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Modern Age of Comic Books

The Modern Age of Comic Books is a period in the history of American superhero comic books which began in the mid-1980s and continues through the present day. During approximately the first 15 years of this period, many comic book characters were redesigned, creators gained prominence in the industry, independent comics flourished, and larger publishing houses became more commercialized.

An alternative name for this period is the Dark Age of Comic Books, due to the popularity and artistic influence of titles with serious content, such as Batman: The Dark Knight Returns and Watchmen.

Developments
Because the time period encompassing the Modern Age is not well defined, and in some cases disputed by both fans and most professionals, a comprehensive history is open to debate. Many influences from the Bronze Age of Comic Books would overlap with the infancy of the Modern Age. The work of creators such as John Byrne (Alpha Flight, Fantastic Four), Chris Claremont (Iron Fist, Uncanny X-Men), and Frank Miller (Daredevil) would reach fruition in the Bronze Age but their impact was still felt in the Modern Age. The Uncanny X-Men is the most definitive example of this impact as Bronze Age characters such as Wolverine and Sabretooth would have a huge influence on the Marvel Universe in the 1980s and beyond.

For DC, Crisis on Infinite Earths is the bridge that joins the two ages. The result was the cancellation of The Flash (with issue 350), Superman (with issue 423), and Wonder Woman (with issue 329). The post-Crisis world would have Wally West as the new Flash, John Byrne writing a brand-new Superman series, and George Pérez working on a new Wonder Woman series. Batman would also get a makeover as the Batman: Year One storyline would be one of the most popular Batman stories ever published.

In rough chronological order by the beginning of the trend, here are some important developments that occurred during the Modern Age, many of which are interrelated:

Rise of independent publishers
The late 1970s saw famed creators going to work for new independent publishers. The arrival of Jim Shooter as editor-in-chief at Marvel Comics saw the departure of key creators at Marvel such as Steve Gerber, Marv Wolfman, and others. In these new companies (Pacific, Eclipse, First) creators were free to create very personal stories. Mike Grell's Jon Sable Freelance, Howard Chaykin's American Flagg!, Mike Baron and Steve Rude's Nexus, Dave Steven's Rocketeer and John Ostrander's GrimJack attracted some attention and garnered a number of awards. These creators were brought in by DC editor Mike Gold to create defining works such as Green Arrow: The Longbow Hunters by Grell, Blackhawk by Chaykin, and Hawkworld by Truman. With Alan Moore, Frank Miller, and Art Spiegelman's Maus (which would later receive the Pulitzer Prize), this period marks the summit of the artform per comics expert Scott McCloud.

Fantasy and horror
The Comics Code Authority was established in 1954 and specified that no comic should contain the words "horror" or "terror" in its title. This led EC Comics to abandon its horror comics line. Publishers such as Dell Comics and Gold Key Comics did run an expanding line of silver-age horror and "mystery" titles during the early 1960s, and Charlton maintained a continuous publishing history of them, during the later 1960s, a gradual loosening of enforcement standards eventually led to the re-establishment of horror titles within the DC and Marvel lineups by the end of the decade. 1970s horror anthology series merely continued what had already been established during the late 1960s, and endured into the 1980s until they were markedly transformed into new formats, many of which were greatly influenced by, or directly reprinted, "pre-Code" content and styles of the early 1950s.

Starting with Alan Moore’s groundbreaking work on DC's Swamp Thing in 1984–1987, horror comic books incorporated elements of science fiction/fantasy and strove to a new artistic standard. Other examples include Neil Gaiman’s The Sandman (followed a few years later by Garth Ennis and Steve Dillon’s Preacher). DC's Vertigo line, under the editorship of Karen Berger, was launched in 1993, with the goal of specializing in this genre. Existing titles such as Animal Man, Doom Patrol, Hellblazer, and Shade, the Changing Man were absorbed into this new line. Other titles later were created for the line, which continued successfully into the 2010s.

Starting in the 1990s and throughout the 2000s, a number of successful movie adaptations of comic books, partly due to improvements in special effect technology, helped to extend their market audience, attracting the attention of many new readers who previously had not been interested in comic books. This also led to an avalanche of other movie adaptations which included previously lesser known Vertigo titles, notably Constantine (based on the comic book Hellblazer) and V for Vendetta.

Rise of antiheroes
In the mid-1980s, Marvel antiheroes such as the X-Men's Wolverine, the Punisher, and writer/artist Frank Miller’s darker version of Daredevil challenged the previous model of the superhero as a cheerful humanitarian. Miller also created Elektra, who straddled the conventional boundary between love interest and villain.

Two artistically influential DC Comics limited series contributed to the trend: Batman: The Dark Knight Returns, also by Frank Miller and Watchmen by Alan Moore and Dave Gibbons, both of which were series of psychological depth that starred troubled heroes.

By the late 1980s DC had published many mature titles such as John Constantine, Hellblazer, Swamp Thing, and Lobo. They featured morally ambiguous characters such as the cynical John Constantine and the violence-loving Lobo with graphic violence and adult content that differentiated them from other mainstream titles. DC later separated these titles to their launched Vertigo imprint that publishes titles outside of the DC Universe.

By the early 1990s, antiheroes had become the rule rather than the exception, and among the most popular were Marvel Comics' Cable and Venom and Image Comics' Spawn.

The trend of creating characters with more psychological depth that were less black-and-white, also affected supervillains. For example, the Joker, Batman's nemesis, was portrayed less as an evil criminal and more as a mentally ill psychopath who cannot control his actions, Marvel Comics' galactic planet-eater Galactus became a force of nature who means no personal malice in his feedings, and the X-Men's nemesis Magneto became more benign and sympathetic as a man who fights for an oppressed people, albeit through means that others deem unacceptable.

Development of the X-Men franchise
By the mid-1980s, X-Men had become one of the most popular titles in comics. Marvel decided to build on this success by creating a number of spin-off titles, sometimes collectively referred to as "X-books". These early X-books included New Mutants (which would later become X-Force), X-Factor, Excalibur, and a Wolverine solo series. There were many new popular additions to the X-Men in the 1990s, including Cable and Bishop.

By the early 1990s, X-Men had become the biggest franchise in comics, and by the middle of the decade over a dozen X-Men-related comic books, both continuing and limited series, were published each month. On an almost annual basis from 1986 until 1999, one storyline crossed over into almost every X-book for two to three months. These "X-overs" usually led to a spike in sales.

This sales boom resulted in a great deal of merchandising, such as action figures, video games, and trading cards. This success was thanks in no small part to the Fox Network's animated X-Men series, which debuted in 1992 and drew in a large number of younger fans.

The sales boom began to wane in the mid to late 1990s, due to the crash of the speculators' market and the effect it had on the industry. Marvel declared bankruptcy in 1996, and as a result, scaled back all of their franchises, including X-Men. A number of "X-books" were canceled, and the amount of limited series published, as well as general merchandise, was reduced.

In the early 2000s, a series of blockbuster X-Men films have kept the X-Men franchise healthy, and have resulted in a larger market presence outside of comics. In 1999–2000, a new animated series, X-Men: Evolution debuted, while new toys have been developed and sold since the success of the first X-Men feature film. The comic books themselves have been reinvented in series such as Grant Morrison's New X-Men and the Ultimate X-Men, which, like Marvel's other "Ultimate" series, is an alternative universe story, starting the X-Men tale anew. This was done for X-Men, and other books because Marvel feared that the long and complex histories of the established storylines of certain titles were scaring off new readers.

Effect on other comics
Many series tried to imitate the model the X-Men carved as a franchise. Marvel and DC expanded popular properties, such as Punisher, Spider-Man, Batman, and Superman into networks of spin-off books in the mid-to-late 1980s. Like the X-books, some of these spin-offs highlighted a concept or supporting character(s) from a parent series, while others were simply additional monthly series featuring a popular character. In another similarity to the X-books, these franchises regularly featured crossovers, in which one storyline overlapped into every title in the “family” for a few months.

With regards to storylines overlapping, the Superman stories from 1991 to 2000 were written on a weekly basis. One needed to buy Superman, Adventures of Superman, Action Comics, and Superman: The Man of Steel (and eventually, Superman: The Man of Tomorrow) to keep up with any existing storylines. If a collector only bought Action Comics, they would only get twenty-five percent of the story. A triangle was featured on the cover of every Superman title with a number on it. This number indicated which week of the year the Superman title was released.

Makeovers and universe reboots
Complementing the creation of these franchises was the concept of redesigning the characters. The Modern Age of comics would usher in this era of change. The impact of Crisis on Infinite Earths was the first example as Supergirl died in issue 7, and long-time Flash (Barry Allen) died in issue 8. Specifically, Barry Allen signified the beginning of the Silver Age of Comics and his death was highly shocking at the time. Marvel Comics' Secret Wars would usher in a new change as well as Spider-Man would wear a black costume. This costume change led to the development of the character Venom.

The interest in the speculator market of a new Spider-Man costume led to other changes for Marvel characters in the 1980s. Iron Man would have a silver-and-red armor in issue 200. Captain America would be fired and would be reborn as the Captain, wearing a black outfit in issue 337 of the series. The Incredible Hulk would revert to his original grey skin color in issue 325. Issue 300 of the first Avengers series resulted in a new lineup including Mister Fantastic and the Invisible Woman, of the Fantastic Four. Within the decade, Wolverine would switch to a brown and yellow costume, Thor would be replaced by Thunderstrike, Archangel would emerge as the X-Men's Angel's dark counterpart after serving as one of Apocalypse's Horsemen, and many other Marvel characters would have complete image overhauls. The changes to Spider-Man, Thor, Captain America, Iron Man, Wolverine and most other Marvel characters would be undone in the early 1990s.

The 1990s would bring similar changes to the DC Universe, including the death of Superman and the crippling of Bruce Wayne in 1993. The only lasting change was Kyle Rayner replacing Hal Jordan as Green Lantern.

In addition to individual character or franchise/family-wide makeovers, Crisis on Infinite Earths ushered in a popular trend of "rebooting", "remaking" or greatly reimagining the publisher-wide universes every 5–10 years on varying scales. The practice of rebooting entire universes occurred frequently enough that this era has also been referred to as The Iron Age. This often resulted in origins being retold, histories being rewritten, and so forth. These reinventions could be on as large a scale as suddenly retconning seminal story points and rewriting character histories, or simply introducing and/or killing off/writing out various important and minor elements of a universe. Crisis on Infinite Earths resulted in several miniseries which explicitly retconned character histories, such as Batman: Year One, Superman: Man of Steel and Wonder Woman: Gods and Mortals. An example of a less ambitious scale of changes is Green Arrow: The Longbow Hunters, which did not explicitly retcon or retell Green Arrow's history, but simply changed his setting and other elements of the present, leaving the past largely intact. This trend of publisher-wide reinventions, which often consists of a new miniseries and various spinoff storylines in established books, continued for decades, with DC's New 52 in 2011 and Marvel's Secret Wars in 2015.

Image Comics and creator rights disputes

In the mid-1980s, artist Jack Kirby, co-creator of many of Marvel's most popular characters, came into dispute with Marvel over the disappearance of original pages of artwork from some of his most famous titles. Alan Moore, Frank Miller, and many other contemporary stars became vocal advocates for Kirby.

By the early 1990s, these events, as well as the influence of vocal proponents of independent publishing, helped to inspire a number of Marvel artists to form their own company, Image Comics, which would serve as a prominent example of creator-owned comics publishing. Marvel artists such as X-Men’s Jim Lee, The New Mutants/X-Force’s Rob Liefeld and Spider-Man’s Todd McFarlane were extremely popular and were idolized by younger readers in ways more common to professional athletes and rock musicians than comic book artists. Propelled by star power and upset that they did not own the popular characters they created for Marvel, several illustrators, including the above three formed Image Comics in 1992, an umbrella label under which several autonomous, creator-owned companies existed. Image properties, such as WildC.A.T.s, Gen13, Witchblade, and especially McFarlane’s Spawn provided brisk competition for long-standing superheroes. Image in particular is singled out by some critics for contributing to the conditions which led to the speculator market crashing, as Image titles favored alternative covers, foil covers, and other "collectible" comics.

Many popular creators followed Image's lead and attempted to use their star power to launch their own series; ones for which they would have licensing rights and editorial control. Chris Claremont, famous for his long run as the writer of Uncanny X-Men, created Sovereign Seven for DC; Joe Madureira, also made popular by Uncanny X-Men, launched Battle Chasers for WildStorm Productions; and Kurt Busiek, Alex Ross, and Brent Anderson created Astro City for Image.

Milestone Comics and ethnic diversity
In 1993, a coalition of African-American writers and artists started Milestone Comics, believing that minority characters were underrepresented in American superhero comics. Some of the company's better-known series include Static, about an African-American teen who became Milestone's key character; Hardware, an example of Afrofuturism; Icon, about an alien mimicking the appearance of an African-American; and Blood Syndicate, a series about a multicultural gang of superheroes. All of these flagship titles were co-created by Dwayne McDuffie. In 1997, the Milestone Universe merged with the DC Universe.

Rise and fall of the speculator market
By the late 1980s, important comic books, such as the first appearance of a classic character or the first issue of a long-running series, were sold for thousands of dollars. Mainstream newspapers ran reports that comic books were good financial investments and soon collectors were buying massive amounts of comics they thought would be valuable in the future.

Publishers responded by manufacturing collectors’ items, such as trading cards, and “limited editions” of certain issues featuring a special or variant cover. The first issues of Marvel Comics' X-Force, X-Men vol. 2, and Spider-Man became some of the first and most notorious examples of this trend. Another trend which emerged was foil-stamped covers. The first Marvel comic book with a foil-stamped cover was the third volume of the Silver Surfer, issue 50 (June 1991). A glow-in-the-dark cover for Ghost Rider, volume 3, issue 15 appeared as well. This led a market boom, where retail shops and publishers made huge profits and many companies, large and small, expanded their lines. Image Comics in particular became notorious for this, with many of its series debuting with alternative covers, wide use of embossed and foil covers and other "collectible" traits.

This trend was not confined to the books themselves, and many other pieces of merchandise, such as toys, particularly "chase" action figures (figures made in smaller runs than others in a particular line), trading cards, and other items, were also expected to appreciate in value. McFarlane Toys was notable for this, as it created many variations in its high-quality toys, most of which were main characters or occasional guest stars in the Spawn series.

But few, in the glut of new series, possessed lasting artistic quality and the items that were predicted to be valuable did not become so, often because of huge print runs that made them commonplace. The speculator market began to collapse in summer of 1993 after Turok #1 (sold without cover enhancements) badly underperformed and Superman's return in Adventures of Superman #500 sold less than his death in Superman #75, something speculators and retailers had not expected. Companies began expecting a contraction and Marvel UK's sales director, Lou Marks, stated on September 29 that retailers were saying there was "simply no room to display all the comics being produced". The resulting comic market crash devastated the industry: sales plummeted, hundreds of retail stores closed and many publishers downsized. Marvel made an ill-judged decision during the crash to buy Heroes World Distribution to use as its own exclusive distributor, which resulted in both distribution problems for Marvel and the industry's other major publishers making exclusive distribution deals with other companies, which would lead to Diamond Comic Distributors Inc. becoming the only distributor of note in North America. In 1996, Marvel Comics, the largest company in the industry and hugely profitable just three years before, declared bankruptcy.

The crash also marked the relative downfall of the large franchises and inter-connected "families" of titles that led to a glut of merchandising. While the big franchise titles still have a large amount of regular titles and merchandising attached to them, all of these things were notably scaled back after the crash.

Rise of the trade paperback format
Although sales of individual comic periodicals dropped in the late 1990s and the early 2000s, sales rose for trade paperbacks, collected editions in which several issues are bound together with a spine and often sold in bookstores as well as comic shops. Comic book publishers began releasing trade paperbacks of collected story arcs directly after those stories' original periodical publication because a new reader could purchase the trade paperbacks and access the entire series' stories to date. The Librarian's Guide to Graphic Novels for Children and Tweens by David S. Serchay explains: "At first it was the most popular stories that were being collected, but more and more comic book stories are now being put into trades, sometimes less than two months after the 'newest' issue is sold. And [...] not only recent material but a great deal of older material is finally being collected into trades". In 2015, Polygon highlighted that "though this was far less common a decade ago, pretty much every monthly comic out there right now is eventually collected into trade paperback or hardcover edition that prints several issues in one package". Trade paperbacks are often even given volume numbers, making them a serialization of sorts. Due to this, many writers now consider their plots with the trade paperback edition in mind, scripting stories that last four to twelve issues, which could easily be read as a "graphic novel."

In addition, the publishing format has gained such respectability as literature that it became an increasingly prominent part of both book stores and public library collections. Trade paperbacks and graphic novels are the preferred format for circulating library collections, since these collections are created to be read, and not to be retained as collector's items or as investments. Attempts to catalog and circulate single-issue comics can pose difficult problems and the durability of the trade paperback format is an important consideration for longevity and collection development in public and school libraries. Trade paperbacks "are also the primary culprit in people's confusion of the lexicon, since 'TPBs make up 95% of what many librarians refer to as graphic novels'".

Despite the growing popularity of the trade paperback, the serialized, individual issues are still considered the primary mode of sale by comics publishers, and a poorly selling series may face cancellation irrespective of trade paperback sales. However, some series "survive on the popularity of their trades sales, not just in the direct market and local comic shops, but in book stores across the world" and at "Scholastic [book] fairs and the like".

The popularity of trade paperbacks has resulted in older material being reprinted as well. The Essential Marvel line of trade paperbacks has reprinted heroes such as Spider-Man and the Fantastic Four and has been able to introduce these Silver Age stories to a new generation of fans. These editions tend to resemble a phone book in that these are very thick books and are black-and-white (to help keep the cost down). DC Comics has followed suit by introducing a line called Showcase Presents. The first four have included Superman, Green Lantern, Jonah Hex, and Metamorpho the Elemental Man. Other characters have included Green Arrow, the Superman Family, the Teen Titans and the Elongated Man.

In 2018, Screen Rant highlighted, "publishers and retailers traditionally ignore the sales of trade paperbacks when it comes to deciding whether or not a specific title is doing well. For decades, the single issue has been king, even though those sales figures are far from helpful. [...] Trade paperbacks are increasingly important as a marker of what sells, with 2016 seeing a 12% jump in trade sales over 2015 – a period when single-issue sales fell. Even 2017, which saw both trades and single issue sales fall compared to 2016, trades were down 9.38%, compared to single issues dropping 10.4%". In 2019, Bleeding Cool emphasized, "in recent years, collected issues/trade paperbacks are more popular and profitable than monthly comic book periodicals. As single-issue sales have consistently plummeted, trade paperbacks and graphic novels have filled in the gaps. From 2013 to 2018, graphic novels were the highest-selling format for comic books". According to industry reports, "the massive shift to graphic novels as the preferred format for comics continued in 2019 bringing sales in the book channel above the comic store channel in North America for the first time in the history of the medium" and that "the sales of graphic novels were growing faster in the book trade than in comics shops".

Comics creators' mainstream success
While many comic book artists and writers had become well known by their readership as early as the 1940s, some comics creators in the late 1980s and the 1990s became known to the general population. These included Todd McFarlane, Neil Gaiman, Alan Moore, and Frank Miller. Some, such as Gaiman, went on to write critically and commercially successful novels. Others, like Miller, became Hollywood screenwriters and directors.

Conversely, film and TV directors and producers became involved with comics. J. Michael Straczynski, creator of TV's Babylon 5, was recruited to write Marvel Comics' The Amazing Spider-Man and, later Fantastic Four filmmaker Reginald Hudlin became the writer of Marvel's Black Panther. Joss Whedon, creator of TV's Buffy the Vampire Slayer, wrote Marvel's Astonishing X-Men and Runaways, among other series. Richard Donner, who directed the Superman films of the 1970s and 1980s, became a writer on the Superman feature in Action Comics in 2006, co-writing with comics writer (and Donner's former production assistant) Geoff Johns. Paul Dini, producer and writer of Batman: The Animated Series and Superman: The Animated Series, started writing for DC in 1994 on special projects and took the helm as writer of Detective Comics in 2006.

Comics writer Peter David's career as a novelist developed concurrently with his comic book career. Sandman writer Neil Gaiman has also enjoyed success as a fantasy writer and number one New York Times Bestseller. Michael Chabon who won the Pulitzer Prize with The Amazing Adventures of Kavalier and Clay, a novel about the start of the Golden Age of Comic Books, then went on to write comics for DC and Dark Horse. Novelist Brad Meltzer saw success in the comics field with the controversial miniseries Identity Crisis, as well as runs on Green Arrow and Justice League of America.

Influence of other countries, genres, media and markets
Interest in anime and manga into the United States has been known to date back as far as the mid 1970s around the American West Coast, though the mid to late 1980s would see the quiet introduction of various translated Japanese manga into North America. While not the first to release translated manga, the first company to do so to a large degree was Eclipse which introduced Area 88, Legend of Kamui, and Mai the Psychic Girl, the three titles that are generally associated with the first wave of manga translated into English. With social trends and influences like the Japan Bubble Economy of the 1980s and corporate promoted business study focuses on Japanese relations and business in universities, interest and knowledge of Japanese popular culture including anime and manga soon began to slowly but steadily spread by fans into the United States by the mid-1990s. In the aftermath of the bankruptcy of Marvel and DC and the languishing of American comics after 1996, and with the rise of the alternative media boom of the decade, interest in manga greatly increased by the 2000s. The consensus by both older and newer fans of manga often spoke of how manga's lexicon of works ranged greatly than the often restricted variety limited to superhero stories on the American market, and provided better quality by not subjecting themselves to the censorship and oppressive standards such as the Comics Code Authority or highly conservative; predominantly white American influence that was prominent years before. During the 1990s, publishers such as Dark Horse Comics, Kodansha USA, and Viz Media were established to meet the demand for manga. Upon the 2000s, Shonen Jump would establish a North American branch by 2001. While manga translations were previously presented in the traditional American comic magazine format, the digest size publications traditional to manga have become common. As a result of demand and to respect their cultural origins, the books are presented in the original form intended to be read from right to left.

Original English-language manga, or OELs, have been prominent since before even the anime and manga boom of the dawn of the 2000s. OELs are original material written by non-Japanese authors who directly emulate manga style in both storytelling and art and openly identify their works as manga. In the 1980s, along with Comico and Eternity Comics's adaptation of the Robotech animated series, various other companies would release manga-style comics such as Ben Dunn's Ninja High School and Barry Blair's Samurai. Tokyopop was the first company on paper to contract non-Japanese artists to produce and market (Original English-language manga). Though previous manga-style comics consisted mostly of selective borrowing of manga or anime elements for a work that was not intended to be regarded as manga, their inspirations and artistic methods categorize them under the term.

In October 2019 industry analyst Milton Griepp presented data at an ICv2 conference in New York showing that for the first time in decades, the market was dominated not by traditionally American monthly comics of the superhero genre, but graphic novels and trade paperbacks of other genres, particular those aimed at younger readers, such Dav Pilkey’s Dog Man and Raina Telgemeier’s Guts, and Japanese manga and manga-inspired books. These books see high sales in bookstores, though the shift was also reflected in comics shops. According to data by Bookscan, child-oriented comics and graphic novels accounted for 41% of sell-through at bookstores, and manga is 28%, while books of the superhero genre constituted less than 10%, a drop of 9.6% year-over-year.

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Life as We Know It (TV series)

Life as We Know It is an American teen drama television series which aired on the ABC network during the 2004–2005 season. It was created by Gabe Sachs and Jeff Judah. The series was loosely based on the novel Doing It by British writer Melvin Burgess.

Premise
Set at the fictional Woodrow Wilson High School in Seattle, Washington, Life as We Know It focuses on three teenage best friends–Dino Whitman, Ben Connor, and Jonathan Fields. Dino is a star ice hockey player whose parents' marriage falls apart when his mother has an affair with his hockey coach. Dino has an uneasy relationship with his girlfriend, Jackie Bradford, a soccer player. Jackie's best friend is Sue Miller, an academic star. Ben becomes interested in Sue, who is unaware he was involved in an affair with a teacher, Monica Young. Jonathan, a clumsy jokester, is teased by Dino for his attraction to the overweight Deborah Tynan.

As part of the show's narrative structure, characters broke the fourth wall by stepping out of the scene — of which the action proceeds behind them in slow motion — and directly addressing the camera.

Regular

 * Sean Faris as Dino Whitman, lead character and star hockey player
 * Jon Foster as Ben Connor, one of Dino's best friends who has a rocky relationship with Sue after his affair with Monica Young
 * Chris Lowell as Jonathan Fields, Dino's other best friend who goes out with Jackie's friend Deborah
 * Missy Peregrym as Jackie Bradford, Dino's on-and-off girlfriend and the best friend of Sue and Deborah
 * Jessica Lucas as Sue Miller, as Ben's on-and-off girlfriend who is best friends with Jackie and Deborah
 * Kelly Osbourne as Deborah Tynan, Jonathan's witty British friend turned girlfriend and friend of Jackie and Sue
 * Lisa Darr as Annie Whitman, Dino's mother who has an affair with Dino's hockey coach
 * D. B. Sweeney as Michael Whitman, Dino's father who leaves his wife after her infidelity with Dino's hockey coach
 * Marguerite Moreau as Monica Young, a teacher who has an affair with Ben, one of her students. Sue eventually found out and told her father, who convinced Monica to transfer or she would go to jail

Recurring

 * Evan Smith as Max Whitman, Dino's younger brother
 * Sarah Strange as Mia Tynan, Deborah's mother
 * Martin Cummins as Coach Dave Scott, Dino's coach who has an affair with Dino's mother Annie
 * Jessica Harmon as Zoe

Guest stars

 * Michaela Mann as Emma
 * Samantha McLeod as Marissa Becker
 * Nick Lashaway as Christopher "Topher" Flynn
 * Joshua Close as Matt Gleeson
 * Craig Ferguson as Oliver Davies, Deborah Tynan's dad
 * James McDaniel as William Miller
 * Megan Gallagher as Leslie Miller
 * Becky Ann Baker as Amanda Connor
 * Dylan Baker as Roland Connor
 * Richard Sali as Stuart Fields
 * Brenda James as Mary Fields
 * Tseng Chang as Science Teacher Mr. Chang
 * Sean Whalen as Mr. Parnell
 * Jeffrey Nordling as Mike
 * Julie Patzwald as Crystal
 * Meghan Ory as Greta
 * Amanda Crew as Polly Brewer
 * Crystal Lowe as Julie
 * Josh Meyers as Sam Connor
 * Peter Dinklage as Dr. Belber
 * Natasha Melnick as Sabrina
 * Connie Britton as Dianne
 * Samm Levine as Bernard Sachs
 * Busy Philipps as Alex
 * Ione Skye as Food Stand Woman

Production
The series was created by Jeff Judah and Gabe Sachs, who had previously worked on Freaks and Geeks and Undeclared. ABC greenlit a full series order for the fall season in June 2004. The show was filmed in Vancouver, British Columbia and Seattle, Washington by Sachs-Judah Productions and (ca)bloom!, in association with Touchstone Television, a corporate sibling of ABC, both owned by The Walt Disney Company. The school used for exterior shots, possibly interior as well, is Point Grey Secondary School in Vancouver.

Broadcast
The show premiered on October 7, 2004 in the Thursday 9 p.m. time slot, airing at the same time as NBC's The Apprentice and CBS's CSI: Crime Scene Investigation.

Reception
On review aggregator website Rotten Tomatoes, the series has a rating of 73% based on 22 reviews. The consensus states, “Life as We Know It might be too risqué for some viewers, but the teen drama tackles relationships in a nuanced manner.”

Variety called it "a sly, sweet look at high school . . . so good that you immediately make room on your shelf for the cult-fave DVD because you know this is the kind of show that gets cancelled after five episodes." Writing for Entertainment Weekly, Gillian Flynn also gave a positive review and said the show "revels in off-putting frankness."

John Doyle of The Globe and Mail wrote, "Most TV dramas about teenage life either paint everything in a romantic mist or present the teens as near-savages, existing in the sort of hormone-crazed universe depicted in the American Pie movies. Life as we know it falls somewhere in between. The kids are neither precocious nor too crude. They're self-infatuated, but the realities of the world are revealed to them. This is a coming-of-age drama but it's about formative experiences and not merely adolescent high jinks."

Samantha Bornemann of PopMatters noted that while some of the plot lines verged on predictability, with the Miss Young storyline in particular bringing "the series perilously close to camp", the show "is best during...little moments of communication and revelation [between its characters], allowing the teens to show their instinctual decency even as they prove exceedingly fallible human beings."

The media watchdog group the Parents Television Council protested against Life as We Know It saying that the October 2004 episode was sexually charged.

Cancellation
Life as We Know It was pulled from ABC's lineup during November sweeps, but was rerun on MTV to good ratings in November and December 2004. It was ultimately cancelled by ABC in January 2005, with its final two episodes going unaired. In 2005, the series was released on DVD, which included the two previously unaired episodes. Life aired abroad after its American cancellation.

In Brazil the show aired on Sony Entertainment Television starting June 13, 2005 at 7:00pm Tuesdays. In New Zealand, the show premiered in December 2005 on TV2, scheduled against America's Next Top Model. It replaced Veronica Mars, another American import, but was rescheduled after four episodes because of poor ratings. The remaining episodes were rescheduled from their prime-time slot (7:30pm Friday) to midnight Saturday, then pushed back after midnight as the season progressed. The final two episodes were played in reverse order. TV2 repeated the series from the beginning during the third quarter of 2006, just after midnight Thursdays, but again played the final two episodes in reverse order.

Life was also shown in the Philippines in the free cable channel Studio 23. While there were reruns after the initial showing, the two DVD episodes weren't released. In Portugal it is shown on SIC Radical cable channel and is popular among teenagers and young adults. In Hong Kong, it is shown on TVB Pearl and in Asia, it is shown on STAR World.

Life was also shown in South Africa on M-Net (DStv Channel 101), a subscription funded channel. The show was broadcast in prime-time and was popular. When the series 'ran out', M-Net received a large number of complaints from subscribers on their internet forums. Subsequently, the show was replayed in an 11:00am morning slot in early 2006. Life was also broadcast in 2005 on the M-Net Series channel (DStv Channel 104), a channel which is part of the DStv offering. This channel is broadcast via satellite to sub-Saharan Africa.

Life showed in Sweden on Kanal 5 during autumn and winter 2006.

In December 2006 (the beginning of the summer non-ratings period), the show began airing in Australia on the Seven Network at 10:30pm Tuesday nights. The show was also sold to FOX8, where it screened at 7:30pm Saturdays. In Ireland RTE2 showed two episodes every Monday (approximately 2:30am) from mid-January 2007. In Norway the show started airing in August 2006, but was cancelled after eight episodes

It was also broadcast in India in the 2007 fall season on the subscription channel Star World, where it ran all the episodes except the two bonus DVD ones. It is being rerun in India in the same channel in the 5:30–6:30 time slot.

Life was broadcast from January to March 2005 on Living TV in the UK. The series was later rerun on Living's sister channel Trouble.

Home media
Walt Disney Studios Home Entertainment (formerly Buena Vista Home Entertainment) released the complete series on DVD in Region 1 on August 23, 2005. It included all 13 episodes, 2 of which were unaired, on 3 discs. Bonus features included audio commentaries, deleted scenes, outtakes, and the producer's photo gallery.

title: Life as We Know It (TV series)


text:
USS Roe (DD-24)

USS Roe (DD-24) was a Paulding-class destroyer in the United States Navy during World War I, and later in the United States Coast Guard designated CG-18. She was the first ship named for Francis Asbury Roe.

Roe was laid down on 18 January 1909 by the Newport News Shipbuilding Company, Newport News, Virginia, launched on 24 July 1909, sponsored by Mrs. Reynold T. Hall, and commissioned on 17 September 1910.

United States Navy
Following commissioning, Roe conducted exercises in the Norfolk, Virginia, area until December with one interruption, a voyage to Newport, Rhode Island, and back in early November. On 17 December, she got underway for Key West and winter exercises in the Gulf of Mexico. With the spring, she returned to Norfolk and until January 1913 remained active off the mid-Atlantic and southern New England sea coasts. From January–April 1913, she participated in maneuvers in the Caribbean, then, in the fall, operated off New England. On 30 October, she arrived at Philadelphia, Pennsylvania, where she was placed in reserve on 3 November. In March 1914, she was assigned to the newly organized Reserve Torpedo Flotilla and until World War I rotated between reserve and active duty with the Atlantic Fleet. During the late summer and fall of 1914, she operated off the mid-Atlantic seaboard, and from February–April 1915, participated in further winter maneuvers in the Caribbean. During the summer, she was off southern New England, and in November, she put into Charleston, South Carolina, where she was given a reduced complement status.

In March 1917, Roe was placed in full commission status. With the new month, April, she was assigned to Squadron 2, Division 5, Patrol Force and ordered to assist Treasury and Labor Department officials at Wilmington, North Carolina, in preventing the destruction or escape of German merchant vessels. On the 6th, as the United States entered World War I, she sent an armed guard aboard Hohenfelde (see USS Long Beach (AK-9)). During her service in World War I, she was commanded by Captain William A. Hodgman, who received the Navy Cross for his efforts.

At mid-month, Roe was transferred to Newport, where she conducted anti-submarine patrols and carried out escort assignments for six months. On 9 November, she sailed for France where for the next year; she performed coastal patrol and escort duty.

On 5 November 1918, Roe departed Brest for the United States. She arrived at New York City on 1 December and at midmonth she returned to Charleston where she remained until July 1919. She then proceeded to Philadelphia, where she was decommissioned on 1 December and berthed with the Reserve Fleet.

United States Coast Guard
Designated DD-24 on 17 July 1920, Roe was activated in 1924 and transferred to the Treasury Department. From 7 June 1924 – 18 October 1930, she was operated by the United States Coast Guard. Based in Stapleton, New York, she served as part of the Rum Patrol.

On her return to the Navy, she was again berthed at League Island where she remained until sold for scrap on 2 May 1934 in accordance with the London Naval Treaty.

title: USS Roe (DD-24)


text:
User:Francois Genolini

fr:User:Francois Genolini

Now editing Wikipedia as User:Fgenolini.

François Génolini lives in Aberdeen, Scotland, UK (most of the time).

title: User:Francois Genolini


text:
User talk:MarioGuima

Welcome to the Wikipedia
Here are some links I thought useful:

 * Tutorial
 * Help desk
 * Foundation issues
 * Policy Library
 * Utilities
 * Cite your sources
 * Verifiability
 * Wikiquette
 * Civility
 * Conflict resolution
 * Neutral point of view
 * Pages needing attention
 * Peer review
 * Bad jokes and other deleted nonsense
 * Brilliant prose
 * Featured pictures
 * Boilerplate text
 * Current polls
 * Mailing lists
 * IRC channel

Feel free to contact me personally with any questions you might have. The Village pump is also a good place to go for quick answers to general questions. You can sign your name by typing 4 tildes, like this: ~.

Be Bold!

[[User:Sam Spade|Sam Spade Wants you to vote!]] 15:45, 18 Dec 2004 (UTC)

Usercat
You were listed on the Wikipedians/Brazil page as living in or being associated with Brazil. As part of the User categorisation project, these lists are being replaced with user categories. If you would like to add yourself to the category that is replacing the page, please visit Category:Wikipedians in Brazil for instructions. Rmky87 06:37, 17 September 2005 (UTC)

title: User talk:MarioGuima


text:
Larino

Larino (Larìnə; Larinum) is a town and comune of approximately 8,100 inhabitants in Molise, province of Campobasso, southern Italy. It is located in the fertile valley of the Biferno River.

The old town, seen from the mountains, is shaped like a bird's wing. The new town, called Piano San Leonardo, is built on a mountainside.

History
The city of Larino has been continuously inhabited for millennia. Originally settled by the Samnite and Frentani tribes of Southern Italy, the city came under the control of the Oscan civilization. In 217 BC, the Romans defeated Hannibal here, and it was later incorporated into the Roman Empire, where it was classified as a municipium, and added to the Secunda Regio (Apulia). When Julius Caesar and Pompey the Great fought for the power in Rome, the latter is said to have joined two of his legions who were encamped at Larinum. Earlier the consul Claudius marched through Larinum on his way to attack the Carthaginian Hasdrubal. The city's name appears in the works of the ancient historians Livy and Pliny. An important senatus consultum restricting public performances by members of the Roman upper classes was found nearby.

The modern city was built in the 14th century, after the old one, about 1.5 km away, was destroyed in an earthquake after having repeatedly been sacked by the Saracens. The old Roman city of Larinum was situated along the main road to the South-East, which started on the coast in Histonium (Vasto), and ran from Larinum eastward to Sipontum. The main road also branched off at Larinum into a secondary road to Bovianum Vetus.

In 1656, a plague nearly wiped out the city. The 373 survivors were prepared to abandon the settlement, but through the vigorous efforts of then Bishop Giuseppe Catalano, they were convinced to stay, and the city grew and thrived once again.

During World War II the radio reported that Larino had been totally destroyed in a bombardment. While it was true that the Allies and the Germans were in the vicinity of the town, hostility was avoided and the town was preserved. The city faced a large exodus during the 1950–60s, due to the extreme poverty of the Molise region, and there is a large community of Larinesi living abroad, as well as their first- and second-generation descendants.

Roman amphitheatre
The elliptical amphitheater was built in the 1st century AD by a prominent citizen of Larino who had made his fortune in far away Rome. The arena could comfortably seat 12,000 spectators. The structure was built into a natural declivity in the terrain.

Cathedral and Fontana Nuova
The Fontana Nuova ("New Fountain" or A fonte 'e Sam Parde, Saint Pardo's fountain), now in disrepair, and the Duomo (Cathedral), made a minor basilica in 1928 by Pius XI, which is considered by some to be one of the finest examples of Gothic architecture in Italy. It was built in the 10th and 11th centuries and inaugurated in 1319. It was restored and renovated many times, with the addition of a Gothic arch in 1451, a belltower in 1523 and interior renovations in the 18th century. It was likely built, in part, by architects and engineers brought in from the Angevine rulers of Naples. At that time there was a tradition of using "spoila", remnants of classical buildings, and it is likely that the structure used cut stone from the classical city which existed in the area of what is now called Piano San Leonardo. One of the church's main elements is the portal, with columns included in a blind protyrus, and examples of medieval decoration including lions, gryphons and a lunette with the Crucifixion; the portal is surmounted by a rose window in Gothic style sided by depictions of the Four Evangelists and the Agnus Dei. The Galuppi Tower (1312), across from the cathedral, has been strengthened by large square metallic plates. The tower, which was part of the old town's defenses, was the bell tower of a now abandoned convent. The entire structure was built on the command of Pope Clement V at the very beginning of the 14th century.

Dr. Robert Gardner in his studies, noted an earlier, but less grand cathedral mirrored the design of the present gothic structure. The twin edifices were designed by Francesco Petrini at the beginning of the 14th century. These churches, like those at Lucera, Foggia, Manfredonia, Vasto, Ortona, for example, were built by the Angevin rulers in the "French'' style.

Some features set the Cathedral in Larino apart. For one thing, it is likely built on the location of an earlier church dedicated to the Virgin Mary. For while it follows the structural guidelines common to many churches built at this time (around 1300) in Southern Italy, it is irregular and asymmetrical. The façade of the church is canted at an angle and the rows of internal columns do not match. There are fewer on one side of the structure than the other.

Recently, during work on the vaults in the Bishop’s Palace to the side of the Cathedral the vaulted ceilings were revealed. In some instances they are built of very regular Roman brick. In some other cases they are structured, in exactly the same manner, with rubble.

The cathedral in Larino is exceptional even in the sophistication of its structure and the consistency of the craftsmanship. The rather primitive wall paintings in the cathedral were a part of the approach to ecclesiastical decoration favoured by the French kings.

In Apulia external decoration was more elaborate than elsewhere featuring especially elaborate portals. This is true of Larino. According to scholars the decorative excellence of churches at Atri, L’Aquila, Penne, Larino, and Ortona were fashioned by local schools of craftsmen in some isolation from other influences. However the templates which were available were used over and over again without much evolution of the form. One explanation for this is that an "imported form", not natural to the culture of the new place in which it is implemented often becomes "frozen in time".

In the 1290s, not long before the construction of the Cathedral in Larino, there emerged a taste for "spolia". This desire to utilize antique (from Roman times) building materials and incorporate them in the building to the ecclesiastic structures became emphasized during the reign of Charles II between 1295 and 1309. Today in Larino you can see evidence of this usage of ancient materials in the base of the Galuppi bell tower across the square from the cathedral. It is obvious that the stone was from a variety of sources. One block of material even has a deep round hole which suggests that it may have been taken from an ancient well, although local tradition holds that it was a place where orphan babies could be placed with some safety when they were abandoned by their mothers.

If an observer stands in the archway of the bell tower and looks upward you will see a series of parallel lines running up from the supporting massive cut stone base to the top of the arch. The lines were formed by the long ago disintegration of cane which was used to form the stone arch way. The cane would be bent in the desired shape (a gothic arch) and supported from beneath. Then the masons would place the rubble and mortar in shape. The first layer would be allowed to set and then the higher level would be installed, again built with a combination of rubble and cut stone placed at the edges of the structure. The cathedral before the 1960s was covered in baroque ornamentation from much later periods.

Pictures exist of the cathedral with an additional set of windows to the right and left of the great portal. If you look at the face of the wall you will notice newer rectangular stones placed where the windows once existed. To know if the windows were original to the design you would have to search out a template, possibly in Lanciano.

The bell tower of the cathedral was built later and it too incorporates classical elements in its structure."

San Francesco
The Franciscan church is contemporary with the cathedral, but with a simpler and more restrained monastic taste. During recent restorations, primitive wall paintings were found behind the choir. Much of its later Baroque ornamentation has been removed with recent restorations. In the exposed side wall of the church, there are three bricked-in elongated windows. The wall itself is an odd combination of cut stone, brick, and rubble. At one time it was thought that the different materials may have been caused by repair to damage caused by an earthquake, but the truth is likely that the base was made of regular cut stone. Once above the level of the base any materials could be used because they were likely faced with a plaster much as many columns from Roman times were actually built with brick with a smooth coating of cement.

The Fleur De Lys appear on the columns at the portal because the Kings and Monks who supervised construction were French. The local workers were likely employed as common labourers. The cut stone was hauled by the horse and bull drawn carts from the classical city to the construction site. Roof tiles were made in "the French manner" and the walls were completely covered in frescoes. San Francesco was built almost devoid of stone ornamentation. The church we see today, like so many Italian churches, was forced later to adhere to a taste for Baroque with what many moderns see as "excessive decoration".

Other churches in the city include, Santo Stefano and Santa Maria della Pietà.

Palazzo Ducale (Ducal Palace)
Now the seat of municipal government, it was probably originally built as a Norman castle. The palace is now repainted as it was decades ago. The exterior walls are alternating panels of whitish grey and charcoal black. The upper levels, surrounding the stone windows are a combination of pink and cream. The top level, overlooking a large terrace, is faced in sunflower yellow. Later a part of the building became Albergo Moderno(Modern Hotel), is now abandoned. The structure has three distinct facades. One distinctly shows the physical structure of the original castle. The second has a renaissance feel and housed the rulers of the town. The third is a large brick neoclassical structure which was adjoined to the castle in the 19th century.

Culture
The city has many fairs and festivals, notably those of San Primiano and of San Pardo. These include parties and religious processions. Traditional recipes of the town include Pigna Larinese (pigna 'Arnese, a type of cake) and taralli con l'uova (i taralle cu ll'ove, egg taralli). It also has its own cultivar of olive, known as the Gentile di Larino, which is highly prized for its oil.

In the summer a series of festivals is held. May 25–27 of each year is dedicated to the Festival of San Pardo (A fest"e Sam Parde). In 2005, there were over 110 carts festooned with hand-made flowers.  Each wagon is pulled by two white oxen.  A procession moves from the historic centre and the cathedral to the cemetery and the old church which dates from the earliest days of the Christian era.  It is at once a religious event, a historic event, and a family celebration.  Each cart belongs to a particular family, and the cart's position in the procession is a sign of social standing.  At Easter the Passion of Christ is re-enacted with townspeople dressed as Roman soldiers, Jewish elders, and Roman patricians.

Christmas is celebrated with scenes from the Nativity and the installation of thousands of lights which illuminate every section of the historic center. February is celebrated with an elaborate carnival with scores of gigantic paper Mache characters on motorized floats.

Twin towns

 * 🇮🇹 San Pellegrino Terme, Italy

Transportation
Larino is served by a railway station, the Larino railway station, on the Termoli-Campobasso and Termoli–Venafro line.

Important people

 * Aldo Biscardi
 * Antonio De Santis, Italian poet
 * Angelo Vetta, member of Serbian Learned Society (Српско учено друштво) from 1885, honorary member of Serbian Royal Academy (Српска краљевска академија) from 1892.

title: Larino


text:
Talk:Deja Entendu

"French pronunciation" (sic)
(French pronunciation: ) – Is there any reason for that particular mention in the opening sentence? This band seems to be not from any French-speaking country, and the spelling doesn't even properly use French letters (as in 'Déjà Entendu'). I'm looking at 'Violent Femmes' here. If one is supposed to assume that it's pronounced in French without that cue or appropriate citation, that would suggest original research on the part of someone. I think it ought to be removed. --  Ohconfucius  ping / poke 04:23, 10 May 2013 (UTC)

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title: Talk:Deja Entendu


text:
User talk:Akhalil

Thanks for uploading Image:New Republics of S Sudan 2020.jpg. I notice it currently doesn't have an image copyright tag. Could you add one to let us know its copyright status? (You can use if you release it under the GFDL, or  if you claim fair use, etc.) If you don't know what any of this means, just let me know where you got the images and I'll tag them for you. Right now, I'll put it as unverified, but change it to what it's supposed to be when you get a chance. Thanks, Mattingly23 15:50, 18 Dec 2004 (UTC)

title: User talk:Akhalil


text:
Broadwick Street

Broadwick Street (formerly Broad Street) is a street in Soho, City of Westminster, London. It runs for 0.18 miles (0.29 km) approximately west–east between Marshall Street and Wardour Street, crossing Berwick Street.

Broad Street was notorious as the centre of an 1854 outbreak of cholera. Physician John Snow traced the outbreak to a public water pump on the street, and disabled the pump. Before this time, the disease was widely thought to be caused by air-borne 'miasma'; Snow's findings showed it to be water-borne.

A replica pump, together with an explanatory plaque, was erected close to the original location in 1992. The original pump was at the junction of Broad Street and Cambridge Street (today Lexington Street), close to the back wall of what today is the 'John Snow' pub. The site is subtly marked with a pink granite kerbstone in front of the small wall plaque.

A house on the corner of Broadwick and Marshall streets was the birthplace and childhood home of William Blake.

The street crosses, or meets, Wardour Street, Duck Lane, Berwick Street, Hopkins Street, Ingestre Place, Poland Street, Lexington Street, Dufours Place, Marshall Street and Carnaby Street.

Current businesses on Broadwick Street include Yauatcha, a noted Chinese restaurant.

Current occupants

 * No. 6: Agent Provocateur
 * Nos. 15–17: Yauatcha
 * No. 25: temper soho
 * No. 31: itsu
 * No. 33: Hearst Corporation
 * No. 35: Pret a Manger
 * No. 39: John Snow pub
 * No. 71: Ooyala
 * No. 72: Hearst Corporation

Former occupants
Nos. 48 & 50, Padgett & Braham Ltd. and Wakely & Wheeler Ltd, goldsmiths & silversmiths. Also at the same premises were T & A Wise Ltd. engravers, and The Flutemakers Guild, makers of flutes in precious metals.

title: Broadwick Street


text:
File:Brand New Deja Entendu.jpg

Cover of the Brand New album Deja Entendu.

Fair use rationales:
 * 1) The image is being used to illustrate the album in question.
 * 2) No free or public domain images have been located for this album.
 * 3) The image is of lower resolution than the original cover.
 * 4) The image does not limit the copyright owners' rights to distribute the album in any way.
 * 5) This image is used on various websites, so its use on Wikipedia does not make it significantly more accessible than it already is.
 * 6) The image is being used for informational purposes only.

title: File:Brand New Deja Entendu.jpg


text: File:Knock on Wood (1954 movie poster).jpg


text: Category:2003 elections

title: Category:2003 elections