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Gene Colan

Eugene Jules Colan (September 1, 1926 – June 23, 2011) was an American comic book artist best known for his work for Marvel Comics, where his signature titles include the superhero series Daredevil, the cult-hit satiric series Howard the Duck, and The Tomb of Dracula, considered one of comics' classic horror series. He co-created the Falcon, the first African-American superhero in mainstream comics; Carol Danvers, who would become Ms. Marvel and Captain Marvel; and the non-costumed, supernatural vampire hunter Blade.

Colan was inducted into the Will Eisner Comic Book Hall of Fame in 2005.

Early life
Eugene Jules Colan was born September 1, 1926, to Harold Colan, an insurance salesman, and Winifred Levy Colan, an antique dealer, in The Bronx, New York City. His parents ran an antiques business on the Upper East Side. His family was Jewish, and the family's surname had originally been "Cohen". Colan began drawing at age three. "The first thing I ever drew was a lion. I must've absolutely copied it or something. But that's what my folks tell me. And from then on, I just drew everything in sight. My grandfather was my favorite subject". Among his earliest influences, he said in 2001, were the Coulton Waugh adventure comic strip Dickie Dare "in The New York Sun. I was influenced by the style, or the story. Mostly the story. I took it very seriously." He moved with his family "at about age 4" to Long Beach, New York, on Long Island. Later, he would try to copy artist Norman Rockwell's covers to The Saturday Evening Post. Other major art influences were comics artists Syd Shores and Milton Caniff. Colan attended George Washington High School in the Washington Heights section of Manhattan, and went on to study at the Art Students League of New York.

Early career
Colan began working in comics in 1944, doing illustrations for publisher Fiction House's aviation-adventure series Wings Comics. "[J]ust a summertime job before I went into the service", it gave Colan his first published work, the one-page "Wing Tips" non-fiction filler "P-51B Mustang" (issue #52, Dec. 1944). His first comics story was a seven-page "Clipper Kirk" feature in the following month's issue.

After attempting to enlist in the U.S. Marine Corps during World War II but being pulled out by his father "because I was underage", Colan at "18 or 19" enlisted in the Army Air Corps. Originally scheduled for gunnery school in Boulder, Colorado, plans changed with the war's sudden end. "I was going to be an aerial gunner. A bomber. But it never materialized", he recalled in 2001. After training at an Army camp near Biloxi, Mississippi, he joined the U.S. forces in the Philippines. There Colan rose to the rank of corporal, drew for the Manila Times, and won an art contest.

Upon his return to civilian life in 1946, Colan went to work for Marvel Comics' 1940s precursor, Timely Comics. He recalled in 2000,

"I was living with my parents. I worked very hard on a war story, about seven or eight pages long, and I did all the lettering myself, I inked it myself, I even had a wash effect over it. I did everything I could do, and I brought it over to Timely. What you had to do in those days was go to the candy store, pick up a comic book, and look in the back to see where it was published. Most of them were published in Manhattan, they would tell you the address, and you'd simply go down and make an appointment to go down and see the art director. Al Sulman, listed in Timely mastheads then as an "editorial associate", "gave me my break. I went up there, and he came out and met me in the waiting room, looked at my work, and said, 'Sit here for a minute'. And he brought the work in, and disappeared for about 10 minutes or so ... then came back out and said, 'Come with me'. That's how I met [editor-in-chief] Stan [Lee]. Just like that, and I had a job."

Comics historian Michael J. Vassallo identifies that first story as "Adam and Eve — Crime Incorporated" in Lawbreakers Always Lose #1 (cover date Spring 1948), on which is written the internal job number 2401. He notes another story, "The Cop They Couldn't Stop" in All-True Crime #27 (April 1948), job number 2505, may have been published first, citing the differing cover-date nomenclature ("Spring" v. "April") for the uncertainty.

Hired as "a staff penciler", Colan "started out at about $60 a week. ... Syd Shores was the art director". Due to Colan's work going uncredited, in the manner of the times, comprehensive credits for this era are difficult if not impossible to ascertain. In 2010, he recalled his first cover art being for an issue of Captain America Comics; Colan drew the 12-page lead story in issue #72, the cover-artist of which is undetermined. He definitively drew the cover of the final issue, the horror comic Captain America's Weird Tales #75 (Feb. 1950), which did not include the titular superhero on either the cover or inside.

After virtually all the Timely staff was let go in 1948 during an industry downturn, Colan began freelancing for National Comics, the future DC Comics. A stickler for accuracy, he meticulously researched his countless war stories for DC's All-American Men at War, Captain Storm, and Our Army at War, as well as for Marvel's 1950s forerunner Atlas Comics, on the series Battle, Battle Action, Battle Ground, Battlefront, G.I. Tales, Marines in Battle, Navy Combat and Navy Tales. Colan's earliest confirmed credit during this time is penciling and inking the six-page crime fiction story "Dream Of Doom", by an uncredited writer, in Atlas' Lawbreakers Always Lose #6 (Feb. 1949).

By the early 1950s, he was living in New Rochelle, New York. Around this time he did his first work for DC Comics, then the industry leader, on the licensed series Hopalong Cassidy, based on the film and TV Western hero, drawing it from 1954 to 1957. In the 1960s, he lived in New Jersey, where his and Adrienne's children, Erik and Nanci, were raised.

Silver Age
While freelancing for DC romance comics in the 1960s, Colan did his first superhero work for Marvel under the pseudonym Adam Austin. Taking to the form immediately, he introduced the "Sub-Mariner" feature in Tales to Astonish, and succeeded Don Heck on "Iron Man" in Tales of Suspense.

Sometime after Colan began this pseudonymous stint, Marvel editor Stan Lee made overtures to lure him from DC. Colan recalled,

"Stan asked me to come over and work with him. I don't remember how, but I do know that we made a connection, and he asked me, "How about coming over?" And so, my answer was — I think this was at his house; I had some work to deliver late one night; it was in the wintertime, and I went over and delivered it — and he asked me to come over to Marvel, and I said, "Well, what's the inducement? Why should I leave DC and come over to work with you, unless there's a little something in it for me to do that? I'm not just going to leave them [DC]." He said, "Well, if you're looking for more money, there's no point to it." I said, "What do you mean?" [laughs] He said, "Simply because, sooner or later, they're going to have to fire you, and you'll have to come over here." [laughs] I smiled, and I said, "Stan, I think I have to go." And I shook his hand, and I said, "That's okay, I'll just stay where I am." The next day, I got a phone call from Stan, because I had asked for more money, and he gave it to me. He tried to bluff me, and ... then I came over."

Under his own name, Colan became one of the premier Silver Age Marvel artists, illustrating a host of such major characters as Captain America, Doctor Strange (both in the late-1960s and the mid-1970s series), and his signature character, Daredevil. Operating, like other company artists, on the "Marvel Method" — in which editor-in-chief and primary writer Stan Lee "would just speak to me for a few minutes on the phone, tell me the beginning, the middle and the end [of a story] and not much else, maybe four or five paragraphs, and then he'd tell me to make [a 20-page] story out of it," providing artwork to which Lee would then script dialogue and captions — Colan forged his own style, different from that of artists Jack Kirby and Steve Ditko, whom Lee would point to as examples of the Marvel style:

"Whatever book he thought was selling, he would have the rest of the staff try to copy the same style of work, but I wouldn't do it. I'd tell him if you want Stevie Ditko then you'll have to get Stevie Ditko. I can't do it, I have to be myself. So he left me alone. ... He knew I meant it and that I couldn't do it and there was no point in trying to force me to do it. Stan recognized something in my work from the very start, whatever that was, that gave [me] my first big break. And I always got along very well with Stan; not everybody can say that but I did ... so he let me do pretty much what I wanted to do ... [T]here was always some little change here and there, but basically he left me alone. ... And I was intimidated by Stan. I didn't want to go into his office, it upset me a little bit, but he was very nice to me. He left me pretty much alone because I was able to deliver pretty much what he was looking for, so we never had any trouble."

Lee and Colan introduced the Emissaries of Evil in Daredevil Annual #1 (1967) and the Jester in Daredevil #42 (July 1968). Colan's long run on the Daredevil series encompassed all but three issues in an otherwise unbroken, 81-issue string from #20-100 (Sept. 1966 - June 1973), plus the initial Daredevil Annual (1967). He returned to draw ten issues sprinkled from 1974 to 1979, and an eight-issue run in 1997. Colan admitted relying upon amphetamines in order to make deadlines for illustrating the series Doctor Strange, for which he would personally visit the character's real-life Manhattan neighborhood, Greenwich Village, and shoot Polaroid photographs to use as location reference. Captain Marvel, a character created to secure the trademark on the name, debuted in Marvel Super-Heroes #12 (Dec. 1967) by Lee and Colan. The original Guardians of the Galaxy first appeared in Marvel Super-Heroes #18 (Jan. 1969) by writer Arnold Drake and Colan.

In Captain America #117 (Sept. 1969), Colan and writer-editor Stan Lee created the Falcon, the first African-American superhero in mainstream comic books. The character came about, Colan recalled in 2008, "... in the late 1960s [when news of the] Vietnam War and civil rights protests were regular occurrences, and Stan, always wanting to be at the forefront of things, started bringing these headlines into the comics. ... One of the biggest steps we took in this direction came in Captain America. I enjoyed drawing people of every kind. I drew as many different types of people as I could into the scenes I illustrated, and I loved drawing black people. I always found their features interesting and so much of their strength, spirit and wisdom written on their faces. I approached Stan, as I remember, with the idea of introducing an African-American hero and he took to it right away. ... I looked at several African-American magazines, and used them as the basis of inspiration for bringing The Falcon to life."

Concurrent with his move to Marvel, Colan also contributed several stories to Warren Publishing's line of black-and-white horror comics magazines, beginning with the six-page tale "To Pay the Piper", by writer Larry Ivie, in Eerie #2 (March 1966). There and in subsequent stories for that magazine and its sister publication, Creepy, Colan would ink his own pencil work. His final original Warren story, "First Blood", appeared in Eerie #11 (Sept. 1967). The vast majority of these were written by Warren editor Archie Goodwin, with whom Colan would later collaborate on Marvel's Iron Man.

Dracula and Batman
Colan in the 1970s illustrated the complete 70-issue run of the acclaimed horror title The Tomb of Dracula as well as most issues of writer Steve Gerber's cult hit Howard the Duck.

Colan, already one of Marvel's most well-established and prominent artists, said he had lobbied for the Tomb of Dracula assignment:

"When I heard Marvel was putting out a Dracula book, I confronted [editor] Stan [Lee] about it and asked him to let me do it. He didn't give me too much trouble but, as it turned out, he took that promise away, saying he had promised it to Bill Everett. Well, right then and there I auditioned for it. Stan didn't know what I was up to, but I spent a day at home and worked up a sample, using Jack Palance as my inspiration and sent it to Stan. I got a call that very day: 'It's yours.'"

Colan and Marv Wolfman created several supporting characters for the Dracula series. They introduced Blade in The Tomb of Dracula #10 (July 1973) and Lilith in Giant-Size Chillers #1 (June 1974). Colan became the artist of Doctor Strange volume 2 with issue #6 (Feb. 1975) which introduced the Gaea character. A crossover between the two Colan-drawn series occurred in May 1976. In 2010, Comics Bulletin ranked Colan's run on The Tomb of Dracula fifth on its list of the "Top 10 1970s Marvels". His work on Doctor Strange was ranked ninth on the same list. Colan's collaboration with Steve Gerber on the Howard the Duck series saw the title character nominated by the All-Night Party, a fictional political party, as their nominee in the Presidential campaign of 1976, and led to Howard the Duck receiving thousands of write-in votes in the actual election. The Gerber-Colan team created Doctor Bong in Howard the Duck #15 (Aug. 1977). Gerber later said to Colan: "There really was almost a telepathic connection there. I would see something in my mind, and that is what you would draw! I've never had that experience with another artist before or since."

Colan returned to DC in 1981, following a professional falling out with Marvel editor-in-chief Jim Shooter. Colan recalled two decades later that Shooter

"... hated me. I was miserable. It was the worst experience ... one of the worst I've ever experienced. I had to leave Marvel because of him. I wouldn't stay, and I ... left everything behind. I left a pension plan, everything. I would have stayed, but Shooter gave me such a rough time. In fact, the vice president [of Marvel] had been down in a meeting with me and Shooter, trying to pacify me and get me to stay. And I just wouldn't do it, cause I could see the writing on the wall, and I knew where Shooter was heading, and I didn't want any more of it."

He brought his shadowy, moody textures to Batman, serving as the character's primary artist from 1981 to 1986, penciling most issues of Detective Comics and Batman during this time. His debut issue of the character's eponymous series was #340 (Oct. 1981). With writer Gerry Conway, Colan revived the Golden Age supervillains Doctor Death in Batman #345 (March 1982) and the Monk in Batman #350 (Aug. 1982) and introduced Killer Croc in Detective Comics #523 (Feb. 1983). Killer Croc appears in the 2016 live-action movie Suicide Squad, portrayed by Adewale Akinnuoye-Agbaje. Another new character, Nightslayer, was created by Colan and Doug Moench in Detective Comics #529 (Aug. 1983).

In the insert preview in DC Comics Presents #41 (Jan. 1982), writer Roy Thomas and Colan provided Wonder Woman with a stylized "WW" emblem on her bodice, replacing the traditional eagle. The "WW" emblem, unlike the eagle, could be protected as a trademark and therefore had greater merchandising potential. Wonder Woman #288 (February 1982) premiered the new costume and an altered cover banner incorporating the "WW" emblem. Colan was one of several artists on Wonder Woman #300 (Feb. 1983) and stayed on the series until issue #305 wherein he and writer Dan Mishkin reintroduced the character Circe to the rogues gallery of Wonder Woman's adversaries. Steve Gerber and Colan reunited at DC to produce The Phantom Zone limited series. Helping to create new characters as well, Colan collaborated in the 1980s with The Tomb of Dracula writer Marv Wolfman on the 14-issue run of Night Force featuring characters introduced in an insert preview in The New Teen Titans #21 (July 1982). He was one of the contributors to the DC Challenge limited series in 1985. Additionally, Colan worked with Cary Bates on the 12-issue run of Silverblade; with Greg Potter on the 12-issue run of Jemm, Son of Saturn; and drew the first six issues of Doug Moench's 1987 revival of The Spectre.

Colan's style, characterized by fluid figure drawing and extensive use of shadow, was unusual among Silver Age comic artists, and became more pronounced as his career progressed. He usually worked as a penciller, with Frank Giacoia and Tom Palmer as his most frequent inkers. Colan broke from the mass-market comic book penciller/inker/colorist assembly-line system by creating finished drawings in graphite and watercolor on such projects as the DC Comics miniseries Nathaniel Dusk (1984) and Nathaniel Dusk II (1985–86), and the feature "Ragamuffins" in the Eclipse Comics umbrella series Eclipse #3, 5, and 8 (1981–83), with frequent collaborator Don McGregor.

Independent-comics work includes the Eclipse graphic novel Detectives Inc.: A Terror Of Dying Dreams (1985), written by McGregor and reprinted in sepia tone as an Eclipse miniseries in 1987, and the miniseries Predator: Hell & Hot Water for Dark Horse Comics. He contributed to Archie Comics in the late 1980s and early 1990s, drawing and occasionally writing a number of stories. His work there included penciling the lighthearted science-fiction series Jughead's Time Police #1-6 (July 1990–May 1991), and the 1990 one-shot To Riverdale and Back Again, an adaptation of the NBC TV movie about the Archie characters 20 years later, airing May 6, 1990; Stan Goldberg drew the parts featuring the characters in flashback as teens, while Colan drew adult characters, in a less cartoony style, and Mike Esposito inking both.

Back at Marvel, he collaborated again with Marv Wolfman and veteran inker Al Williamson on a new The Tomb of Dracula series, and with Don McGregor on a Black Panther serial in the Marvel Comics Presents anthology, as well as a six-issue adaptation of Clive Barker's "The Harrowers: Raiders of the Abyss."

Later life and career
Colan did some insert artwork on Hellbilly Deluxe (released August 1998), the first solo album of Rob Zombie, credited as Gene "The Mean Machine" Colan. Unrealized projects around this time included the Marvel Music comic Elvis: Mystery Train, which went on hold, he said in 1996, "when Marvel ran into problems, so everything came to a halt. Right now it's in limbo. Senator Daniel Patrick Moynihan's son is writing it ..."

In 1998, Colan and his Tomb of Dracula writing collaborator, Marv Wolfman, reteamed on Dark Horse Comics three-issue miniseries The Curse of Dracula (July-Sept. 1998). Saying the book required "a much younger and better-looking Dracula" than in their previous series, Colan used "my lawn-boy [as] my model. ... I asked him to do the posing and he did." For the same company early the next decade, Colan returned to vampires with the 2001 one-shot Buffy the Vampire Slayer: Tales of the Slayers, an omnibus that included writer Doug Petrie's 16-page "Nikki Goes Down", starring a 1970s vampire slayer seen in one episode of the namesake TV series.

Colan penciled the final pages of Blade vol. 3, #12 (Oct. 2007), the final issue of that series, drawing a flashback scene in which the character dresses in his original outfit from the 1970s series The Tomb of Dracula. That same month, for the anniversary issue Daredevil vol. 2, #100 (Oct. 2007), Colan penciled pages 18–20 of the 36-page story "Without Fear, Part One"; the issue additionally reprinted the Colan-drawn Daredevil #90-91 (Aug.-Sept. 1972).

In the late 1980s, Colan, in addition to his art, taught at Manhattan's School of Visual Arts and Fashion Institute of Technology, and had showings at the Bess Cutler Gallery in New York City and at the Elm Street Arts Gallery in Manchester, Vermont. He had relocated to nearby Manchester Center, Vermont, from New York City in 1990 or 1991, and was living there as of 2001. By 2009 at the latest, they had returned to New York City, settling in Brooklyn.

On May 11, 2008, his family announced that Colan, who had been hospitalized for liver failure, had suffered a sharp deterioration in his health. By December, he had sufficiently recovered to travel to an in-store signing in California. He continued to produce original comics work as late as 2009, drawing the 40-page Captain America #601 (Sept. 2009), for which he won an Eisner Award.

Personal life
Gene Colan was married twice: first to Sallee Greenberg, with whom he had children Valerie and Jill before the couple divorced, and Adrienne Brickman, with whom he had children Erik and Nanci. Adrienne Colan died on June 21, 2010.

Colan died in the Bronx on June 23, 2011, aged 84, following complications of cancer and liver disease. He lived in Brooklyn at the time of his death.

Awards and honors
Colan's collaboration with Steve Gerber on Howard the Duck received the 1977 and 1978 Eagle Award for Favorite Comic Book (Humor) and was nominated for four Eagle Awards in 1978. Colan received an Inkpot Award in 1978 as well.

In 2005, Colan was inducted into the comics industry's Will Eisner Comic Book Hall of Fame. He subsequently won the 2010 Eisner Award for Best Single Issue (together with writer Ed Brubaker) for his work on Captain America #601 (Sept. 2009).

The Cartoon Art Museum in San Francisco presented the retrospective "Colan: Visions of a Man without Fear" from November 15, 2008, to March 15, 2009.

Colan was the recipient of the 2008 Sparky Award, presented December 4, 2008 and won the Comic Art Professional Society's Sergio Award on October 24, 2009.

Archie Comics

 * Archie's Pals 'n' Gals #186, #188, #197 (1987-88)
 * Everything's Archie #133, #142, 148 (1988–90)
 * Jughead #17 (1990)
 * Jughead's Pal Hot Dog #3 (1990)
 * Jughead's Time Police #3–6 (1990–91)
 * Life with Archie #272–279, #285–286 (also writer for #273, #278) (1989–1991)
 * Pep Comics #411 (1987)
 * Teenage Mutant Ninja Turtles Adventures #22 (1991)
 * To Riverdale and Back Again oneshot (1990)

Bongo Comics

 * Treehouse of Horror #11 (2005)

Comico

 * Bloodscent #1 (1988)

CrossGen Comics

 * Rob Zombie's Spookshow International #1–3 (2003–2004)

Dark Horse Comics

 * Buffy the Vampire Slayer: Tales of the Slayers OGN (2002)
 * Creepy: The Limited Series #1 (1992)
 * The Curse of Dracula #1–3 (1998)
 * Dark Horse Presents #117 (Aliens) (1997)
 * Harlan Ellison's Dream Corridor #2 (2007)
 * Hellboy: Weird Tales #6 (2003)
 * Michael Chabon Presents The Amazing Adventures of the Escapist #2, 5 (2004–2005)
 * Predator: Hell & Hot Water #1–3 (1997)

DC Comics

 * All-American Men of War #3–4, 6–9, 43, 112–113 (1953–1966)
 * Batman #340, 343–345, 348–351, 373, 383 (1981–1985)
 * Batman: Gotham Knights (Batman Black and White) #15 (2001)
 * Captain Storm #4, 13, 16 (1964–1966)
 * DC Challenge #1 (1985)
 * DC Comics Presents #41 (Wonder Woman preview) (1982)
 * DC Science Fiction Graphic Novel #2 (Nightwings) (1986)
 * Detective Comics #510, 512, 517, 523, 528–538, 540–546, 555–567 (1982–1986)
 * Elvira's House of Mystery #11 (1987)
 * Falling in Love #68, 73, 75, 81, 84, 87 (1964-1966)
 * Fury of Firestorm #19, Annual #4 (1984–1986)
 * G.I. Combat #113 (1965)
 * Girls' Love Stories #113, 115, 118, 145, 165, 167, 174 (1965-1972)
 * Girls' Romances #101, 103, 106-109, 111-115, 117-119, 123 (1964-1967)
 * Heart Throbs #87, 89, 91, 97-98, 100, 106-107 (1963-1967)
 * Hopalong Cassidy #86-122 (1954-1957)
 * House of Secrets #63 (1963)
 * Jemm, Son of Saturn #1-12 (limited series) (1984–1985)
 * Just Imagine Stan Lee With Jim Lee Creating Wonder Woman (backup story) (2001)
 * Legion of Super-Heroes vol. 2 #311 (1984)
 * Legion of Super-Heroes vol. 3 #27 (1986)
 * Little Shop of Horrors movie adaptation #1 (1987)
 * My Greatest Adventure #72-75, 77 (1962-1963)
 * Mystery in Space #13, 26 (1953-1955)
 * Nathaniel Dusk #1–4 (1984)
 * Nathaniel Dusk II #1–4 (1985–1986)
 * The New Teen Titans #21 (Night Force preview) (1982)
 * Night Force #1–14 (1982–1983)
 * Our Army at War #5-19, 144, 162, 169, 173 (1952-1966)
 * Our Fighting Forces #86-87, 95, 100 (1964-1966)
 * Phantom Zone #1–4 (1982)
 * Sea Devils #13 (1963)
 * Secret Hearts #92, 94, 96-107, 109-114 (1963-1966)
 * Secret Origins #5 (Crimson Avenger) (1986)
 * Silverblade #1–12 (1987–1988)
 * Spectre vol. 2 #1–6 (1987)
 * Star Spangled War Stories #17-18, 20, 121, 123, 128 (1954-1966)
 * Strange Adventures #30 (1953)
 * Western Comics #62 (1957)
 * Who's Who: The Definitive Directory of the DC Universe #2, 11, 16–17, 25 (1985–1987)
 * Wonder Woman #288–305 (1982–1983)
 * World's Finest Comics #274 (Zatanna); #297, 299 (Superman and Batman) (1981–1984)
 * Young Love #52, 56, 61, 65-66 (1965-1968)
 * Young Romance #128, 131, 133 (1964)

Disney Comics

 * Goofy Adventures #17 (1991)

Eclipse Comics

 * Detectives Inc.: A Terror of Dying Dreams OGN (1985)
 * Eclipse Monthly #3–4 (1983–1984)
 * Eclipse Magazine #3, 5, 8 (Ragamuffins) (1981–1983)
 * Stewart the Rat graphic novel (1980)

IDW Comics

 * Hero Comics oneshot (also writer) (2009)

Marvel Comics

 * 2-Gun Western #4 (1956)
 * 2099 Unlimited #9 (1995)
 * 3-D Tales of the West #1 (1954)
 * Adventure into Mystery #7 (1957)
 * Adventures into Terror #3, 5, 14, 21, 24–25, 28–29 (1951–1954)
 * All-True Crime #46 (1951)
 * All-True Crime Cases #27, 31, 33–34 (1948–1949)
 * Amazing Adventures #3–5 (Black Widow); #26 (Killraven) (1970–1974)
 * Amazing Detective Cases #9 (1951)
 * Amazing Mysteries #32–33 (1949)
 * Astonishing #12, 20, 29, 56 (1952–1956)
 * Astonishing Tales #7–8 (Doctor Doom) (1971)
 * The Avengers #63–65, 206–208, 210–211 (1969–1981)
 * Battle #11, 16-17, 19, 24, 33–35, 38, 41, 43, 47–56, 58-59 (1952–1958)
 * Battle Action #8, 15, 19, 21–22, 24–25, 28–30 (1953–1957)
 * Battle Ground #3, 11–13, 16-20 (1955–1957)
 * Battlefield #5, 11 (1952–1953)
 * Battlefront #21–22, 24–25, 27, 3–-35, 38–40, 42–43, 45–48 (1954–1957)
 * Best Love #36 (1950)
 * Bible Tales for Young People #4 (1954)
 * Black Rider #11 (1950)
 * Blade: Crescent City Blues #1 (1998)
 * Blade vol. 4 #12 (two pages) (2007)
 * Bob Marley: Tale of the Tuff Gong #1–2 (1994–1995)
 * Captain America #116–137, 256, 601, Annual #5 (1969–1971, 1981, 2009)
 * Captain America’s Weird Tales #75 (1950)
 * Captain Marvel #1–4 (1968)
 * Combat #5, 11 (1952–1953)
 * Combat Kelly #3 (1952)
 * Commando Adventures #1–2 (1957)
 * Complete Mystery #1 (1948)
 * Crime Can't Win #1 (1950)
 * Crimefighters #1–2 (1948)
 * Daredevil #20–49, 53–82, 84–100, 110, 112, 116, 124, 153–154, 156–157, 363, 366–368, 370, #-1, Annual #1 (1966–1979, 1997)
 * Daredevil vol. 2 #20 (2001)
 * Doctor Strange #172–178, 180–183 (1968–1969)
 * Doctor Strange, vol. 2, #6–18, 36–45, 47 (1975–1981)
 *  Doctor Strange, Sorcerer Supreme #19 (1990)
 * Dracula Lives #6, 8 (1973–1974)
 * Frontier Western #1–2, 6 (1956)
 * G.I. Tales #5–6 (1957)
 * Giant-Size Chillers #1 (Dracula) (1974)
 * Girl Comics #4 (1950)
 * Gunhawk #16, 18 (1951)
 * Gunsmoke Western #35-39, 42, 72, 76 (1956–1963)
 * Harrowers #1–6 (1993–1994)
 * Haunt of Horror #2 (1974)
 * Howard the Duck #4–20, 24–27, 30–31 (1976–1979)
 * Howard the Duck magazine #1–5, 7–9 (1979–1981)
 * Hulk! #11, 19, 24–27 (1978–1981)
 * Ideal #4 (1948)
 * Iron Man #1, 253, Annual #10, 13, 15 (1968, 1989–1994)
 * Iron Man and Sub-Mariner #1 (1968)
 * Journey into Mystery #2, 23, 40, 81-82 (1952-1962)
 * Journey into Mystery vol. 2 #4 (1973)
 * Journey Into Unknown Worlds #2, 6, 17, 19-20, 23, 29, 39 (1950–55)
 * Justice #4–5, 7, 22, 32, 35–36, 46 (1948–54)
 * Kid Colt Outlaw #52, 79, 110, 112, 114 (1955–64)
 * Lawbreakers Always Lose #1–2, 6 (1948–49)
 * Love Adventures #2 (1950)
 * Love Romances #101 (1962)
 * Love Tales #62 (1955)
 * Loveland #1 (1949)
 * Lovers #26 (1949)
 * Man Comics #9, 13, 21, 23 (1951-1953)
 * Marines at War #5-7 (1957)
 * Marines in Action #5-6, 11-12 (1956-1957)
 * Marines in Battle #1, 9-10, 17, 19-25 (1954-1958)
 * Marvel Comics Presents #13–37, 101–108, 112 (1989-1992)
 * Marvel Fanfare #51-52 (1990)
 * Marvel Preview #8, 16, 23 (1976-1980)
 * Marvel Romance Redux: But I Thought He Loved Me #1 (2006)
 * Marvel Romance Redux: Guys & Dolls #1 (2006)
 * Marvel Romance Redux: I Should Have Been a Blonde #1 (2006)
 * Marvel Romance Redux: Love Is a Four-Letter Word #1 (2006)
 * Marvel Spotlight #18-19 (Son of Satan) (1974)
 * Marvel Super-Heroes #12–13 (Captain Marvel), 15 (Medusa), 18 (Guardians of the Galaxy) (1967-1969)
 * Marvel Super Special #6 (Jaws 2 movie adaptation); 10 (Star-Lord); #14 (Meteor movie adaptation) (1978-1979)
 * Marvel Tales #93-94, 96, 101, 105, 107, 118, 120-121, 127, 131, 140 (1949-1955)
 * Marvel Team-Up #87 (1979)
 * Men's Adventures #13-14, 19, 26 (1952-1954)
 * Menace #6 (1953)
 * Midnight Sons Unlimited #6 (1994)
 * Monsters Unleashed #1 (1973)
 * My Love #3 (1950)
 * My Love vol. 2 #4-6, 8-9, 13, 15-16 (1970-1972)
 * My Own Romance #11, 18, 44 (1950–55)
 * Mystery Tales #1, 3, 18, 35, 43 (1952-1956)
 * Mystic #3, 7, 12, 21, 37, 60 (1951-1957)
 * Navy Action #8, 10-11, 16-18 (1955-1957)
 * Navy Combat #4, 6, 11, 13-18 (1955-1958)
 * Navy Tales #3-4 (1957)
 * Not Brand Echh #4-5, 8-9, 13 (1967-1969)
 * Our Love #1 (1949)
 * Our Love Story #3-6, 8, 10 (1970-1971)
 * Outlaw Fighters #4 (1955)
 * Police Action #1 (1954)
 * Quick-Trigger Western #13, 16 (1956-1957)
 * Rangeland Love #1 (1949)
 * Rawhide Kid #35, 37-38 (1963-1964)
 * Richie Rich #1 (movie adaptation) (1995)
 * Riot #1 (1954)
 * Savage Sword of Conan #33 (1978)
 * Savage Tales #1 (1971)
 * Secret Story Romances #9 (1954)
 * Silver Surfer #1–3 (The Watcher backup stories) (1968)
 * Six-Gun Western #3 (1957)
 * Spellbound #17, 28 (1953-1956)
 * Sports Action #3 (1950)
 * Spy Cases #1 (1950)
 * Strange Stories of Suspense #13 (1957)
 * Strange Tales #7-8, 11, 18, 20, 26, 53, 58-59, 97 (1952-1962); #169–173 (Brother Voodoo) (1973-1974)
 * Sub-Mariner #10–11, 40, 43, 46-49 (1969-1972)
 * Suspense #2-4, 9, 17 (1950-1952)
 * Tales of Justice #62 (1956)
 * Tales of Suspense #39 (1963); #73–99 (Iron Man) (1966-1968)
 * Tales of the Zombie #2, 6 (1973–1974)
 * Tales to Astonish (Sub-Mariner) #70–77, 79–82, 84–85, 101 (1965-1968)
 * Teen-Age Romance #85-86 (1962)
 * Tex Morgan #4 (1949)
 * Thunderbolts Annual '97 (among others) (1997)
 * The Tomb of Dracula #1–70 (1972-1979)
 * The Tomb of Dracula magazine #3–6 (1979-1980)
 * The Tomb of Dracula vol. 3 #1-4 (1991-1992)
 * Tower of Shadows #3–4, 6 (1970)
 * True Life Tales #1 (1949)
 * True Secrets #38 (1956)
 * True Western #1 (1949)
 * Two-Gun Kid #49 (1959)
 * Two-Gun Western #4–5 (1956)
 * Uncanny Tales #11, 16-17, 45, 49, 52 (1953-1957)
 * Unknown Worlds of Science Fiction #1, 3, 5-6 (1975)
 * Venus #12 (1951)
 * War Action #14 (1953)
 * War Adventures #6-7 (1952)
 * War Combat #3 (1952)
 * War Comics #1, 4, 28, 31, 34-36, 39, 41, 44-49 (1950-1957)
 * Western Gunfighters #20, 25-27 (1956-1957)
 * Western Outlaws #5, 10-11, 17, 20 (1954-1957)
 * What If (Fantastic Four) #21 (1980)
 * Wild #4 (1954)
 * Wild West #2 (1948)
 * Wild Western #49 (1956)
 * Wolverine #9, 24 (1989–1990)
 * World of Fantasy #10 (1958)
 * World of Mystery #6 (1957)
 * Young Hearts #2 (1950)
 * Young Men on the Battlefield #14–15, 20 (1952–1953)

Ziff-Davis Publishing

 * Lars of Mars #10–11 (1951)

title: Gene Colan


text:
Societé d'Application Electro-Mécanique

The Societé d'Application Electro-Mécanique was a French electric car manufacturer based in Neuilly, near Paris.

In 1923, the company manufactured a few cyclecars under the brand name Electrocyclette.

Between 1924 and 1927 the company went on to build mainly delivery vans, whose top speed was 25/30 km/h (around 15-19 mph), with a range of about 80–100 km (50–60 miles). The batteries were under the seats and the motor was under a short bonnet driving the front wheels.

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

title: Societé d'Application Electro-Mécanique


text:
Library and Archives Canada

Library and Archives Canada (LAC; Bibliothèque et Archives Canada) is the federal institution tasked with acquiring, preserving, and providing accessibility to the documentary heritage of Canada. The national archive and library is the 16th largest library in the world. The LAC reports to the Parliament of Canada through the Minister of Canadian Heritage.

LAC traces its origins to the Dominion Archives, formed in 1872, and the National Library of Canada, formed in 1953. The former was later renamed as the Public Archives of Canada in 1912, and the National Archives of Canada in 1987. In 2004, the National Archives of Canada and the National Library of Canada were merged to form Library and Archives Canada.

Predecessors
The Dominion Archives was founded in 1872 as a division within the Department of Agriculture tasked with acquiring and transcribing documents related to Canadian history. In 1912, the division was transformed into an autonomous organization, Public Archives of Canada, with the new responsibility of managing government documents on all types of media. The organization would be renamed in 1987 as the National Archives of Canada.

With the efforts of people like Freda Farrell Waldon, the first president of the Canadian Library Association, the National Library of Canada was founded in 1953.

21st century
In 2004, under the initiative of former National Librarian Roch Carrier and National Archivist Ian E. Wilson, the functions of the National Archives of Canada and the National Library of Canada were combined to form Library and Archives Canada. LAC was established per the Library and Archives of Canada Act (Bill C-8), proclaimed on April 22, 2004, with a subsequent Order-in-Council on May 21, which formally united the collections, services, and personnel of the National Archives of Canada and the National Library of Canada. Wilson assumed the position as the first Librarian and Archivist of Canada in July that year.

Modernization
In June 2004, LAC issued a discussion paper titled Creating a New Kind of Knowledge Institution; after consultation in June 2006, it issued LAC Directions for Change, a document setting out five key directions to define the new institution, including being a new kind of knowledge institution; becoming a truly national institution, a collaborative institution that works to stregnthen Canada's documentary heritage; a learning destsination; and an institution in government information management.

LAC's modernization policy provides for transformation from an institution focused on the acquisition and preservation of analogue (non-digital) materials to one that excels in digital access and digital preservation. A Documentary Heritage Management Framework developed in 2009 seeks the right balance between resources dedicated to analogue and digital materials and is based on: Eight pilot research projects were initiated to validate the framework, including projects on military documentary heritage, aboriginal documentary heritage, and stewardship of newspapers in a digital age. In March 2010 LAC issued its final report on Canadian Digital Information Strategy stakeholder consultations initiated in accordance with its mandate to facilitate co-operation among Canadian knowledge communities. In the same month it issued Shaping Our Continuing Memory Collectively: A Representative Documentary Heritage, a document which outlines how it plans to achieve its modernization objectives.
 * three main business pillars: acquisition, preservation and resource discovery (resource discovery includes description, discovery, access and services to the public)
 * four guiding principles for fulfilling its documentary heritage mandate, i.e. significance, sufficiency, sustainability and society (broad social context)
 * four key roles, i.e. foundation building (relationship building), collaboration, program (integrated collection management processes) and transfer (formal agreements with third parties to fulfill its legislated mandate).

Despite LAC's stated objectives of continuing to fulfill its mandate by adapting to changes in the information environment and collaboration with others, the actual experience since 2004 has been a reduction in both services and collaboration. Federal funding cuts since 2004 have also impacted on LAC services and acquisitions. A detailed timeline of relevant developments and the decline in LAC services since 2004 has been compiled by the Ex Libris Association.

Budget cuts
Following the announcement in the 2012 federal budget of a CDN$9.6 million funding cut over the three years commencing in 2012–13, more than 400 LAC employees received notices which indicated their jobs may be affected and the department announced a 20% reduction of its workforce of about 1,100 over the following three years. The "harsh" wording of a 23-page code of conduct for employees effective January 2013, which "spells out values, potential conflicts of interest and expected behaviours", has been criticized by the Association of Canadian Archivists and the Canadian Association of University Teachers among others. The code describes personal activities including teaching and speaking at or attending conferences as "high risk" activities "with regard to conflict of interest, conflict of duties and duty of loyalty" and participation in such activities is subject to strict conditions. In a section on duty of loyalty, it also cautions employees about expressing personal opinions in social media forums. Only authorized LAC spokespersons may issue statements or make public comments about LAC's mandate and activities, which includes controversial changes related to modernization and budget cuts.

Changes introduced under the management of Ian E. Wilson and Daniel J. Caron have been the subject of controversy and public criticism. Caron asserted that radical change is needed to cope with the influx and demand for digital material and they are subject to federal budget constraints.

Several individuals and organizations voiced concerns about these changes. In 2011, the Canadian Association of University Teachers launched the Save Library & Archives Canada campaign. On May 2, 2012, the Canadian Library Association expressed concern about budget cuts to libraries, both in federal departments and at LAC. In August 2012, the Bibliographical Society of Canada wrote to every Member of Parliament urging them to ensure budget cuts do not compromise LAC's legislated mandate. In a follow-up letter to Heritage Minister James Moore in November 2012, the Society singled out the termination of interlibrary loans as a particularly harmful decision. Bibliophile blogger Nigel Beale characterizes LAC as "Canada's national disgrace" in his blog Literary Tourist. Academic Ian Milligan describes LAC's "rhetoric of modernization" as a "smokescreen" for cutting services in light of the insignificance of and limited accessibility to LAC's online collections on the ActiveHistory.ca website. Historian Valerie Knowles outlines the impact of government cutbacks at LAC and federal government libraries in her article "Closing doors on Canada's history" on the iPolitics website.

On May 31, 2012, the Association of Canadian Archivists announced its withdrawal from forums of LAC's Pan-Canadian Documentary Heritage Network, stating that it does not believe the network can meet the needs and interests of archives across Canada previously met by the National Archival Development Program abruptly terminated by LAC following the 2012 federal funding cut.

Following Caron's resignation in May 2013, a stakeholder coalition issued a joint statement on the qualities of a successful Librarian and Archivist of Canada for official consideration in what they consider a "matter of great national significance": "A broad coalition of Canadian stakeholder organizations has developed the following list of qualities we believe the Librarian and Archivist of Canada should have in order to be successful in this critical position of public trust and responsibility. We believe it is essential that the person appointed to this position at this time possess the necessary qualities to meet the tremendous challenges of dealing with the complex issues of the digital environment in an era of limited financial and human resources and the demands of providing increased public access to the irreplaceable treasures of Canadian documentary heritage."

In June 2013 the Heritage Minister said speeding up the digitization of records will be a priority for the new Librarian and Archivist of Canada. Moore also said he will ask the person appointed to revisit the termination of the National Archival Development Program.

Truth and Reconciliation Commission
During the Canadian Truth and Reconciliation Commission, Library and Archives Canada initially failed to produce records requested by the commission in a timely and comprehensive manner and was ordered by an Ontario Superior Court judge to do so. Ultimately, LAC did provide the records, but many were not in digitized and searchable formats as required by the commission.

The Calls to Action of the final report of the Truth and Reconciliation Commission explicitly referenced Library and Archives Canada as follows:"We call upon Library and Archives Canada to: fully adopt and implement the United Nations Declaration on the Rights of Indigenous Peoples and the United Nations Joinet-Orentlicher principles, as related to Aboriginal peoples' inalienable right to know the truth about what happened and why, with regard to human rights violations committed against them in the residential schools; ensure that its record holding related to residential schools are accessible to the public; [and] commit more resources to its public education materials and programming on residential schools."Library and Archives Canada has begun to address these concerns by dedicating funding to hire Indigenous archivists, build relationships with Indigenous communities, and support digitization efforts. However, Indigenous-led organizations have drawn attention to the fact that Indigenous communities have been conducting this type of work for decades.

LAC also holds and provides access to archival copies of the websites of organizations related to the TRC, in collaboration with the National Centre for Truth and Reconciliation, the University of Winnipeg Library, and University of Manitoba Libraries.

Facilities
The building at 395 Wellington Street in downtown Ottawa is the main physical location where the public may access the collection in person. The building was officially opened on June 20, 1967. With the de-emphasis on physical visits, in-person services have been curtailed—for example, since April 2012, reference services are by appointment only—and the role of this building is decreasing. There are also administrative offices in Gatineau, Quebec, and preservation and storage facilities throughout Canada for federal government records.

The Preservation Centre in the city centre of Gatineau, about 10 kilometres away from the Ottawa headquarters, was designed to provide a safe environment for the long-term storage and preservation of Canada's valuable collections. It was built at a cost of CDN$107 million, and the official opening took place on June 4, 1997. It is a unique building containing 48 climate-controlled preservation vaults and state-of-the-art preservation laboratories. In 2000, the Royal Architectural Institute of Canada named it one of the top 500 buildings constructed in Canada during the last millennium.

A Nitrate Film Preservation Facility on the Communications Research Centre campus in Shirleys Bay, on the outskirts of Ottawa, houses Canada's cellulose nitrate film collection. The collection contains 5,575 film reels dating back to 1912, including some of the first Canadian motion pictures and photographic negatives. The film material is highly sensitive and requires precise temperatures for its preservation. The state-of-the-art facility, which was officially opened on June 21, 2011, is an eco-designed building featuring an environmentally friendly roof that provides better insulation and minimizes energy expenditures.

A planned key activity for 2013–14 was to rehouse analogue (non-digital) information resources in a new state-of-the-art high-density storage facility in Gatineau, where the national newspaper collection and records of Second World War veterans will be stored. The facility will feature a high bay metal shelving system with a suitable environment to better protect Canada's published heritage. In January 2019, Library and Archives Canada announced that negotiations for a new facility to be built next to the existing one in Gatineau were starting, with an opening date in 2022.

LAC's online collection is accessible via its website and LAC provides ongoing information online via its blog, podcasts, the Twitter and Facebook social networking services, the Flickr image-sharing site, and the YouTube video-sharing site. RSS feeds provide links to new content on the LAC website and news about LAC services and resources. A new modernized website is being developed and is scheduled for completion in 2013, with both new and old websites accessible during the transition period.

Collection
The Library and Archives of Canada's holdings include:
 * 250 linear kilometres of Canadian Government and representative private textual records
 * textual archives for various individuals and groups who have contributed to the cultural, social, economic and political development of Canada
 * 22 million books and publications acquired largely through legal deposit
 * 24 million photographic images (including prints, negatives, slides, and digital photos)
 * over 3 million architectural drawings, plans, and maps
 * over 90,000 films (including short and full-length films, documentaries, and silent films)
 * over 550,000 hours of audio and video recordings
 * over 425,000 works of art (including watercolours, oil paintings, sketches, caricatures and miniatures, as well as medals, seals, posters and coats of arms)
 * about 550,000 musical items (including the largest collection of Canadian sheet music in the world; documentation related to music in Canada; and recordings on disks and records of all formats, including piano rolls, reels and spools, and 8-track tapes)
 * the Canadian Postal Archives;
 * national newspapers from across Canada, including daily newspapers, student newspapers, Indigenous magazines, and ethnic community newsletters.

Notable items in the collection include:
 * the Proclamation of Canada's Constitution Act, 1982, which bears marks left by raindrops during a ceremony on Parliament Hill in April 1982 when Queen Elizabeth II signed it;
 * a copy of the Constitution Act, 1867 (aka the British North America Act), which features editing changes made by the first Prime Minister of Canada, Sir John A. Macdonald;
 * De antiquitate Judaica: De bello Judaico ('Antiquities of the Jews and the Judean War')—the oldest book in the collection—written by 1st-century historian Flavius Josephus and printed in 1470;
 * the chair used by world-renowned pianist Glenn Gould while he played and recorded.

Digitization
LAC also houses more than a petabyte of digital content. Some of this content is available online, primarily books, Canadian theses, and census material—equating to around 5 thousand terabytes of information in electronic format. Many items have not been digitized and are only available in physical form. As of May 2013, only about 1% of the collection had been digitized, representing "about 25 million of the more popular and most fragile items."

Operations
Since its inception, LAC has reported to Parliament through the Minister of Canadian Heritage. LAC's stated mandate is:
 * to preserve the documentary heritage of Canada for the benefit of present and future generations;
 * to be a source of enduring knowledge accessible to all, contributing to the cultural, social and economic advancement of Canada as a free and democratic society;
 * to facilitate in Canada co-operation among communities involved in the acquisition, preservation and diffusion of knowledge;
 * to serve as the continuing memory of the Government of Canada and its institutions.

LAC is expected to maintain "effective recordkeeping practices that ensure transparency and accountability".

Management
The Librarian and Archivist of Canada has the same seniority level as a deputy minister of a federal department.

On May 27, 2019, Leslie Weir was appointed Librarian and Archivist of Canada for a four-year term commencing August 30, 2019. Weir is the first woman to hold this role. Her term has been extended another four years to provide continuity through some major building projects.

The head of Canada's national archives was known as the Dominion Archivist from 1872 to 1987 and the National Archivist from 1987 to 2004.

title: Library and Archives Canada


text:
User:Deelkar

About me
Actually the word deelkar was a phonetic transcription of my initials "DLK" in german, with an 'r' added for aesthetic reasons. pronounciation is deh-el-car or delcar (not deal-car, but I can live with that, too)

current Homepage

Sidenote: "Deelkar" is a very singular name on the net, and ~99.5% of all Google hits for "Deelkar" actually refer to pages by me, related to me, or otherwise mentioning me. the remaining ~0.5% (3 in about 700 hits) are a dutch car service, where you can rent space in a car/truck (deelkar meaning "part of a car" there) or similar coincidences.

I'm not one to soul-striptease or blog, so there will never be more than a little information here. So if you are really interested in what I'm doing online, go ask Google or any other search engine.

Some Templates to use: ,, , , , ,

Pages I edited (more than just typo-fixing etc.)

 * Nature One
 * Radiography
 * Earthquake construction
 * Five-seveN
 * Geode (processor)
 * Telecom Tower Berlin-Schäferberg
 * High speed camera
 * Japanese aircraft carrier Taiho
 * Hex editor

and lots of other edits

Images that I made myself/optimized/otherwise contributed

 * Image:Narzissen.jpg
 * Image:Star_Princess_repairs_Bremerhaven_2006_1.jpg
 * Image:Star_Princess_repairs_Bremerhaven_2006_2.jpg
 * Image:Breguet_Atlantic_DE.jpg
 * Image:Nature_One_Camping_2004.jpg
 * Image:Tagpfauenauge.jpg
 * Image:Taylorsine.png
 * Image:Axial-flow-compressor.png
 * Image:Austria_flag_large.png
 * some other flags
 * Image:Howitzer firing.jpg
 * Image:Taylorseriesforsine.png
 * Image:DNAbasePairing.png
 * Image:STP-cable.png
 * Image:S-STP-cable.png
 * Image:UTP-cable.png
 * Image:S-UTP-cable.png

and some others I forget. (they don't show up in my contributions either, because I didn't edit the image text)

misc stuff
I agree to multi-license all my contributions, with the exception of my user pages, as described below:

de:Benutzer:Deelkar

title: User:Deelkar


text:
Talk:Sacrilige

Please see Talk:Sacrilege for justification on why this is a double redirect for the time being. (Sacrilige->Sacrilege->Blasphemy) I hope this comment doesn't prove to be in vain when some bot storms through. Benc 00:41, Jul 23, 2004 (UTC)

title: Talk:Sacrilige


text:
Cerastes cerastes

Cerastes cerastes, commonly known as the Saharan horned viper or the desert horned viper, is a venomous species of viper native to the deserts of Northern Africa and parts of the Arabian Peninsula and Levant. It is often easily recognized by the presence of a pair of supraocular "horns", although hornless individuals do occur. Three subspecies have been described.

Description
The average total length (body and tail) is 30 - 60 cm, with a maximum total length of 85 cm. Females are larger than males.

One of the most distinctive characteristics of this species is the presence of supraorbital "horns", one over each eye. However, these may be reduced in size or absent (see genus Cerastes). The eyes are prominent and set on the sides of the head. There is significant sexual dimorphism, with males having larger heads and larger eyes than females. Compared to C. gasperettii, the relative head size of C. cerastes is larger and there is a greater frequency of horned individuals (13% versus 48%, respectively).

The colour pattern consists of a yellowish, pale grey, pinkish, reddish or pale brown ground colour, which almost always matches the substrate colour where the animal is found. Dorsally, a series of dark, semi-rectangular blotches runs the length of the body. These blotches may or may not be fused into crossbars. The belly is white. The tail, which may have a black tip, is usually thin.

Common names
Common names of this species include desert sidewinding horned viper, Saharan horned viper, horned s, Sahara horned viper, desert horned viper, North African horned viper, African desert horned viper, greater cerastes, asp and horned viper. In Egypt, it is called el-ṭorîsha (حية الطريشة); in Libya, it is called um-Goron (ام قرون).

Distribution and habitat
The snake is common in Iraq but is also found in Syria, Saudi Arabia, Palestine, Yemen, Jordan, Israel, Qatar, Mauritania, Morocco and Kuwait. They can also be found in parts of North Africa including Libya, Egypt, and Sudan.

Originally, the type locality was listed only as "Oriente." However, Flower (1933) proposed "Egypt" by way of clarification.

These snakes favor dry, sandy areas with sparse rock outcroppings, and tend to avoid coarse sand. Occasionally they are found around oases, and up to an altitude of 1500 m. Cooler temperatures, with annual averages of 20 C or less, are preferred.

Behavior
They typically move by sidewinding, during which they press their weight into the sand or soil, leaving whole-body impressions. Often, it is even possible to use these impressions to make ventral scale counts. They have a reasonably placid temperament, but if threatened, they may assume a C-shaped posture and rapidly rub their coils together. Because they have strongly keeled scales, this rubbing produces a rasping noise, similar to the sound produced by snakes of the genus Echis. In the wild, they are typically ambush predators, lying submerged in sand adjacent to rocks or under vegetation. The diet of this carnivorous species consists primarily of small rodents, geckos, birds, and a variety of lizards. These vipers are also known to eat jerboas, yellow wagtails, and chiffchaffs. C. cerastes has been known to travel long distances at night in search of prey. When approached, they strike very rapidly, holding on to the captured prey until the venom takes effect.

Reproduction
In captivity, mating was observed in April and always occurred while the animals were buried in the sand. This species is oviparous, laying 8–23 eggs that hatch after 50 to 80 days of incubation. The eggs are laid under rocks and in abandoned rodent burrows. The hatchlings measure 12–15 cm (about 5–6 inches) in total length.

Venom
Cerastes cerastes venom is reported to be similar in action to Echis venom. Envenomation usually causes swelling, haemorrhage, necrosis, nausea, vomiting, and haematuria. A high phospholipase A2 content may cause cardiotoxicity and myotoxicity. Studies of venom from both C. cerastes and C. vipera list a total of eight venom fractions, the most powerful of which has haemorrhagic activity. Venom yields vary, with ranges of 19–27 mg to 100 mg of dried venom being reported. For venom toxicity, Brown (1973) gives values of 0.4 mg/kg IV and 3.0 mg/kg SC. An estimated lethal dose for humans is 40–50 mg.

Taxonomy
A number of subspecies have been described:
 * Cerastes cerastes hoofieni Werner & Sivan, 1999 – Saudi Arabia.
 * Cerastes cerastes karlhartli Sochurek, 1974 – Egyptian horned viper – southeast Egypt and Sinai Peninsula.
 * Cerastes cerastes mutila Domergue, 1901 – Algerian horned viper – southwest Algeria, Morocco.

Previously, C. gasperettii was also regarded as a subspecies of C. cerastes.

title: Cerastes cerastes


text:
AEM Scout

The AEM (Automotive Engineering and Manufacturing) Scout was a Welsh-built Mini Moke type utility vehicle, with, zinc-coated bodywork and totally different styling not to mention the radically different method of production. It was made for only one year, 1987, in Merthyr Tydfil, South Wales. The running gear was based on the Mini, with a Mini engine, transmission, front subframe and Hydragas suspension.

The Scout, a particularly unsuccessful Mini based kit car had a remarkably chequered history having previously been made by Import Export of Spalding, Lincolnshire between 1983 and 1985 and after the demise of AEM the design was taken up by The Sun Motor Company of Solihull from 1990 to 1991. Six wheel versions were also made.

Universally, fans of genuine Mini Mokes, point out that this is a kit-car, not an updated or unique version of the BMC Mini Moke.

title: AEM Scout


text:
City Bridge Foundation

City Bridge Foundation is the working name of the historic Bridge House Estates, which originated in the late eleventh century and was formally established by royal charter in 1282 by the City of London Corporation in London, England. It is a registered charity governed by a single trustee, the City of London Corporation, represented by the City Bridge Foundation Board.

History
It was originally established to maintain London Bridge and, subsequently, other bridges. Funded by bridge tolls and charitable donations, the foundation acquired an extensive property portfolio which made it more than self-sufficient. As well as maintaining the bridges, the foundation also makes charitable grants. It is one of three trust funds managed by the City of London, the other two being the City Fund and the City's Cash.

Since it was established, the foundation has maintained, and on several occasions replaced, London Bridge. The foundation also built Blackfriars Bridge and Tower Bridge, and purchased Southwark Bridge from the toll-exacting private company that built it. Most recently it took over ownership and maintenance of the pedestrian-only Millennium Bridge, having provided a large amount of the funding for its construction. The estate owns significant amounts of property in the City of London, including the Old Bailey.

Until 1995, the foundation was permitted to use its income only for expenditure on its bridges. However, with a surplus of income over expenditure, a cy-près scheme was adopted in that year to allow any surplus income to be used for other charitable purposes benefiting Greater London.

From 1995 to September 2023 the charity funding arm was known as City Bridge Trust. In September 2023 Bridge House Estates and the City Bridge Trust merged unifying the brand as the City Bridge Foundation, however the formal entity name is still the Bridge House Estates.

Bridge House
The Bridge House Estates took its name from Bridge House, which was the administrative and maintenance centre of Old London Bridge located on the south bank of the River Thames, near the site of St Olave's Church (since replaced by St Olaf House in Tooley Street). The site, now covered by the London Bridge Hospital and the Cotton's Centre, was constituted of at least two properties in Southwark. The first was that of Peter of Colechurch the warden of the bridge from 1163, and probably a monastic dwelling. The second property was the house left by the will of Henry fitz Ailwin, first named Mayor of London, in 1215.

The bridge became part of the City's jurisdiction from 1282, and this led to the City attempting to extend control over Southwark, succeeding in acquiring the 'vill of Southwark' alias the Guildable Manor in 1327.

Logo

Known as the Bridge Mark, the logo of Bridge House Estates is one of the oldest logos in continuous use and can be found carved into stonework in many places along the riverfront. It has been the identifying emblem of the Bridge House Estates for many centuries, but the latter now uses the City of London arms as an emblem.

It was thought likely that the mark as we know it today was designed by a famous 17th-century surveyor, William Leybourn. It appears drawn on a plan of 1680 which it is thought he adapted from a similar mark drawn against plots owned by Bridge House Estates on an earlier plan of St George's Fields in Southwark. The City sword rest from the church of St Olave, Southwark (now in the north transept of Southwark Cathedral) has the Bridge Mark carved onto it to balance the City's shield, and shows a date of 1674.

Governance
The Bridge House Estates was established by the grant of a royal charter on 24 May 1282, and the sole trustee is the City of London Corporation. The trustee is the legal but not beneficial owner of the trust property—it may only be used for the legitimate purposes for which the fund was created.

Bridge House Estates are run by a committee of the City of London Corporation called the City Bridge Foundation Board (formerly the Bridge House Estates Board). Formed in 2021, the chairmanship is held by a Common Councilman on a four-year rotation; the first Chairman was Giles Shilson, who remains in post.

In addition to its royal charter of 1282, the Bridge House Estates operates with respect to various legislative powers, e.g., the Blackfriars Bridge Act 1863, the Blackfriars and Southwark Bridge Act 1867, the Corporation of London (Tower Bridge) Act 1885 for its maintenance role and for its general charitable role under the Charities (The Bridge House Estates) Order 1995 (Statutory Instrument 1047), and the Charities (The Bridge House Estates) Order 2001 (Statutory Instrument 4017).

Finances
Originally funded by tolls on London Bridge, the rents and leases of the buildings that were on it and also by charitable donations, the Bridge House Estates acquired an extensive property portfolio which made it self-sufficient.

The fund administered by the Bridge House Estates is solely responsible for the five City Bridges. There is no financial support from the government or any other fund. If one of the bridges happened to collapse, the charity would have to rebuild it out of the endowment. The good stewardship of the property and investments of the estates by the City has led to the accumulation of surplus funds over any such demand on its resources. Therefore, the City sought from the Charity Commission to implement a cy-près scheme to extend its objects (purposes) since September 1995 to make charitable grants within the Greater London area.

In 2019, total income of the Bridge House Estates was £43.1 million and total expenditure and reinvestment was £53.1 million. The total funds held by the estates are in excess of £1.5 billion.

title: City Bridge Foundation


text:
From Beirut to Jerusalem

From Beirut to Jerusalem (1989) is a book by American journalist Thomas L. Friedman chronicling his days as a reporter in Beirut during the Lebanese Civil War and in Jerusalem through the first year of the Intifada.

Friedman wrote a 17-page epilogue for the first paperback edition (Anchor Books, 1990) concerning the potential for peaceful resolution in Israel and Palestine.

Reception
It received the 1989 National Book Award for Nonfiction and also the Cornelius Ryan Award. In a book review for The Village Voice, Edward Said criticized what he saw as a naive, arrogant, and orientalist account of the Israel–Palestine conflict.

title: From Beirut to Jerusalem


text:
Talk:Sacrilege

According to my dictionary, blasphemy and sacrilege aren't quite the same thing. Blasphemy targets specific sacred entities, namely deities. Sacrilege, on the other hand, can apply to anything sacred, including objects, places, and relationships. Thus (for example) urinating on a tombstone is sacrilege, but not blasphemy. I might remove the redirect and start an article in the future (unless you'd rather do it yourself :-)), but for now I'm leaving this as a redirect to blasphemy.Benc 00:47, Jul 23, 2004 (UTC)
 * This splittng hairs is really the work of the devil! Maybe the easiest thing to do would be to put a note on the blasphemy page about the difference?  If your heart and soul is really into it, you could check the "what links here" page on the blasphemy and sacrilege pages to see if links point to the right place. --1pezguy 01:04, Jul 23, 2004 (UTC)

See also: http://www.tiscali.co.uk/reference/dictionaries/english/data/d0082744.html "Spelling: remember -ile-, not -eli-. The word is related to sacrilege, not religious." —Preceding unsigned comment added by 82.23.202.96 (talk) 17:19, 9 November 2007 (UTC)

Opprobrium
I removed the word "opprobrium" from this article. It was unnecessarily obscure and not used properly anyway. Let's try not to make articles unclear (or inaccurate) for the sake of showing off our vocabulary.76.75.113.132 (talk) 02:28, 2 September 2009 (UTC)

Wants more info, wants someone else to compile it for me
what is considered particularly sacrilegious in different religions ?

eg: hindus are a no on the cows meat, islam says no pork, jews dont do lamb, the 10 commandments etc.

bohrgnosis —Preceding unsigned comment added by 60.226.165.108 (talk) 16:27, 10 December 2010 (UTC)

Michael Jackson's Bad poster
I've removed this reference. Surely it's impractical to list all known pop culture usages of a word? The list would be endless. —Preceding unsigned comment added by 86.189.12.46 (talk) 15:40, 7 February 2011 (UTC)

Weird grammar
What? : The basic idea is that sacred objects are not to be treated in the same way as other objects because they help us remember hence and we recall. The sycophant, i.e. the use of vulgarity or flattery, is to not recall and thus is harmful to ourselves.

Zezen (talk) 07:29, 10 July 2020 (UTC)

Oh, this diff: https://en.wikipedia.org/w/index.php?title=Sacrilege&diff=891620082&oldid=887969540&diffmode=source

I thus remove it.

Zezen (talk) 07:32, 10 July 2020 (UTC)

title: Talk:Sacrilege


text:
Talk:Kitty Kallen

Comment
The article listing Kitty Kallen's birth name of Genevieve Agostinello is not correct. Her father's name was Sam Kallen and her mother's name was Rose. We were close friends of the Kallen family when they lived near my family in the Logan section of Philadelphia. My sister and Kitty were best friends and attended Olney High School together in their teen years. We were also close friends of the other children and all were of the Jewish faith. My sister told me today that when Kitty was about to start high school they wanted her to be known as Katherine Kallen, not Kitty, however after presenting them with her birth certificate which indicated her first name as Kitty, they accepted it. All the other information according to my sister is correct. Thank you, David Deringer

I believe that Kitty Kallen also appeared for a time on TV in a panel-type game show. Can anyone verify/expand on this?

Warren Hedrick —Preceding unsigned comment added by 141.156.229.154 (talk) 01:14, 26 July 2009 (UTC)

 * The Genevieve Agostinello episode is now somewhat covered in the article. There is some evidence her birth name was Katherine Kalinsky, and she was apparently born to Samual and Rose Kalinsky -- and Sam's obituary list's his name as Samual Kalin (per his New York Times obituary).842U (talk) 20:14, 28 May 2014 (UTC)
 * I met Kitty and Budd in 1992. I had just produced "The Kitty Kallen Story" for Sony Music Special Products, and was invited to their home in Englewood Cliffs NJ. On a subsequent visit I met her son and daughter-in-law. Not too long after Budd died, I visited Kitty at her home in Cuernavaca, Mexico. In 2000, I was in community theater production of "Finian's Rainbow" in Linden NJ; Kitty attended a performance and was given a plaque in tribute. I also accompanied Kitty to see Polly Bergen's 2001 cabaret show at Feinstein's; and I met Sonny Shiells, her companion (it was he who called me to tell me she had died). I mention this just to substantiate that I knew Kitty pretty well, having had business dealings as well as a personal relationship with her. While at Sony Music, I produced a few other compilations of Kitty's recordings with Harry James and Jack Teagarden, and a reissue of her two solo albums on Columbia Records. I don't remember which of these CDs it was, but there was one that Kitty wanted to purchase in bulk to give to friends and family. I quoted her the wholesale price and she mailed a check to me -- and this I recall VERY CLEARLY: the printed name on her check AND her signature were both "Katherine Kalinsky." I believe this was her birth name - possibly even her legal name - and that her family changed their name to "Kallen" or "Kalin" AFTER she became a popular child radio star in Philadelphia-- a not uncommon practice. Muzikman1104 (talk) 00:28, 20 June 2023 (UTC)

Birth year
I heard an interview she did in 2000 with Bob Rogers (Australian DJ) in which she says she was born in 1921. She says her husband altered her birth year to 1927 and again to 1929. However, she acknowledges that everyone thinks she was born in 1922. Jswd (talk) 11:28, 30 May 2015 (UTC)
 * That may be true - but most sources say 1922, and I don't think we should accept something that you remember her saying in 2000 as a reliable source. I know IMDb says 1921, as do various blogs, but we don't treat those as reliable sources.  If better sources can be found (for instance, any published statements she has made), we could add it, but, because of the weight of sources, at the moment I'm not even sure we should add a footnote saying the year is uncertain.  Ghmyrtle (talk) 12:25, 30 May 2015 (UTC)

I didn't say I heard it in 2000. I heard it yesterday when Bob replayed it and I heard it several times during the week before in promotions for Bob's highly-regarded Saturday night spot on 2CH. I would like this issue to remain in Talk until someone does the hard yards and adjusts the substantive article as required. Jswd (talk) 21:29, 30 May 2015 (UTC)
 * To emphasise - we need a reliable source - especially as this is a biography of a living person. Ghmyrtle (talk) 21:39, 31 May 2015 (UTC)

External links modified
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A book published in 2021, "Little Things Mean a Lot: a Screenplay" by Michael Monteith, vividly depicts aspects of her life.
For sources, go to https://www.amazon.com>Little-Things-Mean-Michael-Monteith/dp/B08WJY4ZCC and Google: filmfreeway.com/863830 which contains a list of "News $ Reviews."

I propose that the sentence in the section above follow the current last sentence of the Career section: A compilation of her hits on various labels remains available on the Sony CD set The Kitty Kallen Story.

2601:5C5:4200:C97E:9D21:EEA6:AC5A:8C81 (talk) 16:21, 19 January 2023 (UTC)

Correction to discography; a significant omission
United Artists released "Cute" by Kitty Kallen, Ray Ellis arranger and conductor. UA 812 ZTSP 95070 written by Neal Hefti and Stanley Styne. A ballad version of "Matchmaker, Matchmaker" was on the other side. UA 812 ZTSP 95069. This would have been released in the mid 1960s, perhaps 1965. 184.14.239.204 (talk) 17:21, 3 March 2024 (UTC)

title: Talk:Kitty Kallen


text: Category:Italian film directors

title: Category:Italian film directors


text:
AER

AER or Aer may refer to:

Biology

 * Aerides, an orchid genus, abbreviated Aer
 * Agranular endoplasmic reticulum, a cell organelle
 * Apical ectodermal ridge, critical component of vertebrate limb development
 * Albumin Excretion Rate

Finance

 * Annual equivalent rate, a notational interest rate
 * Average earnings ratio, in stocks
 * Administrative expense ratio, a ratio of general and administrative expenses to total revenue

Languages

 * Aer language, an Indo-Aryan language of Pakistan
 * Eastern Arrernte language, an Arandic dialect cluster of Australia (ISO-639: aer)

Music

 * Aer (band), a hip-hop band
 * Aer (album), an album by Swiss pianist and composer Nik Bärtsch's band Mobile

Organizations

 * A.E.R. (automobile), a French former car manufacturer
 * AER (motorcycles), a British motorcycle manufacturer
 * Action For Economic Reforms, a public-interest research organization in the Philippines
 * Advanced Engine Research, an endurance racing car engine manufacturer
 * AerCap, an aircraft lessor (NYSE stock symbol AER)
 * Aer Lingus, airline from Ireland
 * Agri-Energy Roundtable, a non-governmental organization accredited by the United Nations
 * Alberta Energy Regulator
 * Algoma Eastern Railway, a former Canadian railway that operated in the province of Ontario
 * Annual Equivalent Rate, as used in the UK
 * Atmospheric and Environmental Research, an American scientific research agency owned by Verisk Analytics
 * Army Emergency Relief
 * Assembly of European Regions, an independent network of European Regions
 * Australian Energy Regulator

Places

 * Aer (Sendai), a skyscraper in Japan
 * Sochi International Airport, Russia (IATA airport code)

Publications

 * All England Law Reports, covering the court system in England and Wales
 * American Economic Review

Religion and mythology

 * Aër, a liturgical item in the Greek Orthodox Church
 * Air (classical element), in Greek mythology

Other uses

 * Address-Event Representation, a coordinate-based data format for sparse events in space-time.
 * AER: Memories of Old, a 2017 adventure video game developed by Forgotten Key and published by Daedalic Entertainment
 * All-electric range, the driving range of a vehicle using only electrical energy for propulsion

title: AER


text:
Revolver Ocelot

Revolver "Shalashaska" Ocelot is a recurring fictional character in Konami's Metal Gear video game series. Throughout the series, he takes on a variety of roles: a major nemesis of Solid Snake, a friendly rival to Naked Snake, the right-hand man to Liquid Snake and Solidus Snake, and a close ally to Venom Snake. Ocelot has been well received by video game publications for his role as a central villain in the franchise, and has often been considered one of its most important characters for his connections with various characters.

Conception and design
Introduced in Metal Gear Solid, Ocelot is normally clothed in a duster, spurs and gunbelts, the traditional garb of gunslingers in spaghetti westerns, as well as a black armband on his left arm, and wields the Colt Single Action Army revolver, which he refers to as "the greatest handgun ever made". Designing the character, Hideo Kojima wanted to add Western tones to a character resulting in Ocelot's appearance, which is based on that of veteran Western film actor Lee Van Cleef. For Metal Gear Solid 2, Yoji Shinkawa originally intended to give Ocelot a cybernetic arm in place of the one Gray Fox took from him, but this idea was not used as the staff intended to have Ocelot use the arm of Liquid Snake. While Kojima acknowledged fans finding ridiculous the idea of Liquid's arm possessing Ocelot's mind, Kojima promised to answer the reason behind it in Metal Gear Solid 4.

Appearances
Revolver Ocelot (リボルバー・オセロット) is introduced in the video game Metal Gear Solid. He's a gunslinger-themed member of the FOXHOUND terrorists involved with the hostile revolt on Shadow Moses Island which housed Metal Gear REX, serving as the team's interrogation expert and their leader Liquid Snake's right-hand man. He challenges Solid Snake to a gunfight in the game's first boss encounter, but their fight ends with Ocelot losing his right hand from an encounter with the Cyborg Ninja. Despite his loss, Ocelot later appears to torture Snake after Snake is captured. During Snake's torture, Ocelot reveals he was originally from the former Soviet Union and a former member of Spetsnaz, secretly wishing for Liquid's and Big Boss's dream world as well. Ocelot is the sole surviving member of FOXHOUND by the game's end. After the ending credits, it's revealed that he's in league with the U.S. President George Sears.

Revolver Ocelot, now known as Shalashaska (シャラシャーシカ), returns in the sequel Metal Gear Solid 2: Sons of Liberty. He gains a new surgically attached right arm that originally belonged to Liquid, resulting in a dormant personality which takes over Ocelot's mind whenever Solid Snake is nearby. During the game's introductory Tanker Chapter, he is seemingly under Sergei Gurlukovich's employ, but ends up betraying his old friend when Ocelot hijacks Metal Gear RAY, framing Snake and Otacon for the deed. During the game's main Plant Chapter, Ocelot then forms part of the terrorist group "Sons of Liberty" with Solidus Snake but ends up betraying the former President as well after revealing his true allegiance to the Patriots, a group that controls the United States. Shortly afterwards, Ocelot is taken over by Liquid and escapes from Snake, Solidus and Raiden to kill the Patriots' leaders.

A young version of the character, known as Major Ocelot (オセロット少佐), is featured in the prequel Metal Gear Solid 3: Snake Eater (set four decades before the original Metal Gear Solid). He's a GRU Major under Colonel Volgin's command and the leader of his own "Ocelot Unit" within GRU. His encounters with Naked Snake are why he acquires a preference for revolvers (due to a tendency to absorb the gun's recoil with his elbow being more suited to shooting revolvers). Throughout the game, Ocelot's constant challenges with Snake eventually turn into a friendly rivalry. He is revealed to be Adamska (アダムスカ), The Boss's illegitimate child. After the deaths of Volgin and The Boss, Ocelot is revealed to be a triple agent, taking orders from the Philosophers and the KGB, while also receiving orders from the Director of Central Intelligence. He was supposed to intercept and assist Snake, a mission he failed when another agent of the Philosophers, EVA, got there first.

The young version of Ocelot, also known as ADAM (アダム), plays a minor (yet significant) role in the direct sequel Metal Gear Solid: Portable Ops. Initially in league with FOX's insurgency leader Gene, Ocelot assassinates the DCI in order to "end" the Philosophers before being invited to join the Philosophers' reorganized American branch.

Metal Gear Solid 4: Guns of the Patriots (set directly after Metal Gear Solid and Metal Gear Solid 2) features the character as Liquid Ocelot (リキッド・オセロット) as the primary antagonist. He deliberately uses self-hypnosis and nanomachines to act as Liquid's mental doppelgänger to trick the Patriots' AIs. As "Liquid", Ocelot establishes a parent company that runs the four largest PMCs, fighting for the Patriots' control over the world. After hijacking the Patriots' systems, Ocelot's PMCs engage Old Snake. After Snake and Otacon use Naomi Hunter's FOXALIVE virus to delete the Patriots' AIs, Ocelot challenges Snake to a fistfight and appears to die from exhaustion after the final fight; however, Ocelot's death was actually caused by the new FOXDIE strain that Drebin injected into Snake.

The character canonically appears in Metal Gear Solid V: The Phantom Pain. He assists Venom Snake and the Diamond Dogs, playing a key role in facilitating Zero's deception by subjecting both himself and Snake to hypnosis to cover it up and aiding Big Boss's and Snake's escape from XOF in Cyprus. Ocelot acts as the Diamond Dogs' interrogator, frequently clashing with Kazuhira Miller over matters involving Skull Face and the White Mamba. Ocelot ultimately declares his support for Big Boss's covert war, foreshadowing his involvement in later Metal Gear Solid games.

In the original Metal Gear Solid, Revolver Ocelot was voiced by Kōji Totani in the Japanese version and Pat Zimmerman (credited as Patric Laine in the PlayStation release) in the English version. Both actors would reprise the role in Metal Gear Solid 2. The character's young version in Metal Gear Solid 3 was voiced by Takumi Yamazaki for the Japanese version and Josh Keaton in the English version. Due to Koji Totani's death in 2006, the character was voiced by Banjō Ginga in Metal Gear Solid 4 and Ikuya Sawaki in the Metal Gear Solid: Digital Graphic Novel recreations while Pat Zimmerman continued the role in the English version. In Metal Gear Solid V, the character was voiced by Troy Baker in the English version while Satoshi Mikami dubbed the character's voice for the Japanese version. Over the years, the character's motion capture have been performed by Taro Kazanawa, Kenichi Yoshida, Bill Yokoyama, Troy Baker and Matthew Carlsen.

Critical reception
The character of Revolver Ocelot has received a positive response by video game publications based on his role as an antagonist. He is one of the only characters to appear in almost every Metal Gear Solid game and is thus considered "one of the only characters to have a major role in all five Metal Gear Solid titles" by Game Informer. Official U.S. PlayStation Magazine called Revolver Ocelot underrated in comparison to Final Fantasy VII iconic antagonist Sephiroth, describing Ocelot as "just a persistent, sneaky, and cool villain. Heck, just watch the MGS3 trailer and you'll see that he was a badass even in the 60's." G4's Filter placed him at number ten in their top list of video game villains in 2002. Ocelot ranked 28th on IGN's top list of video game villains. Guinness World Records Gamer's Edition listed Liquid Ocelot as ninth in their list of "top 50 video game villains".

Ocelot has been frequently featured in the lists of best Metal Gear villains. In 2008, he placed seventh in IGN's top list of Metal Gear Solid boss battles, and second on the top list of Metal Gear villains. Including him on their 2007 list of the best Metal Gear bosses, GameSpot called him one of the most important characters from the story alongside Solid Snake and Big Boss. In 2008, the torture he makes in Metal Gear Solid was listed by GameSpy as one of the best moments from the game due to how Ocelot toys with Snake and how difficult it is to pass it besides how significant is the outcome for the rest of the game. In response to his role in Metal Gear Solid 3, GameSpy called Ocelot one of the "series mainstay", hoping he would become an entertaining opponent.

According to Edge magazine, with Liquid Ocelot "Kojima has forged a superb villain, far more complete than in MGS2." He was also listed by IGN as one of the fictional characters who required his own spin-off. GamesRadar too praised his role as Revolver/Liquid Ocelot, placing as seventh on their 2013 list of best villains in video game history. Ocelot's change to his Liquid Ocelot alter-ego persona of Liquid Snake was opined by GameSpy to be one of the most nonsensical events from the Metal Gear series, but they still praised his action scenes at the start of Metal Gear Solid 2. UGO.com speculated that, because of being born from the medium The Sorrow, Ocelot could communicate with dead people which ended in Liquid Snake taking possession of his body. GamePro described the final fight against Liquid Ocelot as "epic" even as he became "a punching bag" in the final phase. Furthermore, UGO.com listed this fight as the seventh best cutscene ever in 2011, owing to the fighting styles employed and the interaction between the two fighters. On the other hand, 1UP.com listed such fight in their article about the 13 "most dumbass" boss battles for its simple style in comparison to other more challenging bosses from Metal Gear Solid 3 and its excessive length for a hand-to-hand fight between two old people. 1UP.com also listed the scenes from the games in which Liquid Ocelot controls the PMC's weapons to attack the protagonists and his imitation of Liquid Snake's death from Metal Gear Solid as one of the most surprising moments in the game. VentureBeat were bemused by Ocelot's portrayal in Metal Gear Solid V, writing how he was "calm and the voice of reason" instead of being an "eccentric, sadistic man". They theorized, however, that Ocelot was merely being himself and showing his true allegiances with Big Boss, rather than working as a triple agent or being under self-hypnosis akin to his previous appearances.

title: Revolver Ocelot


text:
Echis carinatus

Echis carinatus, known as the saw-scaled viper, Indian saw-scaled viper, little Indian viper, and by other common names, is a viper species found in parts of the Middle East and Central Asia, and especially the Indian subcontinent. It is the smallest member of the "big four" Indian snakes that are responsible for causing the most snakebite cases and deaths, due to various factors including their frequent occurrence in highly populated regions, and their inconspicuous nature. Like all vipers, the species is venomous. Two subspecies are currently recognized, including the nominate subspecies described here.

Description

The size of E. carinatus ranges between 38 and 80 cm in total length (body + tail), but usually no more than 60 cm.

Its head is distinct from its neck; its snout is very short and rounded. The nostril is between three shields, and the head is covered with small keeled scales, among which an enlarged supraocular is sometimes present. There are 9–14 interocular scales across the top of the head and 14–21 circumorbital scales. 1–3 rows of scales separate the eye from the supralabials. There are 10–12 supralabials, the fourth usually largest, and 10–13 sublabials.

Scalation
Midbody there are 25–39 rows of dorsal scales that are keeled scales with apical pits; on the flanks, these have serrated keels. There are 143–189 ventral scales that are rounded and cover the full width of the belly. The subcaudals are undivided and number 21–52, and the anal scale is single.

The color-pattern consists of a pale buff, grayish, reddish, olive or pale brown ground color, overlaid mid-dorsally with a series of variably colored, but mostly whitish spots, edged with dark brown, and separated by lighter interblotch patches. A series of white bows run dorsolaterally. The top of the head has a whitish cruciform or trident pattern and there is a faint stripe running from the eye to the angle of the jaw. The belly is whitish to pinkish, uniform in color or with brown dots that are either faint or distinct.

Common names

 * English - saw-scaled viper, Indian saw-scaled viper, little Indian viper.
 * Tamil - surattai pambu. viriyan pamboo, surutai vireyan ( சுருட்டை விரியன் )
 * Sinhala - vali polonga (වැලි පොලඟා).
 * Odia - Dhuli Naga.
 * Pushtu - phissi.
 * Telugu - Chinna pinjara, thoti pinjara
 * Sindhi - kuppur, janndi.
 * Marathi - phoorsa ([फुरसं]).
 * Kannada - kallu haavu.
 * Malayalam - anali അണലി
 * Gujarati - tarachha, zeri padkoo (ઝેરી પૈડકુ) udaneyn.
 * Hindi - aphai (अफई)
 * Russian - peschanaya efa (песчаная эфа)
 * Iraqi Arabic - ḥayyat sayyid dakhīl (حية سيد دخيل)
 * Persian - mār-e ja'fari (مار جعفری)
 * Bengali - fursa boda sap (ফুরসা বোড়া সাপ), also কাঁটা-আঁইশা বোড়া, খুঁদে চন্দ্রবোড়া, বোড়া সাপ, বঙ্করাজ।
 * Tulu - netter mugel (ನೆತ್ತೆರ್ ಮೂಗೇಲ್)

Geographic range
Echis carinatus is endemic to Asia. On the Indian subcontinent it is found in India, Sri Lanka, Bangladesh, and Pakistan (including Urak near Quetta and Astola Island off the coast of Makran). In the Middle East it is found in Oman, Masirah (Island), eastern United Arab Emirates, Iraq, and southwestern Iran. In Central Asia it is found in Afghanistan, Uzbekistan, Turkmenistan, and Tajikistan.

The type locality was not included in the original description by Schneider (1801). However, a locality had been given as "Arni" (India) by Russell (1796:3).

There are also reports that this species occurs in Iraq. It is found in Thiqar and Kirkuk governorates.

Habitat
Echis carinatus is found on a range of different substrates, including sand, rock, soft soil and in scrublands. It is often found hiding under loose rocks. Specimens have also been found in Balochistan at altitudes of up to 1982 m.

Behaviour
Echis carinatus is mostly crepuscular and nocturnal, although there have been reports of activity during daylight hours. During the daytime they hide in various locations, such as deep mammal burrows, rock fissures and fallen rotted logs. In sandy environments, they may bury themselves leaving only the head exposed. Often, they are most active after rains or on humid nights. This species is often found climbing in bushes and shrubs, sometimes as much as 2 m above the ground. When it rains, up to 80% of the adult population will climb into bushes and trees. Once, it was observed that approximately 20 individuals had massed on top of a single cactus or small shrub.

Echis carinatus is one of the species responsible for causing the most snakebite cases due to their inconspicuous and extremely aggressive nature. Its characteristic pose, a double coil with a figure of eight, with the head poised in the center, permits it to lash out like a released spring.

They move about mainly by sidewinding: a method at which they are considerably proficient and alarmingly quick. They are also capable of other forms of locomotion, but sidewinding seems to be best suited to moving about in their usual sandy habitats. It may also keep them from overheating too quickly, as there are only two points of contact with the hot surface in this form of locomotion.

In the northern parts of its range, these snakes hibernate in winter.

Feeding
Echis carinatus feeds on rodents, lizards, frogs, and a variety of arthropods, such as scorpions, centipedes and large insects. Diet may be varied according to availability of prey. High populations in some areas may be due to this generalist diet.

Reproduction
The population of E. carinatus in India is ovoviviparous. In northern India, mating takes place in the winter with live young being born from April through August. Occasionally, births have also been recorded in other months. A litter usually consists of 3 to 15 young that are 115–152 mm in length. Mallow et al. (2003) mention a maximum litter size of 23.

Venom
Echis carinatus produces on average about 18 mg of dry venom by weight, with a recorded maximum of 72 mg. It may inject as much as 12 mg, whereas the lethal dose for an adult is estimated to be only 5 mg. Envenomation results in local symptoms as well as severe systemic symptoms that may prove fatal. Local symptoms include swelling and pain, which appear within minutes of a bite. In severe cases the swelling may extend up the entire affected limb within 12–24 hours and blisters form on the skin. The venom yield from individual specimens varies considerably, as does the quantity injected per bite. The mortality rate from their bites is about 20%, and due to the availability of the anti-venom, deaths are currently quite rare.

Of the more dangerous systemic symptoms, hemorrhage and coagulation defects are the most striking. Hematemesis, melena, hemoptysis, hematuria and epistaxis also occur and may lead to hypovolemic shock. Almost all patients develop oliguria or anuria within a few hours to as late as 6 days post bite. In some cases, kidney dialysis is necessary due to acute kidney injury (AKI), but this is not often caused by hypotension. It is more often the result of intravascular hemolysis, which occurs in about half of all cases. In other cases, ARF is often caused by disseminated intravascular coagulation.

In any case, antivenin therapy and intravenous hydration within hours of the bite are vital for survival. At least eight different polyvalent and monovalent antivenins are available against bites from this species.

The venom from this species is used in the manufacture of several drugs. One is called echistatin, which is an anticoagulant. Even though many other snake venoms contain similar toxins, echistatin is not only especially potent, but also simplistic in structure, which makes it easier to replicate. Indeed, it is obtained not only through the purification of whole venom, but also as a product of chemical synthesis. Another drug made from E. carinatus venom is called ecarin and is the primary reagent in the ecarin clotting time (ECT) test, which is used to monitor anticoagulation during treatment with hirudin. Yet another drug produced from E. carinatus venom is Aggrastat (Tirofiban).

As of November 2016, antivenom is currently being developed by the Costa Rican Clodomiro Picado Institute, and clinical trial phase in Sri Lanka.

title: Echis carinatus


text:
Talk:Os Mutantes

unclear sentence
in 'Reunion': "This performance, which was first by drummer Dinho Leme since the end of Os Mutantes,(...)" I do not understand what this means. (Can only guess, but that's not a good enough basis for making an edit myself.) Could someone please rewrite it, to clarify?

title: Talk:Os Mutantes


text:
Hexanitrobenzene

Hexanitrobenzene, also known as HNB, is a nitrobenzene compound in which six nitro groups are bonded to all six positions of a central benzene ring. It is a high-density explosive compound with chemical formula C6N6O12, obtained by oxidizing the amine group of pentanitroaniline with hydrogen peroxide in sulfuric acid.

Properties
The stable conformation of this molecule has the nitro groups rotated out of the plane of the central benzene ring. The molecule adopts a propeller-like conformation in which the nitro groups are rotated about 53° from planar.

HNB has the undesirable property of being moderately sensitive to light and, therefore, hard to utilize safely. As of 2021, it is not used in any production explosives applications, though it is used as a precursor chemical in one method of production of TATB, another explosive.

HNB was experimentally used as a gas source for explosively pumped gas dynamic laser. In this application, HNB and tetranitromethane are preferred to more conventional explosives because the explosion products CO2 and N2 are a simple enough mixture to simulate gas dynamic processes and quite similar to conventional gas dynamic laser medium. The water and hydrogen products of many other explosives could interfere with vibrational states of CO2 in this type of laser.

Preparation
During World War II, a method of synthesis of hexanitrobenzene was suggested in Germany, and the product was supposed to be manufactured on a semi-industrial scale according to the following scheme:
 * C6H3(NO2)3 → C6H3(NHOH)3 (partial reduction)
 * C6H3(NHOH)3 → C6(NO2)3(NHOH)3 (nitration)
 * C6(NO2)3(NHOH)3 → C6(NO2)6 (oxidation)

Complete nitration of benzene is practically impossible because the nitro groups are deactivating groups for further nitration.

Additional properties

 * Chapman-Jouget detonation pressure: 43 GPa
 * Crystal Density: 2.01

title: Hexanitrobenzene