries and art associations in the Ermita district of Manila. He was also credited by his peers and art writers as the "Original Punk" of Philippine arts.

Early life and education
Mayo was born on December 17, 1954, in Lipa City, Batangas, the eldest son and second child of banker and entrepreneur Sebastian Mayo and teacher and homemaker Belen Tolentino Mayo. He was born into one of the oldest and historic clans of Lipa City; the Mayo clan of Lipa City has claimed and has documented their roots from Spanish, Chinese, and Irish-British ancestry. His father was an employee at the Philippine National Bank branch of Lipa City who had retired early to establish The Lipa Trading Company, a multifaceted family business that included insurance, financing, real estate, agriculture, tax preparation and a Suzuki motorcycle dealership and tricycle shop.

He attended De La Salle Lipa, one of the local high schools that was established by the Lasallian Brothers, and graduated in 1971.

He received a BFA from the University of Santo Tomas (UST) in 1975. While at UST he received several art awards at the university: 1st Honorable Mention, Sculpture Contest (1973); 3rd Prize, Graphic Arts (1973); 3rd Honorable Mention, Graphic Arts Competition (1973); and Honorable Mention, Annual On-The-Spot Painting Contest (1974).

His years at university coincided with the martial law under Ferdinand Marcos, and Mayo helped the resistance by joining the anti-CAFA (Committee on Anti-Filipino Activities) movement and using the printing presses he had access to, to help disseminate information. He was also a member of the philanthropy-oriented Tau Gamma Phi fraternity.

Art and career
Mayo's early work was heavily inspired by Cubism, wood print blocks, and sculptures. He established himself in graphic arts, with print plate etching as his major technique. Intaglio, xerographics, and silkscreen processes were also incorporated into his early works. Business Day writer Angel G. De Jesus wrote that Mayo was "a surrealistic expressionist with a satiric sense of humor".

He was president of the Philippine Association of Printmakers from 1975 to 1976, and was a member of the board of directors of the Art Association of the Philippines in 1977.

From 1981 to 1983 he taught Visual Arts and Design at the Philippine Women's University School of Fine Arts and Design.

Mayo's subjects and compositions usually embodied magical themes, amulets, animal people, and subconscious wanderings. In his work Pula Puti, he depicted a cockfight scene with two roosters with muscular human forms readying for a gladiatorial fight. His 1981 self portrait, a work in etching, has many incantations, mystical orations, and ancient figures adorning his shroud and countenance.

Mayo was regarded as the progenitor of punk culture and movement in the Philippines. He infused art and punk as a subculture and influenced many young artists and musicians to explore the subversion and excitement of the genre.

Personal life
In 1971, at the age of 17, Mayo married Irma Hermano, the daughter of Philippine Air Force official Porfirio Hermano and Pacita Hermano who owned and operated D'Crowns Tailoring, which served the uniforms and flight suits need of the military student aviators and officers inside Fernando Air Base. The couple had two sons.

He died unexpectedly in 1983 at the age of 28.

Awards and recognition
1975
 * 2nd Prize (Mixed Media Category): Print Competition in Manila sponsored by Bancom, Eurasia Arts, and the Philippine Association of Printmakers

1976
 * First Runner-up: Grand Art Competition in Manila sponsored by the Art Association of the Philippines
 * First Prize: Graphic Arts award from the Art Association of the Philippines

1977
 * Honorable Mention: Graphic Arts award from the Art Association of the Philippines

1978
 * First Runner-up: Grand Art Competition in Manila sponsored by the Art Association of the Philippines
 * First Runner-up: Graphic Arts award from the Art Association of the Philippines

In September 2018, when the well-respected printmaker and influential artist, Virgilio "Pandy" Aviado was awarded the Gawad Tanglaw ng Lahi, a prestigious "Filipino Cultural" award from Ateneo De Manila University, he dedicated the award to ten printmakers who were no longer living, included Mayo.

Museum collections and posthumous exhibitions
Tirada: 50 Years of Philippine Printmaking 1968-2018 (05/19/2018- 07/15/2018). Cultural Center of the Philippines. Roxas Boulevard, Pasay City, 1003 Metro Manila

October 17–30, 2015: Hiraya Gallery. 35th Anniversary Exhibition, ArtistSpace, Ayala Museum

Ateneo Art Gallery

 * Temptation, 6/10 (1974) – Etching – 32 cm x 27.5 cm (Gift from Emmanuel Torres)
 * Untitled (1975) – Etching and aquatint – 20.5 cm x 20.5 cm (Gift from Mayo)

The Ateneo Art Gallery presents Print(Ed): The AAG Print Collection Revisited (July–September 2019). Selected works from Wilson L Sy Prints and Drawings Gallery collection, curated by Pandy Aviado

title: Lito Mayo


text:
Yuri I of Galicia

Yuri I of Galicia (Ю́рій Льво́вич, 24 April 1252 (1257?) – 18 March 1308) was King of Ruthenia and Prince of Volhynia. His full title was Yuri I, King of Ruthenia, Grand Prince of Kyiv, Volodymyr, Halych, Lutsk, Dorohochyn.

Overview
In 1264–1301 he was a prince of the Duchy of Belz.

He was a son of Leo I of Galicia (also known as Lev Danylovych) and Constance of Hungary, a daughter of King Béla IV of Hungary.

He married three times. His first wife was Yaroslavna of Tver (died ca. 1286). His second wife was Euphemia of Kuyavia (died 18 March 1308), daughter of Casimir I of Kuyavia. His third wife is unknown.

Family
Sons

 * Mykhailo (1283–1286) (first marriage)
 * Andrew of Galicia, Prince of Ruthenia (1308–1323)
 * Lev II, Prince of Ruthenia (1308–1323)
 * Dmytro, Lord of Ruthenia (1340–1349)

Daughters

 * Maria, Princess of Ruthenia, (died 11 January 1341). Married Trojden I of Masovia
 * Anastasia (parentage uncertain; died 1364–1365). Married Alexander I of Tver (died 1339)

title: Yuri I of Galicia


text:
Zaide

Zaide (originally, Das Serail) is an unfinished German-language opera, K. 344, written by Wolfgang Amadeus Mozart in 1780. Emperor Joseph II, in 1778, was in the process of setting up an opera company for the purpose of performing German opera. One condition required of the composer to join this company was that he should write a comic opera. At Salzburg in 1779 Mozart began work on a new opera (now known as Zaide although Mozart did not give it such a title). It contains spoken dialogue, which also classifies it as a Singspiel (literally, "singing play"). Only the arias and ensembles from the first two acts were composed. Missing are an overture and third act.

It was popular at the time for operas to depict the rescue of enslaved Westerners from Muslim courts, since Muslim pirates were preying on Mediterranean shipping, particularly to obtain slaves for various purposes. This story portrays Zaide's effort to save her beloved, Gomatz.

Mozart was composing for a German libretto by Johann Andreas Schachtner, set in Turkey, which was the scene of his next, completed rescue Singspiel (Die Entführung aus dem Serail). He soon abandoned Zaide, to work on Idomeneo, and never returned to the project. The work was lost until after his death, when Constanze Mozart, his wife, found it in his scattered manuscripts in 1799. The fragments would not be published until 1838, and its first performance was held in Frankfurt on January 27, 1866, the 110th anniversary of Mozart's birth. Zaide has since been said to be the foundations of a masterpiece, and received critical acclaim. The tender soprano air, "Ruhe sanft, mein holdes Leben" is the only number that might be called moderately familiar.

The title Zaide was supplied by the Mozart researcher Johann Anton André, who first published the score, including his own completion of it, in the 1830s. André's father Johann André had set the same text to music, before Mozart commenced his singspiel.

Modern companion pieces to Zaide have been written by both Luciano Berio and Chaya Czernowin.

In modern performances, Mozart's Symphonies No. 26, K. 184, or No. 32, K. 318 – which was composed around the same time as Zaide and later used as an overture to Francesco Bianchi's La villanella rapita (1784) – are often given as an overture to Zaide. Completions of the opera may use a pastiche of Mozart's concert arias or, more popularly, music from Thamos, King of Egypt, also from the same period of Mozart's career.

Style
Zaide can neither be described as opera buffa or opera seria; it contained elements of both forms, and parallels may be drawn to both genre in Mozart's work. Zaide is also notable as being one of only two dramatic pieces by Mozart to contain melodrama (the other being Thamos, King of Egypt). Most of the spoken dialogue to Zaide has been lost, though there have been various attempts in modern times to write new dialogue to substitute for Schachtner's lost words.

Performance history
In 1995, le Théâtre Royal de la Monnaie in Brussels presented Zaide in a production helmed by modern choreographer Lucinda Childs in her directing debut. In honor of the 250th anniversary of Mozart's birth, a production of Zaide directed by Peter Sellars debuted at the Wiener Festwochen in 2006; it was later presented at the Mostly Mozart Festival in New York and the Barbican Centre in London. Sellars took the remaining fragments of Zaide and added excerpts from the composer's incidental music to the play Thamos, King of Egypt, which, like Zaide, was written when Mozart was 23. Taking off from the opera's theme of slavery, he set it in a contemporary sweatshop and cast it with African-American and Asian singers. The production featured the Concerto Köln under the direction of Louis Langrée, sets by George Tsypin, lighting by James F. Ingalls, and costumes by Gabriel Berry. A revival, with the Camerata Salzburg in the pit, was presented at the Aix-en-Provence Festival in 2008.

Synopsis
Zaide falls in love with Gomatz, a slave, which strikes up jealousy and rage in the Sultan, who happens to also admire her. After capture she chooses a free life with Gomatz rather than a good life with the Sultan. Allazim encourages the sultan to consider Gomatz as a man, not as a slave. The final surviving quartet suggests Zaide and Gomatz are sentenced to punishment or execution. This is where Mozart's manuscript breaks off.

There are similarities with Voltaire's play Zaïre (Zara) in which Zaïre, a Christian slave who had been captured as a baby falls in love with Osman, the Sultan of Jerusalem. Osman wrongly believes Zaïre and another Christian slave Nerestan (Gomatz in Mozart's opera) are lovers and kills Zaïre in a jealous rage and then kills himself. The elderly Lusignan, a prisoner of the Sultan (paralleled in the character Allazim) recognizes Zara and Nerestan as his children as she escorts him to safety. From the surviving arias we can deduce a few differences between Voltaire's play and Mozart's opera. By Act II of the opera Zaide, Gomatz, and possibly Allazim actually escape, only to be captured once more. In the opera there is no evidence that Mozart intended to cast Zaide, Gomatz and Allazim as a reunited family. Indeed, the original ending of Voltaire's play may have been too serious for contemporary tastes and may have been a reason for Mozart's leaving the project incomplete.

Noted arias
Act 1 Act 2
 * "Herr und Freund, wie dank ich dir!" – Gomatz
 * "Ruhe sanft, mein holdes Leben" – Zaide
 * "Nur mutig, mein Herze" – Allazim
 * "O selige Wonne!" – Terzetto (Trio) Zaide, Gomatz, Allazim
 * "Rase, Schicksal" – Gomatz
 * "Der stolze Löw' lässt sich zwar zähmen" – Sultan Soliman
 * "Ich bin so bös als gut" – Sultan Soliman
 * "Ihr Mächtigen seht ungerührt" – Allazim
 * "Tiger! Wetze nur die Klauen" – Zaide
 * "Trostlos schluchzet Philomele" – Zaide
 * "Wer hungrig bei der Tafel sitzt" – Osmin

Recordings

 * 1975 – Edith Mathis (Zaide), Peter Schreier (Gomatz), Ingvar Wixell (Allazim), Werner Hollweg (Sultan Soliman), Reiner Süß (Osmin) – Staatskapelle Berlin, Bernhard Klee – 2 CDs Philips Classics
 * 1983 – Judith Blegen (Zaide), Werner Hollweg (Gomatz), Wolfgang Schöne (Allazim), Thomas Moser (Sultan Soliman), Robert Holl (Osmin) – Mozarteum Orchester Salzburg, Leopold Hager – 2 CDs Orfeo
 * 1998 – Lynne Dawson (Zaide), Hans Peter Blochwitz (Gomatz), Olaf Bär (Allazim), Herbert Lippert (Sultan Soliman), Christopher Purves (Osmin) – Academy of Ancient Music, Paul Goodwin – CD Harmonia Mundi
 * 2006 – Isabel Monar (Zaide), Markus Schäfer (Gomatz), Christian Hilz (Allazim), Markus Brutscher (Sultan Soliman) – Wiener Akademie, Martin Haselböck – 2 CDs CPO
 * 2006 – Diana Damrau (Zaide), Michael Schade (Gomatz), Florian Boesch (Allazim), Rudolf Schasching (Sultan Soliman), Anton Scharinger (Osmin) – Concentus Musicus Wien, Nikolaus Harnoncourt – 2 CDs Deutsche Harmonia Mundi
 * 2016 – Sophie Bevan (Zaide), Allan Clayton (Gomatz), Jacques Imbrailo (Allazim), Stuart Jackson (Sultan Soliman), Darren Jeffery (Osmin), Jonathan McGovern – Classical Opera, Ian Page – CD Signum Classics

title: Zaide