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Lanternfish

Lanternfish (or myctophids, from the Greek μυκτήρ myktḗr, "nose" and ophis, "serpent") are small mesopelagic fish of the large family Myctophidae. One of two families in the order Myctophiformes, the Myctophidae are represented by 246 species in 33 genera, and are found in oceans worldwide. Lanternfishes are aptly named after their conspicuous use of bioluminescence. Their sister family, the Neoscopelidae, are much fewer in number but superficially very similar; at least one neoscopelid shares the common name "lanternfish": the large-scaled lantern fish, Neoscopelus macrolepidotus.

Lanternfish are among the most widely distributed, diverse and populous vertebrates, with some estimates suggesting that they may have a total global biomass of 1.8 to 16 gigatonnes, accounting for up to 65% of all deep-sea fish biomass. Commercial fisheries for them exist off South Africa, in the sub-Antarctic, and in the Gulf of Oman.

Description
Lanternfish typically have a slender, compressed body covered in small, silvery deciduous cycloid scales (ctenoid in four species), a large bluntly rounded head, large elliptical to round lateral eyes (dorsolateral in Protomyctophum species), and a large terminal mouth with jaws closely set with rows of small teeth. The fins are generally small, with a single high dorsal fin, a forked caudal fin, and an adipose fin. The anal fin is supported by a cartilaginous plate at its base, and originates under, or slightly behind, the rear part of the dorsal fin. The pectoral fins, usually with eight rays, may be large and well-developed to small and degenerate, or completely absent in a few species. In some species, such as those of the genus Lampanyctus, the pectorals are greatly elongated. Most lanternfish have a gas bladder, but it degenerates or fills with lipids during the maturation of a few species. The lateral line is uninterrupted.

In all but one species, Taaningichthys paurolychnus, a number of photophores (light-producing organs) are present; these are paired and concentrated in ventrolateral rows on the body and head. Some may also possess specialised photophores on the caudal peduncle, in proximity to the eyes (e.g., the "headlights" of Diaphus species), and luminous patches at the base of the fins. The photophores emit a weak blue, green, or yellow light, and are known to be arranged in species-specific patterns. In some species, the pattern varies between males and females. This is true for the luminous caudal patches, with the males' being typically above the tail and the females' being below the tail.

Lanternfish are generally small fish, ranging from about 2 to 30 cm in length, with most being under 15 cm. Shallow-living species are an iridescent blue to green or silver, while deeper-living species are dark brown to black.

Ecology

Lanternfish are well known for their diel vertical migrations: during daylight hours, most species remain within the gloomy bathypelagic zone, between 300 and 1500 m deep, but towards sundown, the fish begin to rise into the epipelagic zone, between 10 and 100 m deep. The lanternfish are thought to do this to avoid predation, and because they are following the diel vertical migrations of zooplankton, upon which they feed. After a night spent feeding in the surface layers of the water column, the lanternfish begin to descend back into the lightless depths and are gone by daybreak. By releasing fecal pellets at depth, Laternfish make the carbon capture process called biological pump more efficient.

Most species remain near the coast, schooling over the continental slope. Different species are known to segregate themselves by depth, forming dense, discrete conspecific layers, probably to avoid competition between different species. Due to their gas bladders, these layers are visible on sonar scans and give the impression of a "false ocean bottom"; this is the so-called deep scattering layer that so perplexed early oceanographers (see below).

Great variability in migration patterns occurs within the family. Some deeper-living species may not migrate at all, while others may do so only sporadically. Migration patterns may also depend on life stage, sex, latitude, and season.

The arrangements of lanternfish photophores are different for each species, so their bioluminescence is thought to play a role in communication, specifically in shoaling and courtship behaviour. The concentration of the photophores on the flanks of the fish also indicate the light's use as camouflage; in a strategy termed counterillumination, the lanternfish regulate the brightness of the bluish light emitted by their photophores to match the ambient light level above, effectively masking the lanternfishes' silhouette when viewed from below.

A major source of food for many marine animals, lanternfish are an important link in the food chain of many local ecosystems, being heavily preyed upon by whales and dolphins, large pelagic fish such as salmon, tuna and sharks, grenadiers and other deep-sea fish (including other lanternfish), pinnipeds, sea birds, notably penguins, and large squid such as the jumbo squid, Dosidicus gigas.

Lanternfish themselves have been found to feed on bits of plastic debris accumulating in the oceans. At least one lanternfish was found with over 80 pieces of plastic chips in its gut, according to scientists monitoring ocean plastic in the Pacific Ocean's eastern garbage patch.

Deep scattering layer
Sonar operators, using the newly developed sonar technology during World War II, were puzzled by what appeared to be a false sea floor 300–500 metres deep at day, and less deep at night. This turned out to be due to millions of marine organisms, most particularly small mesopelagic fish, with swimbladders that reflected the sonar. These organisms migrate up into shallower water at dusk to feed on plankton. The layer is deeper when the moon is out, and can become shallower when clouds pass over the moon.

Sampling via deep trawling indicates that lanternfish account for as much as 65% of all deep sea fish biomass. Indeed, lanternfish are among the most widely distributed, populous, and diverse of all vertebrates, playing an important ecological role as prey for larger organisms. The estimated global biomass of lanternfish is 550–660 million tonnes, several times the entire world fisheries catch. Lanternfish also account for much of the biomass responsible for the deep scattering layer of the world's oceans. Sonar reflects off the millions of lanternfish swim bladders, giving the appearance of a false bottom.

Rise to dominance

Lanternfish currently represent one of the dominant groups of mesopelagic fishes in terms of abundance, biomass, and diversity. Their otolith record dominates pelagic sediments below 200 m in dredges, especially during the entire Neogene. The diversity and rise to dominance of lanternfish can be examined by analysing these otolith records. The earliest unambiguous fossil lanternfish are known based on otoliths from the late Paleocene and early Eocene. During their early evolutionary history, lanternfish were likely not adapted to a high oceanic lifestyle but occurred over shelf and upper-slope regions, where they were locally abundant during the middle Eocene.

A distinct upscaling in otolith size is observed in the early Oligocene, which also marks their earliest occurrence in bathyal sediments. This transition is interpreted to be related to the change from a halothermal deep-ocean circulation to a thermohaline regime and the associated cooling of the deep ocean and rearrangement of nutrient and silica supply. The size of early Oligocene lanternfish is remarkably congruent with diatom abundance, the main food resource for the zooplankton and thus for lanternfish and whales. The warmer late Oligocene to early middle Miocene period was characterised by an increase in the disparity of lanternfish but with a reduction in their otolith sizes. A second and persisting secular pulse in lanternfish diversity (particularly within the genus Diaphus) and increase in size begins with the "biogenic bloom" during the late Miocene, paralleled with diatom abundance and gigantism in baleen whales.

Genera
Benthosema Bolinichthys Centrobranchus Ceratoscopelus Ctenoscopelus Dasyscopelus Diaphus Diogenichthys Electrona Gonichthys Gymnoscopelus Hintonia Hygophum Idiolychnus Krefftichthys Lampadena Lampanyctodes Lampanyctus Lampichthys Lepidophanes Lobianchia Loweina Metelectrona Myctophum Nannobrachium Notolychnus Notoscopelus Parvilux Protomyctophum Scopelopsis Stenobrachius Symbolophorus Taaningichthys Tarletonbeania Triphoturus

title: Lanternfish


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Wikipedia:Articles for deletion/Rhianna Pratchett

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result of the debate was Redirect to Terry Pratchett.

Rhianna Pratchett
Dr Zen is correct in pointing out on the talk page that this does not meet the criteria for speedy deletion however the subject is still not notable. She has done nothing of note other than be the daughter of a famous writer. -- Graham ☺ | Talk 04:20, 14 Dec 2004 (UTC)
 * Whoops, my apologies for the speedy. All right then, Delete, because there is no indication in this (extraordinarily feeble) "article" that the subject is of any noteworthiness. -- Hoary 05:16, 14 Dec 2004 (UTC)
 * It's not patent nonsense, but I think it qualifies for speedy on the basis of 'little useful information'. DJ Clayworth 06:28, 14 Dec 2004 (UTC)
 * She's a writer in her own right (too many rights going on there, never mind), although not a particularly distinguished one. I have no strong opinion on whether she should be kept. Dr Zen 06:58, 14 Dec 2004 (UTC)
 * I would have just made it a redirect to Terry Pratchett and left it at that, no need to take it to vfd imo. Shane King 07:03, Dec 14, 2004 (UTC)
 * Well, I was bold and did that (nothing prevents working on an article while it is discussed). Does it not work with the banner? Or did I do it wrongly?Dr Zen 07:19, 14 Dec 2004 (UTC)
 * She's (or she was, not sure) a journalist on a UK magazine, if memory serves, but probably not intrinsically notable for it. Delete, keep a short bio on TP's page, and it can later be broken back out if needed or if she appears in another context. Shimgray 14:01, 14 Dec 2004 (UTC)
 * It wouldn't harm to have a redirect, surely? The name's not needed for anyone else after all. Dr Zen 00:40, 15 Dec 2004 (UTC)
 * No, but please don't take actions like this without due process. I'm not going to revert that, but please practice what you preach. Alphax (talk) 05:16, Dec 15, 2004 (UTC)
 * The due process for making a redirect is to go ahead and do it, friend. It's perfectly acceptable to edit articles that are going through this process. If it gets deleted, I won't re-create it. Dr Zen 05:26, 15 Dec 2004 (UTC)
 * That strikes me as so much cant, Zen. Whereas it is unambiguously acceptable to edit an article under vfd, it is not clear that it is acceptable to change it to a redirect, for at least the following reasons: a) because users at vfd will not see the article that a deletion was sought for and b) because redirects are dealt with at Redirects for deletion not at Votes for deletion. Given that you've spent the last few hours upbraiding people for misuse of speedy, for you to decide arbitrarily that it is fine to dispose of a vfd by redirecting gives the impression that you;re prepared to cut yourself a whole lot more slack than you give others. FWIW, your use of the word "friend" merely grates. --Tagishsimon (talk)

I believe creating a redirect is absolutely standard editing. As for your reasons for thinking not: a/ there is no requirement for users to see the article that the lister saw -- it's conventional that they vote on what's there (sometimes they even change their votes if their original reasons no longer apply) and b/ so what? List it there too if it bothers you so much. Your argument about speedies is a straw man. I have not disposed of the VfD. It is still here. The article is still there. If a consensus wants it deleted, it'll get deleted. I have not changed the process in any way. I'm sorry that you don't want to be friends but I expect I'll get by. Dr Zen 05:55, 15 Dec 2004 (UTC)
 * Yes, I agree, if her own work hasn't reached the level of notablility, this should become a redirect. -- Jmabel | Talk 07:24, Dec 15, 2004 (UTC)

May I chime in for a second time at this point, to say that while every contribution to the discussion so far has been admirably sane and courteous (a big contrast with, say, the "Sollog" kerfuffle), the amount of energy spent on it is intercoursing ridiculous? Anyone wanting to write a new article should say, even if ever so briefly and imperfectly, what's notable about the subject. This writer didn't. He or she then left the matter for careful deliberation by people whose time would have been much better spent elsewhere on Wikipedia (let alone outside Wikipedia). Please see the deletion page for "Elbert bill"; I there suggested (at the outset) that such non-articles should be put out of their misery at birth: people shouldn't have to spend time on Google (etc.) in order to judge notability, truthfulness, etc. Unless I misunderstand, zapping a crappy article doesn't prevent somebody from writing a better article on the same subject at some later time. (This is after all what happens when a new article is a copyvio.) So again, I suggest zapping this article and anything like it on the grounds of a combination of more than one damning factor (here, utter uninterestingness and a complete lack of demonstration of notability), aggravated by the certain expenditure of time that a Vfd leads to. -- Hoary 10:33, 15 Dec 2004 (UTC)

 * Added some information. That's about as much as I know.  I met her once, she was nice.  Anyway, abstain.--Tomheaton 14:20, 15 Dec 2004 (UTC)

 * I was bold and removed it. I'm for deleting this article if that's the size of it.Dr Zen 23:19, 15 Dec 2004 (UTC)
 * I was bold and added the info (what little there was) to Terry Pratchett. My guess is that she will deserve an article at some point in the future.  Keep as redirect  The Steve  06:58, Dec 16, 2004 (UTC)
 * It's absurd to keep redirecting it when someone (me, as it happens) has taken the trouble to add more information. The entry either gets deleted or not.  There's no point redirecting it to Terry Pratchett.  It's not a page about Terry Pratchett.  Please stop the redirects until the entry has been voted on.  Someone else may come along with more information that can establish notability - but it's difficult to do so if a redirect has happened.--Tomheaton 10:30, 16 Dec 2004 (UTC)
 * Keep as a redirect. Keep the one-liner in the Terry Pratchett article, but unwikilink Rhianna's name there so long as her article is only a redirect. JamesMLane 22:24, 17 Dec 2004 (UTC)
 * Redirect to Terry Pratchett as said by many previously. violet/riga (t) 00:06, 20 Dec 2004 (UTC)
 * Redirect. RadicalSubversiv E 00:51, 20 Dec 2004 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.

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


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User:Eric Pement

Technical
My technical interests began with ZCPR and 4DOS in the 1980s. I was a BBS sysop (system operator) from 1990 to 1996, and have worked as a web master, web developer, or web programmer since 1996. I spent many years working with BBS scripting languages, file location and description utilities, disk/sector editors, and various communications tools.

As a writer and user of ASCII delimited files, I have a special fondness for programs that do text and file manipulation, such as sed, awk, and perl. I am the author and maintainer of the sed FAQ and the sed one-line scripts, and one of the founding members of the sed-users mailing list. The list of sed one-line scripts has been translated into multiple languages and has been reprinted on many web sites as a handy tool for Unix users.

I also have an affinity for interactive text and programmer's editors, including Emacs, Multi-Edit, PFE, VDE, TSE, TDE, and others going all the way back to WordStar and Perfect Writer in the early CP/M days, and an equally strong interest in batch files, shell scripts, and Unix or DOS command-line tools that perform simple tasks very well and can run unattended without user intervention.

Personal
I am a resident of Florida, married with three children, and have two degrees: M.B.A. (North Park University, 2006) and M.Div. (North Park Theological Seminary, 2009). I have been a Christian since 1973 and lived 24 years at Jesus People USA, a Christian communal group in Chicago. I worked for Cornerstone magazine in various editorial capacities for over 22 years, ultimately becoming Executive Editor, and was a regular teacher on cults and world religions at Cornerstone Festival for 17 years.

I'm interested in many world religions and new religious movements from both a personal and academic perspective, although my own worldview aligns with classical and historic Christianity. Recently, I served as Associate Editor and contributor for The Evangelical Dictionary of World Religions (Grand Rapids: Baker, 2018). I describe myself as having a skeptic's mind, a servant's heart, a child's curiosity, and a pastor's faith.

-- Eric Pement

title: User:Eric Pement


text:
Ivan Galamian

Ivan Alexander Galamian (Իվան Ղալամեան; February 5 1903 – April 14, 1981) was an Armenian-American violin teacher of the twentieth century who was the violin teacher of many seminal violin players including Itzhak Perlman.

Biography
Galamian was born in Tabriz, Iran to an Armenian family. Soon after his birth, the family immigrated to Moscow, Russia. He studied with Konstantin Mostras (a student of Leopold Auer) at the School of the Philharmonic Society from 1916 to 1922. He was jailed at age fifteen by the Bolshevik government. The opera manager at the Bolshoi Theatre rescued Galamian; the manager argued that Galamian was a necessary part of the opera orchestra, and subsequently the government released him. Soon thereafter he moved to Paris and studied under Lucien Capet in 1922 and 1923. In 1924 he debuted in Paris. Due to a combination of nerves, health, and a fondness for teaching, Galamian eventually gave up the stage in order to teach full-time. He became a faculty member at the Conservatoire Rachmaninoff where he taught from 1925 to 1929. His earliest pupils in Paris include Vida Reynolds, the first woman in Philadelphia Orchestra's first-violin section, and Paul Makanowitzky.

In 1937 Galamian moved permanently to the United States. In 1941 he married Judith Johnson in New York City. He taught violin at the Curtis Institute of Music beginning in 1944, and became the head of the violin department at the Juilliard School in 1946. He wrote two violin method books, Principles of Violin Playing and Teaching (1962) and Contemporary Violin Technique (1962). Galamian incorporated aspects of both the Russian and French schools of violin technique in his approach. In 1944 he founded the Meadowmount School of Music, a summer program in Westport, New York. The school has remained operational and has trained thousands of world-class musicians. Galamian taught concurrently at Curtis, Juilliard, and Meadowmount schools. He did not retire and maintained an active full-time work schedule. He died at the age of 78 in 1981 in New York City. His wife subsequently took on an active role in managing the Meadowmount School.

Galamian's most notable teaching assistants — later distinguished teachers in their own right — were Margaret Pardee, Dorothy DeLay, Sally Thomas, Pauline Scott, Robert Lipsett, Lewis Kaplan, David Cerone, and Elaine Richey.

Galamian held honorary degrees from the Curtis Institute of Music, Oberlin College, and the Cleveland Institute of Music. He was an honorary member of the Royal Academy of Music, London.

Notable pupils

 * Charles Avsharian
 * Michael Avsharian
 * William Barbini
 * Vera Beths
 * Serge Blanc (violinist)
 * Anker Buch
 * Robert Canetti
 * Stuart Canin
 * Jonathan Carney
 * José Francisco del Castillo
 * Charles Martin Castleman
 * Joseph V. Chen
 * Kyung Wha Chung
 * Dorothy DeLay
 * Glenn Dicterow
 * Philippe Djokic
 * Eugene Fodor
 * Miriam Fried
 * Erick Friedman
 * Gregory Fulkerson
 * Joseph Genualdi
 * Shirley Givens
 * Betty-Jean Hagen
 * Heimo Haitto
 * Daniel Heifetz
 * Ulf Hoelscher
 * Carmel Kaine
 * Kaoru Kakudo
 * Dong-Suk Kang
 * Martha Strongin Katz
 * Ani Kavafian
 * Ida Kavafian
 * Chin Kim
 * Young Uck Kim
 * Helen Kwalwasser
 * Fredell Lack
 * Jaime Laredo
 * Isidor Lateiner
 * Sergiu Luca
 * Malcolm Lowe
 * Vartan Manoogian
 * Gil Morgenstern
 * David Nadien
 * Sally O'Reilly
 * Margaret Pardee
 * Itzhak Perlman
 * Michael Rabin
 * Gerardo Ribeiro
 * Eugene Sarbu
 * Berl Senofsky
 * Simon Shaheen
 * Simon Standage
 * Arnold Steinhardt
 * Albert Stern
 * Michel Tagrine
 * Arve Tellefsen
 * Sally Thomas
 * Gwen Thompson
 * Andor Toth
 * Charles Treger
 * Ismael Vazquez
 * Robert Vernon (musician)
 * Donald Weilerstein
 * Rebekah Yoon
 * Pinchas Zukerman

Edited works

 * Bach, Concerto No. 1 (A minor). New York: International Music Company, 1960.
 * Bach, Concerto No. 1 (D minor). New York: International Music Company, 1960.
 * Bach, Concerto No. 2 (E major). New York: International Music Company, 1960.
 * Bach, Six Sonatas and Partitas for Solo Violin. New York: International Music Company, 1971. (Includes facsimile of the original)
 * Brahms, Sonatas, Op. 78, 100, 108. New York: International Music Company.
 * Bruch, Scottish Fantasy, Op. 46. New York: International Music Company, 1975.
 * Conus, Concerto in E minor. New York: International Music Company, 1976.
 * Don't, Twenty-four Etudes and Caprices, Op. 35. New York: International Music Company, 1968.
 * Don't, Twenty-four Exercises, Op. 37. New York: International Music Company, 1967.
 * Dvořák, Concerto in A minor, Op. 53. New York: International Music Company, 1975.
 * Fiorillo, Thirty-six Studies or Caprices. New York: International Music Company, 1964.
 * Galaxy Music Company, 1963 and 1966.
 * Gaviniés, Twenty-four Studies. New York: International Music Company, 1963.
 * Kreutzer, Forty-two Etudes. New York: International Music Company, 1963.
 * Mazas, Etudes Speciales, Op. 36 Part 1. New York: International Music Company, 1964.
 * Mazas, Etudes Brilliantes, Op. 36 Part 2. New York: International Music Company, 1972.
 * Paganini, Twenty-four Caprices. New York: International Music Company, 1973.
 * Rode, Twenty-four Caprices. New York: International Music Company, 1962.
 * Saint-Saëns, Caprice, Op. 52, No. 6. New York: International Music Company.
 * Sinding, Suite in A minor, Op. 10. New York: International Music Company, 1970.
 * Tchaikovsky, Three Pieces, Op. 42. New York: International Music Company, 1977.
 * Vivaldi, Concerto in A minor. New York: International Music Company, 1956.
 * Vivaldi, Concerto in G minor, Op. 12, No. 1. New York: International Music Company, 1973.
 * Vivaldi, Concerto for Two Violins in D minor, Op. 3, No. 11. New York: International Music Company, 1964.
 * Vivaldi, Concerto for Two Violins in A minor. Piccioli-Galamian, New York: International Music Company, 1956.
 * Vieuxtemps, Concerto No. 5 in A minor, Op. 37, New York: International Music Company, 1957.
 * Wieniawski, Concerto No. 2 in D minor, Op. 22. New York: International Music Company, 1957.
 * Wieniawski, Ecole Moderne, Op. 10. New York: International Music Company, 1973.

Publications

The book principles of violin playing and teaching is translated to several languages in the world. Chinese version is done by Professor Peter Shi-xiang Zhang, Spanish by Renato Zanettovich, Persian by Dr. Mohsen Kazemian.

title: Ivan Galamian


text:
Bank of the People

The Bank of the People was created by radical Reform politicians James Lesslie, James Hervey Price, and Dr John Rolph in Toronto in 1835. It was founded after they failed to establish a "Provincial Loan Office" in which farmers could borrow small sums guaranteed by their land holdings. The Bank of the People was the only bank in Upper Canada not to suspend payments during the financial panic of 1837-8. Many of the shareholders, however, took part in the Rebellion of 1837 and the Family Compact plotted to have it taken over by the Bank of Montreal in 1840.

Chartered vs Joint Stock Banks
Until 1835, every bank in Upper Canada required a legislated charter which established it as a legal person able to sue, and be sued at law. Only two Banks had been chartered: the Bank of Upper Canada and the Commercial Bank of the Midland District. Both banks were controlled by the "Family Compact" who used their control of the currency supply and credit to control trade and ultimately, the farmers. They had a "licensed monopoly" to print paper money, which reduced competition.

In 1835, Dr Charles Duncombe, a Reform politician in the Legislative Assembly, was part of a "Select Committee on Currency" that offered a template for the creation of joint stock banks based on several successful Scottish banks. The Scottish bank system had always differed from the English system. The difference between the English chartered banks and the Scottish joint stock banks lay almost entirely on the issue of stockholder liability and its implications for the issuance of bank notes. The joint stock banks lacked limited liability, hence every partner in the bank was responsible for the bank's debts to the full extent of their personal property. The chartered banks, in contrast, protected their shareholders with limited liability and hence from major loss; they thus encouraged speculation. The chartered banks would loan out many more banknotes (little more than bank issued I.O.U.s) than they had specie (legal tender) to exchange for those notes once redeemed. The more banknotes they loaned out the more interest they made, but at the increased risk of bankruptcy. Protected by limited liability, their shareholders put profit above risk.

The Scottish joint-stock banks, in contrast, followed a "hard money policy", whereby they would issue a banknote only if they had enough specie to cover it. They avoided speculative risk because if they failed, their shareholders were responsible for the full loss. Since the banks did not require a legislated charter, many more banks could be founded, and they were more competitive, thereby endangering the solvency of the speculative chartered banks.

The Bank of the People
Dr. Duncombe's report opened the legal door for new banks to be founded. The Reformers' abandoned their attempt to establish a "Provincial Loan Fund" for farmers in the Legislative Assembly, and instead turned their efforts to creating a new joint-stock bank. The first bank to be proposed was the Farmer's Bank. However, in a bitter shareholder proxy battle, control of the bank was won by the Hon. John Elmsley Jr., a member of the Family Compact. He was one of the largest shareholders in the Bank of Upper Canada. William Lyon Mackenzie argued that the Bank of Upper Canada "served the double purpose of keeping the merchants in chains of debt and bonds to the bank manager, and the Farmer's acres under the harrow of the storekeeper. You will be shewn how to break this degraded yoke of mortgages, ejectments, judgments and bonds. Money bound you - money shall loose you" (Correspondent & Advocate 30-7-1835).

Inspired, the Reformers, led by James Lesslie, a prominent Toronto businessman and Reform city alderman, then founded the Bank of the People on Nov. 4, 1835, seeking to limit shareholders to known Reformers. Dr John Rolph was elected president, and James Lesslie the cashier (manager). Among its stockholders were David Willson and the Children of Peace who operated the first credit union in Canada in their village of Hope. Sir Francis Hincks, head cashier at the Farmer's Bank, later became cashier at the Bank of the People and Lesslie became president.

One loan from the bank stood out: they gave William Lyon Mackenzie £200 to found the Constitution newspaper on July 4, 1836 to organize the democratic reformers of Upper Canada.

The new bank was soon to prove its distinctiveness. Despite offering 5% interest on deposits, it was able to deliver a 6% dividend in 1837, in spite of paying off £1,200 in start-up costs. It managed to do this despite the general economic downturn, and without resorting to widespread litigation. The Bank was located in a house on New (Jarvis) Street owned by James Beaty, a reform city councillor.

During the financial panic of 1837-8, the Tory dominated Legislative Assembly banned all further joint-stock banks, even though it was the speculative chartered Bank of Upper Canada that was insolvent and required a government bailout. The Bank of the People survived the panic unscathed and without recourse to government protection.

The bank was purchased by the Bank of Montreal in 1840. Like the other Canadian chartered banks, it issued its own paper money. The Bank of Canada was established through the Bank of Canada Act of 1934 and the banks relinquished their right to issue their own currency.

Related Banks
The name selected by the reformers, the Bank of the People, reflects their emerging strong ties and shared strategies with reformers in Lower Canada, who were founding a similarly named bank in Montreal at the same time, in an effort to break the Bank of Montreal's monopoly there. La Banque du Peuple was formed under the title of Viger, Dewitt & Company, organized as a société en commandite, the French form of joint stock company. The Montreal bank's founders were Louis-Michel Viger, a Montreal lawyer and popular Patriote politician, and Jacob DeWitt, a wealthy American-born hardware merchant, ship owner and reform politician. They drew their clientele from among the French farmers and artisans.

title: Bank of the People


text:
Susan Werner

Susan Werner (born 1965) is an American singer-songwriter. Much of Werner's work has been in the contemporary folk genre.

Career
Werner was raised on her family's farm near Manchester, Iowa, about an hour west of Dubuque. She became interested in music at a young age and went on to receive a bachelor's degree in voice at the University of Iowa. In 1987, she moved to Philadelphia, and earned a master's degree in voice at Temple University. Werner initially wanted a career in opera, but after seeing a Nanci Griffith performance became inspired and began composing songs of her own on acoustic guitar.

Performing around Philadelphia, Boston, and New York City, Susan began making a name for herself in the folk scene of the early 1990s. She recorded five albums from 1993 to 2001, and in 2001 she moved to Chicago. Her first five albums were all in the folk genre, but Werner's sixth album, I Can't Be New (2004), was a substantial departure, with original material in the vein of Tin Pan Alley, cabaret, and early jazz torch songs.

Werner's seventh album, The Gospel Truth, was released in March 2007 and addresses themes of religion, faith, social responsibility, as well as religion from an agnostic's point of view. In 2010, Tom Jones recorded "Did Trouble Me", from Werner's The Gospel Truth, for his album Praise & Blame.

Her eighth album, Live at Club Passim is collection of original songs (gospel, jazz & folk) recorded with her band: Colleen Sexton, Trina Hamlin & bassist Greg Holt. For her ninth album, Classics, she performs pop music from the 1960s and 1970s accompanied by chamber instruments.

Her tenth album, entitled Kicking the Beehive, was released in March 2011. Produced by Rodney Crowell, it features guest appearances from Vince Gill, Keb' Mo and Paul Franklin. Her album Hayseed, a concept album about "farms, farmers, and the people who love them", was released in the summer of 2013.

Werner branched out to write the music and lyrics for a musical based on the film Bull Durham, which premiered at Atlanta's Alliance Theatre on September 3, 2014.

In 2017 Werner released An American In Havana, an EP featuring six songs written during two trips to Cuba in 2015 and 2016.

Personal life
Werner was born into a musical family. Her mother was a singer, although her father's musical ability was limited to "whistling on pitch". All five of her siblings are musically talented. One brother is a professional stand-up comedian and another brother is a performing drag queen.

Discography

 * Midwestern Saturday Night (1993)
 * Live at Tin Angel (1993)
 * Last of the Good Straight Girls (1995)
 * Time Between Trains (1998)
 * New Non-Fiction (2001)
 * I Can't Be New (2004)
 * The Gospel Truth (2007)
 * Live at Passim (2008)
 * Classics (2009)
 * Kicking The Beehive (2011)
 * Live at The Center for Arts in Natick (2011)
 * Hayseed (2013)
 * An American in Havana (2017)
 * NOLA (2019)
 * Flyover Country (2020)

title: Susan Werner


text:
Nobody Lives for Ever

Nobody Lives for Ever (published in American editions as Nobody Lives Forever), first published in 1986, was the fifth novel by John Gardner featuring Ian Fleming's secret agent, James Bond. Carrying the Glidrose Publications copyright, it was first published in the United Kingdom by Jonathan Cape and in the United States by Putnam.

Plot summary
En route to retrieve his faithful housekeeper, May, from a European health clinic where she is recovering from an illness, Bond is warned by the British Secret Service that Tamil Rahani, the current leader of SPECTRE, now dying from wounds suffered due to his last encounter with Bond (as described in Role of Honour), has put a price on Bond's head. "Trust no one," Bond is warned. Soon after, May and Miss Moneypenny, who had been visiting his housekeeper are reported missing, and Bond finds himself dodging would-be assassins while searching for his friends, assisted by a young débutante and her capable, yet mysterious, female bodyguard.

The price on Bond's head is a competition orchestrated by Rahani and SPECTRE known as 'The Head Hunt', and is an open contest to anyone willing to capture, kill, or present Bond to Rahani, where he would be subsequently decapitated by guillotine. Along Bond's journey of attempting to rescue Moneypenny and May, Bond is betrayed and chased by a number of people and organisations, including his own British Secret Service ally, Steve Quinn who has defected to the KGB, corrupted police officers, and agents of SPECTRE in disguise.

Characters

 * James Bond
 * M
 * Miss Moneypenny
 * May
 * Principessa Sukie Tempesta is an Italian Princess whom Bond saves while driving to check up on his Scottish housekeeper, May. He later sees her again and offers to drive her home to Rome; however, these plans are cut short after Bond learns of the price on his head. She stays with Bond acting as a hostage and later refusing to leave his side in his moment of need. She is accompanied after her second meeting with Bond by her friend and bodyguard, Nannie.
 * Nannette 'Nannie' Norrich is the head of an all-female bodyguard organisation, NUB (aka Ularon), tasked to protect Sukie. The two are good friends; however, Sukie is unaware that Nannie has entered the competition as a freelancer and has promised Rahani to deliver Bond to him.
 * Herr Doktor Kirchtum is the doctor who was overseeing May while she was at the clinic. After Moneypenny and May were kidnapped, Kirchtum was taken captive by Steve Quinn and forced to send instructions to Bond. Bond later frees Kirchtum only to learn later that Kirchtum was actually in league with Quinn. Kirchtum is subsequently killed by either Nannie or Sukie (the identity is never given) upon attempting to rescue 007 from Kirchtum and Quinn's clutches.
 * Steve Quinn is the British Secret Service's man in Rome. He is sent by M to assist Bond in fleeing mainland Europe so that Bond can return to London. Unbeknownst to everyone, Quinn has defected to the KGB and currently works for SMERSH (now known as Department Eight). Quinn is assisted in capturing Bond by Doktor Kirchtum, and, like the latter, is killed by either Nannie or Sukie (the identity is never given).
 * Tamil Rahani is the leader of SPECTRE, previously in Role of Honour. After parachuting from an airship at the end of Role of Honour to escape capture by Bond, he landed badly and injured his spine, which led to terminal cancer. Throughout the book, Rahani is said to have only a short time left to live. Knowing the end is near, Rahani initiates the 'Head Hunt' to capture Bond. Rahani is killed by Bond after having his bed rigged to detonate upon pushing the adjustment control button.

Cover Art
Nobody Lives for Ever is the last time (to date) the trademark 'wood grain' cover art has been used on a Bond novel. It was first seen on From Russia, with Love in 1957.

Publication history

 * UK first hardback edition: June 1986 Jonathan Cape
 * U.S. first hardback edition: May 1986 Putnam
 * Thai language first edition: December 1986 Kangaroo (Jing Jo) Press
 * UK first paperback edition: August 1987 Coronet Books
 * U.S. first paperback edition: July 1987 Charter Books

Reception
Critics were generally more enthusiastic about this Gardner Bond novel than his previous entries.

Publishers Weekly praised the book noting that on the basis of this entry Bond is likely to live forever. "In true comic-book fashion, the gory chapters detail the horrors that kill almost everyone except Bond who obviously won't die until he wants to."

Kirkus Reviews called this the "most deft" of Gardner's Bond novels thus far, though felt that it did not measure up to Gardner's own 1985 straight spy novel The Secret Generations. The anonymous reviewer praised the "fairly inspired" plot gimmick involving hunt for Bond's own head. "Gardner weaves swift, outrageous coincidences into a preposterous plot that is quite fun to follow as it hops from the Tyrolean Alps to Salzburg to Key West. All in all, Gardner avoids some of the giganticism of the Bond flicks but certain climactic cliches – granted Bond's megalomaniacal villains – by now seem unavoidable, Even so, one dismisses the cliches for the amusement."

Frank Stilley, in a review for the Associated Press syndicated throughout the United States, said Gardner "lacks nothing" of Ian Fleming's gift for "conveying agaonizing suspense" and that "the yarn is a cinch" to please "James Bond's countless fans".

Don O'Briant, books editor for The Atlanta Journal and The Atlanta Constitution, said the book was an "exciting adventure" and noted it in his roundup of the year's best books.

Future Bond author Raymond Benson said "This is far and away John Gardner's best James Bond novel, and it is precisely because it is such a personal plot for the leading character. It's a plot reminiscent of From Russia, With Love, and it moves along excitingly! The chase idea was splendid indeed, and the reader is chased along with Bond throughout the book." Benson praised the story's "many surprising turns" and believed that if it were a film it would "have much of the same tension that something like Hitchcock's North by Northwest had." Benson's only complaint was the lack of a central villain, though he praised the "well-written female characters (Sukie Tempesta and Nannie Norrich)" who accompany Bond.

title: Nobody Lives for Ever


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Talk:Golden Horseshoe

So define secondary regions
So mention the legal status of "secondary regions". No mayor or president... say how they relate to "primary regions". Jidanni (talk) 11:49, 12 January 2024 (UTC)
 * Secondary regions are part of the Greater Golden Horseshoe but not part of the Golden Horseshoe itself. They are primarily used for planning purposes. Johnny Au (talk/contributions) 16:33, 12 January 2024 (UTC)

Accuracy of the map
The municipal divisions and geography of the map showing the Golden Horseshoe looks pretty sketchy once you zoom in. I looked up the file and it seems to be used on many other articles. Is there anyone out there who could take a crack at a better version? 2607:FEA8:1B9C:A380:F466:6461:538C:2B1 (talk) 00:14, 31 March 2024 (UTC)
 * Please contact the creator of the map. Note that the user is not very active though occasionally made edits recently. Johnny Au (talk/contributions) 00:22, 1 April 2024 (UTC)

"Core" versus "Non-Core"
Is there a reliable citation as to the distinction between "core" and "non-core" parts of the Golden Horseshoe or Greater Golden Horseshoe? I may be missing it. While I find this interesting, if there is no reliable source, this basically original research WP:OR. StillWatchesCartoons (talk) 22:29, 3 May 2024 (UTC)

title: Talk:Golden Horseshoe


text: User talk:66.38.97.19

title: User talk:66.38.97.19


text:
Talk:Ian Hamilton (advocate)

Untitled
Surely "A Touch More Treason" wasn't published *before* "A Touch of Treason". 66.92.237.111 04:24, 14 Dec 2004 (UTC)

a republican QC ... seems a bit hypocritical

One of the guys who stole the Stone of Scone, huh? I'm amazed the security surrounding such national symbols such as the coronation objects was so lax as late as the 1950s. What were the British thinking? 204.52.215.107 19:34, 15 January 2007 (UTC)

The sentence "During this repatriation the stone was broken into two pieces but Hamilton, a young law student at the time, never faced prosecution after pointing out to the authorities that in order to pursue a successful prosecution they would first have to establish rightful ownership." Seems deliberately worded in a biased manner, so I have removed it unless anyone can give a citation for the issue of ownership being debated at the time. The ownership ofhistorical items has been dealt with in law generally, so it seems to be a claim made for biased purposes. 138.251.229.86 (talk) 11:58, 19 January 2009 (UTC)

The phrase "one of Scotlands most prominent lawyers" is uncited and appears biased. —Preceding unsigned comment added by 138.251.229.86 (talk) 12:04, 19 January 2009 (UTC)

I take issue with the notion Scotland was conquered. In 1707 they entered into an economic union that transitioned into a political union. Perhaps the author of this post might reconsider the wording. —Preceding unsigned comment added by 72.138.10.161 (talk) 00:35, 17 March 2009 (UTC)

Barrister?
The box that refers to the profession of Ian Hamilton QC as a Barrister betrays a lack of knowledge of both the man himself (who is after all the subject of this article) and his professional career. Ian Hamilton is an Advocate, Queen's Counsel, and former temporary acting Sheriff in Scotland. Barristers are not (nor ever have been) a part of the legal profession in Scotland, Advocates, Solicitors (Agents or Writers), and since 1990 Solicitor-Advocates are the main areas of specialism within the Scots legal profession. — Preceding unsigned comment added by ScotsDaddyintheUSA (talk • contribs) 01:21, 11 July 2011 (UTC)

title: Talk:Ian Hamilton (advocate)


text:
User talk:Tonyd

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! --Flockmeal 04:25, Dec 14, 2004 (UTC)
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title: User talk:Tonyd


text:
Nobody Lives Forever

Nobody Lives Forever may refer to:

 * Nobody Lives for Ever, a James Bond novel, released as Nobody Lives Forever in the U.S.
 * Nobody Lives Forever (film), a 1946 film starring John Garfield
 * Nobody Lives Forever (1998 film), a TV film starring Brenda Bakke
 * "Nobody Lives Forever", an episode of the Miami Vice television series
 * an episode of the Elementary television series

title: Nobody Lives Forever


text:
Gennaker

A gennaker is a sail that was developed around 1990. Used when sailing downwind, it is a cross between a genoa and a spinnaker. It is not symmetric like a true spinnaker but is asymmetric like a genoa, but the gennaker is not attached to the forestay like a jib or genoa. The gennaker is rigged like a spinnaker but the tack is fastened to the hull or to a bowsprit. It has greater camber than a genoa (but significantly less camber than a spinnaker). This is optimal for generating lift at larger angles of attack. An early form of gennaker was the "gollywhomper", used briefly in the 1870s.

The gennaker is a specialty sail primarily used on racing boats to bridge the performance gap between a genoa and a spinnaker. It is sometimes the only downwind sail on board because it is easier to use and less expensive than a spinnaker. Due to its geometry, the sail is less prone to collapsing than a spinnaker. A gennaker is optimal for a beam reach, while an asymmetrical spinnaker is optimal for a broad reach or run.

title: Gennaker


text:
Superhero film

A superhero film is a film that focuses on superheroes and their actions. Superheroes are individuals who usually possess superhuman abilities and are dedicated to protecting the public. These films typically feature action, adventure, fantasy, or science fiction elements. The first film about a particular character often focuses on the hero's origin story. It also frequently introduces the hero's nemesis. (See also: supervillain or archnemesis.)

Many superhero films are based on superhero comics. By contrast, films such as the Ultraman, Kamen Rider, and Super Sentai franchises, the RoboCop series, The Meteor Man, the Unbreakable film series, Hancock, Darkman and They Call Me Jeeg, were either based on TV shows or produced as original projects for the screen. While The Green Hornet is based primarily on the original radio series and its 1960s television adaptation, both Underdog and The Powerpuff Girls are based on animated television series. Anime superhero films are based on manga and television shows.

The highest-grossing superhero film franchises (according to the box office income) since 1967 are Tsuburaya Productions' Ultra Series, Toei Company's Kamen Rider and Super Sentai, New Line Cinema's Blade, 20th Century Fox's X-Men, Sony Pictures' Spider-Man trilogy directed by Sam Raimi, and the Amazing Spider-Man duology directed by Marc Webb, Pixar's The Incredibles, Christopher Nolan's Dark Knight Trilogy, the Marvel Cinematic Universe (MCU), and the DC Extended Universe (DCEU). The genre has seen financial success, too, earning over $28 billion for Marvel alone.

1939–1978: Early years
Almost immediately after superheroes rose in popularity because of comic books, they were adapted into film serials, the earliest of which include Mandrake the Magician (1939), The Shadow (1940), Adventures of Captain Marvel (1941), Batman (1943), The Phantom (1943), Captain America (1944), and Superman (1948).

During 1941 to 1943, Max Fleischer Studios produced a series of animated short subjects based on the Superman comic.

In the following decades, the decline of Saturday matinee showings of serials and turmoil in the comic book industry put an end to superhero motion pictures, with the exception of Superman and the Mole Men (1951), starring George Reeves, which was a trial balloon for the television series Adventures of Superman, compilations of episodes of that same series released theatrically, and Batman (1966), a big-screen extension of the Batman television series starring Adam West.

In 1957, Shintoho produced the first film serial featuring the tokusatsu superhero character Super Giant, signaling a shift in Japanese popular culture towards masked superheroes in tokusatsu. Along with Astro Boy, the Super Giant film series greatly influenced later Japanese tokusatsu superhero films. Moonlight Mask also became popular around that time, with six films retelling the story of the TV series being made. Another early superhero film was Ōgon Bat (1966), a Japanese film starring Sonny Chiba based on the 1931 Kamishibai superhero Ōgon Bat.

The kaiju monster Godzilla, originally a villain, began being portrayed as a superhero in the Godzilla films. He has been described as "the original radioactive superhero" due to his nuclear origin story predating Spider-Man (1962 debut), although Godzilla did not become a hero until Ghidorah, the Three-Headed Monster (1964). By the 1970s, Godzilla came to be viewed as a superhero, with the magazine King of the Monsters in 1977 describing Godzilla as "Superhero of the '70s." Godzilla was "the most universally popular superhero of 1977" according to Donald F. Glut.

The year 1966 saw the debut of the Ultra Series with kaiju TV show Ultra Q. However, with the release of the original Ultraman, the franchise started focusing on superheroes. In 1967, Ultraman started expanding to films. Early films, such as Ultraman: Monster Movie Feature were compilations or theatrical releases of TV shows' episodes. The first original Ultraman film was a co-production with Thailand, The 6 Ultra Brothers vs. the Monster Army.

The popularity of television superheroes in Japan led to the start of the Kamen Rider and Super Sentai franchises by famous manga artist Shotaro Ishinomori in 1971 and 1975, respectively. Just like with Ultraman, many early Kamen Rider and Super Sentai episodes were released as films. Original Kamen Rider films released before 1978 include Kamen Rider vs. Shocker, Kamen Rider vs. Ambassador Hell, Kamen Rider V3 vs. Destron Mutants, and Five Riders vs. King Dark.

Original superhero characters emerged in other, more comedy oriented films such as the French political satire film Mr. Freedom (1969), the Polish parody Hydrozagadka (1970) and the American B movies, Rat Pfink a Boo Boo (1966), and The Wild World of Batwoman (1966).

1978–1998: Rising popularity with Superman, Kamen Rider, Batman, and Ultraman Zearth
Riding a wave of a new interest in fantasy and science fiction films with the success of Star Wars, Richard Donner's Superman (1978), the first major big-budget DC feature film, proved a critical and commercial success. The same year, Toei Company's Spider-Man reimagining and the first Super Sentai crossover film, JAKQ Dengekitai vs. Gorenger, were released. Other successful entries emerged throughout the 1980s, including Eight Riders vs. Galaxy King (1980), Kamen Rider Super-1: The Movie (1981), Richard Lester's Superman II (1981), Spider-Man: The Dragon's Challenge (1981) and Paul Verhoeven's RoboCop (1987). Then there was Kamen Rider Black: Hurry to Onigashima and Kamen Rider Black: Terrifying! The Phantom House of Devil Pass, both released in 1988.

Other superhero films released during the 1980s include Denshi Sentai Denziman: The Movie (1980), Flash Gordon (1980), Taiyo Sentai Sun Vulcan: The Movie (1981), Dai Sentai Goggle V: The Movie (1982), Swamp Thing (1982), Kagaku Sentai Dynaman: The Movie (1983), sequel, Superman III (1983), Choudenshi Bioman: The Movie (1984), Supergirl (1984), Ultraman Zoffy: Ultra Warriors vs. the Giant Monster Army (1984), Ultraman Story (1984), Dengeki Sentai Changeman: The Movie and ''Dengeki Sentai Changeman: Shuttle Base! The Critical Moment! (1985), The Toxic Avenger (1985), Choushinsei Flashman: The Movie (1986), Choushinsei Flashman: Big Rally! Titan Boy! (1987), Hikari Sentai Maskman: The Movie (1987), Superman IV: The Quest for Peace (1987), Masters of the Universe (1987), Bollywood's Mr. India (1987), Ultraman: The Adventure Begins (1987), RoboCop (1987), Kousoku Sentai Turboranger: The Movie (1989), and The Punisher'' (1989).

The success of Tim Burton's Batman (1989) and its direct follow-up, Batman Returns (1992) spawned the DC Animated Universe.

Superhero movies from the 1990s include Teenage Mutant Ninja Turtles (1990) and its two sequels, RoboCop 2 (1990), Darkman (1990), Sgt. Kabukiman N.Y.P.D. (1990), The Rocketeer (1991), Shin Kamen Rider: Prologue (1992), RoboCop 3 (1993), the animated Batman: Mask of the Phantasm (1993), Kamen Rider ZO (1993), Kamen Rider J (1994), Gosei Sentai Dairanger: The Movie, The Shadow (1994), The Mask (1994), Ninja Sentai Kakuranger: The Movie (1994), Blankman (1994), Chouriki Sentai Ohranger: The Movie (1995), Batman Forever (1995), Judge Dredd (1995), Tank Girl (1995), Mighty Morphin Power Rangers: The Movie (1995) and a sequel, Barb Wire (1996), The Phantom (1996), Black Mask (1996), Chouriki Sentai Ohranger: Ole vs. Kakuranger (1996), Revive! Ultraman (1996), Gekisou Sentai Carranger vs. Ohranger (1997) and Steel (1997). Marvel Comics' Captain America (1991) did not have a theatrical release and Roger Corman's The Fantastic Four (1994), produced solely for the legal maintenance of the film rights to the property was released neither theatrically nor on home video.

Alex Proyas' The Crow (1994) became the first independent comic superhero film that established a franchise. It brought in a new realm of violence absent in previous popular superhero films targeted at younger audiences and bridged a gap to the more modern action film. The success of The Crow catalyzed the release of a film version of Spawn (1997), Image Comics' leading character. After Marvel bought Malibu Comics (the company that owned The Men in Black comic series), Marvel and Columbia Pictures released the Men in Black film in 1997. The film became the first Marvel property to win an Oscar and the then-highest-grossing comic book adaptation. While a box office success, Joel Schumacher's Batman & Robin (1997) was critically panned for its campiness and it has strayed too far from the darker style of the series' first two Tim Burton films. As a result, it has sometimes been credited with nearly killing the superhero movie subgenre.

Starting with the 1990s, original Ultraman films started being a regular thing. In 1996 Tsuburaya released Ultraman Zearth, which parodied the original TV series and later installments. The following year, the sequel titled Ultraman Zearth 2: Superhuman Big Battle - Light and Shadow premiered.

1998–2008: Further rise with Blade I/II, X-Men, Raimi's Spider-Man, Daredevil, and The Dark Knight Trilogy
In 1998, Marvel released Blade, a mix of a traditional action film as well a darker superhero film, with the title character having vampiric powers as well as carrying an arsenal of weaponry. The success of Blade began Marvel's film success and set the stage for further comic book film adaptations. Meanwhile, thanks to the popularity of Ultraman Tiga TV series, several films based on it and later installments were produced. These include Ultraman Tiga & Ultraman Dyna: Warriors of the Star of Light (1998), Ultraman Gaia: The Battle in Hyperspace (1999) and Ultraman Tiga: The Final Odyssey (2000). The Matrix (1999) also had an impact on superhero films. Influenced by comic books, cyberpunk fiction, Japanese anime, and Hong Kong action films, The Matrix effectively "reinvented" the superhero film, according to Adam Sternbergh of Vulture.com, crediting The Matrix with setting the template for modern superhero blockbusters and inspiring the superhero renaissance in the early 21st century.

John Kenneth Muir in The Encyclopedia of Superheroes on Film and Television called the film a "revolutionary" reimagination of movie visuals, paving the way for the visuals of later superhero films, and credits it with helping to "make comic-book superheroes hip" and its bullet time effect effectively demonstrating the concept of "faster than a speeding bullet" on-screen. Inspector Gadget and Mystery Men would then follow to close out the decade for the sub-genre.

After the success of Kamen Rider Kuuga television series, a new era of the Kamen Rider franchise began. It led to the production of Kamen Rider movies every year, starting with Kamen Rider Agito: Project G4.

After the comic book boom and the success of several comic book adaptation films (including superhero films) in the 1990s, the first decade of the 21st century brought increased interest in superhero films and some of their most profitable franchises, many from Marvel Enterprises. The success of the X-Men TV series made 20th Century Fox license the film rights in 1994. After the success of Men in Black in 1997, Columbia Pictures licensed the film rights of Spider-Man in 1999. 20th Century Fox's X-Men (2000) became a film franchise by its surprise hit, and M. Night Shyamalan's Unbreakable (2000) also succeeded and added an element of more urban naturalism. Later, one of the largest blockbusters of all time was released with Sam Raimi's Spider-Man (2002). In 2004, Ultraman: The Next was released, which was a remaining of the original series and the franchise as a whole. With high ticket and DVD sales, numerous new superhero films were released every year in the 2000s, including Faust: Love of the Damned (2000), Blade II (2002), Daredevil (2003), The League of Extraordinary Gentlemen (2003), Hulk (2003), X2: X-Men United (2003), Blade: Trinity (2004), Casshern (2004), Catwoman (2004), Hellboy (2004), The Punisher (2004), the semi-animated Sky Captain and the World of Tomorrow (2004), Spider-Man 2 (2004), Elektra (2005), Constantine (2005), Fantastic Four (2005), Malaysia's Cicak Man (2006), India's Krrish (2006), Thailand's Mercury Man (2006), X-Men: The Last Stand (2006), Fantastic Four: Rise of the Silver Surfer (2007), Ghost Rider (2007), Chile's Mirageman (2007), Spider-Man 3 (2007), TMNT (2007), Drona (2008) and Hellboy II: The Golden Army (2008).

Brad Bird's The Incredibles (2004) for Pixar was a critically acclaimed animated superhero film aimed towards families. Other hybrids include Sky High (2005) and Zoom (2006) which were fusions of superhero and family film, as well as My Super Ex-Girlfriend (2006) a combination of superhero and romantic comedy.

Some series from the current and previous decades were re-released, such as Superman II: The Richard Donner Cut (2006). Other series discarded the continuities of previously released films and began a reboot, most notably Christopher Nolan's Batman Begins (2005), Louis Leterrier's The Incredible Hulk (2008) and Lexi Alexander's Punisher: War Zone (2008). Bryan Singer's Superman Returns (2006) stands out in that it is a sequel to the first two Superman films, yet also a reboot of the third and fourth films. The Batman Begins sequel The Dark Knight (2008) received eight nominations at the Academy Awards with two wins for Best Sound Editing and Best Supporting Actor for Heath Ledger's portrayal of The Joker.

2008—2014
In 2008, Iron Man was released, setting the stage for the Marvel Cinematic Universe. The likes of 2009's Watchmen and X-Men Origins: Wolverine would then close out the decade. The 2010s generally continued the box-office success of superhero films seen in the 2000s, and it took the sub-genres success and ubiquity to new heights. In 2010, Matthew Vaughn's adaptation of Kick-Ass was released, followed by Iron Man 2 a month later. 2011 releases included The Green Hornet (2011), Green Lantern (2011), and X-Men: First Class (2011). Following references to the "Avengers Initiative" in the Iron Man films and The Incredible Hulk, Marvel released Thor on May 6, 2011, followed by Captain America: The First Avenger on July 22, 2011.

Although the film Ghost Rider: Spirit of Vengeance was released on February 17, 2012 to little audience interest, superhero films dominated that year's lucrative summer film market with three superhero films occupying the top three positions of the box office chart. This includes the May 2012 release of Marvel's The Avengers, which broke the box office record as the highest-grossing superhero film of all time. The next Batman film from Christopher Nolan, The Dark Knight Rises, is the sequel to Christopher Nolan's film The Dark Knight, and was released on July 20, 2012, in the second position while the third was occupied by reboot of the Spider-Man franchise, The Amazing Spider-Man, directed by Marc Webb and produced for Columbia Pictures.

A Superman Returns sequel was planned for 2009 but was delayed and later scrapped in favor of the reboot, Man of Steel (2013).

At the 2012 San Diego Comic-Con, Marvel confirmed that an Ant-Man film was in development, as well as a film based on 2008 comic series Guardians of the Galaxy, which was released in August 2014. Iron Man 3 was released in May 2013, Thor: The Dark World in November 2013, and Captain America: The Winter Soldier in April 2014. The Amazing Spider-Man 2, the sequel to the 2012 reboot was also released in May 2014, which became the lowest-grossing and poorly received rated film in the Spider-Man film series. In 2013, a sequel to the 2009 film X-Men Origins: Wolverine, titled The Wolverine was released. In 2014, X-Men: Days of Future Past released to critical acclaim and financial success; the film became the highest-grossing film in the X-Men series, and effectively rebooted the franchise.

In 2014, Italian filmmaker Gabriele Salvatores directed a superhero-fantasy film titled Il Ragazzo invisible, or The Invisible Boy, which won the Young Audience Award at the 2015 European Film Awards.

2015—2018
An Avengers sequel, titled Avengers: Age of Ultron, was released in May 2015. Following the success of the Marvel Cinematic Universe, rival DC Comics also planned to make and produce their own shared film universe called the DC Extended Universe, which began with the release of Man of Steel; a sequel titled Batman v Superman: Dawn of Justice was scheduled for release in May 2016, though it was later moved up to March 2016. Nickelodeon's 2015 film The SpongeBob Movie: Sponge Out of Water features the main characters transforming into superheroes. 20th Century Fox rebooted the Fantastic Four series and released Fantastic Four in August 2015.

On March 9, 2015, publishing house Valiant Comics reached an unprecedented nine-figure deal with Chinese company DMG Entertainment to produce their own series of superhero movies, set in their own cinematic universe. The series will be co-produced by Sony Pictures and will start with a movie adaptation of Bloodshot for a 2016 release, followed by Harbinger, both movies receiving a sequel and ending in a crossover movie based on the Harbinger Wars arc from the comic books.

In 2015, Italian filmmaker Gabrielle Mainetti directed a superhero film, titled They Call Me Jeeg starring Claudio Santamaria. Its original title is Lo chiamavano Jeeg Robot, from the Italian name of the anime and manga series Steel Jeeg. It was released in Italy on February 25, 2016.

In 2016, the eighth installment in the X-Men series Deadpool was released in February, which went on to become the highest-grossing R-rated film of all time when unadjusted for inflation, and the highest-grossing film of the series. The ninth installment, X-Men: Apocalypse, was also released. Warner Bros. released Batman v Superman: Dawn of Justice in March, which is the first film to feature both Batman and Superman, also released. This film performed moderately well at the box office but received poor reviews. Suicide Squad in August, which features a team of anti-hero/supervillains, both of which take place in the DC Extended Universe. Marvel Studios, meanwhile, in May released Captain America: Civil War, in which the Avengers splits into two opposing factions, and Doctor Strange, which recounts the superhero origin of Stephen Strange, in November, both of which take place in the Marvel Cinematic Universe. In October, based on the eponymous toy line by Mattel, Max Steel was released.

January 2017 saw the release of M. Night Shyamalan's Split, which served as a standalone sequel to Unbreakable. The first Finnish superhero film, Rendel: Dark Vengeance, was released in September 2017 and it won the Best Action Movie award at the Erratum Film Festival in Mexico. Power Rangers, a movie reboot of the TV series, was released in March, with Lionsgate planning a seven-film franchise, but it was a commercial disappointment. By contrast, the film Logan, which was Hugh Jackman and Patrick Stewart's last appearances as their characters in the X-Men film series, proved to be a major critical and commercial success. This film was the first ever canon X-Men movie to be rated R as normally they were PG-13 and became the first superhero movie to receive an Academy Award for Best Adapted Screenplay. In the summer movie season, Guardians of the Galaxy Vol. 2, Wonder Woman and Spider-Man: Homecoming confirmed the superhero film dominance of the mainstream movie market. That dominance continued into the fall with the success of Thor: Ragnarok, but Warner Bros.' attempt to consummate its attempt to have its own shared universe media franchise, the DC Extended Universe, with Justice League as it was critical and financial disappointment.

In 2018, Marvel Studios released Black Panther on February 16, featuring the solo film adaptation of the first mainstream African-American superhero, the Black Panther. It was a commercial and critical success in the Marvel Cinematic Universe franchise. Furthermore, it became the first superhero film to be nominated for the Academy Award for Best Picture.

This MCU project was soon followed up by Avengers: Infinity War, released on April 27, 2018, which earned both critical acclaim and worldwide financial success earning an excess of $2 billion. Soon after, 20th Century Fox released Deadpool 2 on May 18, 2018 In addition, Incredibles 2, the long-awaited sequel for the Academy Award-winning animated film The Incredibles, had its wide release on June 15, 2018, met with considerable critical acclaim and earned $182.68 million on its premiere weekend. The next superhero film in the Marvel Universe Ant-Man and the Wasp was released on July 6, with competing studios declining to release major films on American Independence Day in the face of the reliably popular film franchise.

The anti-hero film Venom based on the comic book character was released on October 5, 2018, to poor reviews, but great box-office success. In December 2018 Warner Bros. released Aquaman, a film about the DC Comics superhero of the same name, which became the DCEU's most successful film in the box office as it grossed $1.148 billion worldwide.

2019—present
2019 began with M. Night Shyamalan's Glass, the culmination of Unbreakable and Split, in January. In March, the MCU's Captain Marvel overcame online hostility, in part because of star Brie Larson's comments about lack of diversity in the film and film criticism industries, to become the next film in the franchise to earn over $1 billion worldwide amid largely positive reviews. Later in April, the DCEU's Shazam!, featuring the lead character who was previously known as Captain Marvel himself, had decent box office success for its relatively low budget, which has been seen as further evidence of the revitalization of the Warner Bros. media franchise. That same month, Avengers: Endgame ended the Infinity Saga with widespread acclaim and broke numerous box office records and became the fastest film to exceed $1 billion worldwide, doing so in just five days. Avengers: Endgame became the highest-grossing film of all time, surpassing James Cameron's Avatar, for over two years, before the latter retook its place.

By contrast, the June X-Men film Dark Phoenix performed poorly critically and financially upon release. In addition, it was observed that there was noticeable fan indifference for a concluding film series of a property that would be put in the complete control of Marvel Studios producer, Kevin Feige, along with the Fantastic Four, for integration into the Marvel Cinematic Universe franchise in due time considering Disney's acquisition of 20th Century Fox. In July 2019, Phase 3 of the Marvel Cinematic Universe was concluded with the Sony film, Spider-Man: Far From Home which was released to critical and commercial success.

In August 2019, Joko Anwar's Gundala was released in Indonesia. It was screened at the Toronto International Film Festival later in September and is set to be the first entry in the Bumilangit Cinematic Universe (BCU) film series based on characters of comic books published by Bumilangit. The second and third films in the series, Sri Asih and Patriot Taruna: Virgo and the Sparklings, were announced for a 2020 release but were pushed back to 2021 as production was significantly delayed by the COVID-19 pandemic. The production company's strategy of announcing films in volumes with a team-up film as the climax has led to the media dubbing it the "Indonesian equivalent to the MCU and DCEU".

The Suicide Squad was released in August but was a box office disappointment despite receiving positive reviews. The underperformance was blamed on the continued disruption of cinema during the pandemic (particularly the delta variant) and confusion from the general audience on whether the film was a sequel, reboot or remake. Meanwhile, Marvel's Shang-Chi and the Legend of the Ten Rings broke Labor Day records, while similar successes were seen in the Sony's Spider-Man Universe (SSU) film Venom: Let There Be Carnage. Despite middling reviews and the first rotten rating for a Marvel Cinematic Universe film, Eternals opened to a moderate success at the box office.

Spider-Man: No Way Home released on December 17, 2021, and became the highest-grossing film of 2021, the sixth highest-grossing film of all time, the third-highest-grossing film in the United States and Canada, the highest grossing Spider-Man film, and the highest-grossing film produced by Sony. It also became the first film to gross over $1 billion since Star Wars: The Rise of Skywalker largely due to the COVID-19 pandemic, as well as the highest-grossing film not to be released in China (one of the world's biggest box office markets).

In 2022, Warner Bros released The Batman, a reboot for the Batman film series, and unconnected to the DC Extended Universe. It was a critical and commercial hit, with particular praise for the film being a 'grounded detective story, ' Matt Reeves direction and Robert Pattinson's performance as the titular hero. It went on to become the second biggest pandemic debut, after Spider-Man: No Way Home. Morbius, starring Jared Leto and based on the Spider-Man villain of the same name debuted that April as another chapter in Sony's Spider-Man Universe. The film was critically panned and a box-office bomb. Variety reported that whilst the initial opening was hopeful for Morbius, "The character is not nearly as recognizable to general audiences as Spider-Man, Batman or Venom, nor is the film clearly connected to a larger story like "Eternals" or "Shang-Chi and the Legend of the Ten Rings." Thus, "Morbius" wasn't expected to match the receipts for recent comic book tentpoles based on those characters." Scott Mendelson further stated that Sony seemed to rely on the film's 'connection to the Spider-Man universe, the success of Venom and a misguided assumption that audiences were interested in villain movies.

In May, Sam Raimi returned to the superhero genre with Doctor Strange in the Multiverse of Madness. The film was met with mixed-to-positive reviews and earned $187million on its opening weekend, becoming the eleventh-best domestic debut of all time, the best summer debut for a Disney release during the pandemic, and Raimi's best opening. In its second weekend, the film earned $61 million, becoming one of the MCU's biggest second-weekend box office drops. The 67% decline was attributed by Deadline Hollywood to the "bad word of mouth" on the film and its CinemaScore grade, while Intelligence saw more than 17% downsize of available seats for the film, resulting in a lessen showtimes which also led to the decline. In its third weekend, the film earned $31.6million, contributing to the 800-million-dollar mark at the box office to become Hollywood's second-highest-grossing film released during the pandemic behind No Way Home. The film earned $16.4million in its fourth weekend, contributing to the total box office that helped it to become the highest-grossing film of 2022 previously held by The Batman. As of June 2022, the film stands as the 11th highest-grossing of the MCU worldwide.

2023 saw the rise of the term "superhero fatigue", where 6 of the 8 superhero movies released that year, Ant-Man and the Wasp: Quantumania, Shazam! Fury of the Gods, The Flash, Blue Beetle, The Marvels, and Aquaman and the Lost Kingdom were poorly received and/or bombed at the box office. Only 2 superhero films in 2023, Guardians of the Galaxy Vol.3 and Spider-Man: Across the Spider-Verse, managed to do well at the box office, grossing $845 million and $690 million respectively, both turning a profit alongside positive reviews from audiences and critics.

Economic importance
superhero films are so important for the entertainment industry that they are, The Hollywood Reporter wrote, "one of the last ways for an actor to earn a major payday". It quoted a Hollywood executive as stating, "If you want to get paid, you have to put on a cape" because, the magazine said, "With rare exception, even A+ stars aren't making what they used to"; characters like Spider-Man and Batman are more important than the actors themselves, it said.

Animated
Outside of live-action, animated superhero films have also achieved critical and financial success. Nearly all animated superhero films are direct-to-video though there are a countless number of these films creating different events in them from their live-action counterparts. Batman: Mask of the Phantasm was released theatrically and was a critical success (though a box-office failure). In 1968, VIP my Brother Superman was released, directed by Italian animator Bruno Bozzetto; it is a parody of superheroes and enjoyed great success. In 2004, Pixar released The Incredibles, about a retired superhero couple and their children, which did extremely well both critically and financially and went on to win the Academy Award for Best Animated Feature. In 2010 DreamWorks Animation released Megamind to middling success. In 2014, Walt Disney Animation Studios released an adaptation of the Marvel Comics superhero team Big Hero 6. The same year, Warner Bros. released The Lego Movie, which had Batman and other DC Comics superheroes in major and supporting roles. A significant box-office success, it was followed in 2017 by The Lego Batman Movie, as well as DreamWorks Animation's Captain Underpants: The First Epic Movie.

In 2018, three theatrical animated superhero films were released to considerable critical and commercial success: Pixar's Incredibles 2, Warner Bros.'s Teen Titans Go! To the Movies, and Sony Pictures Animation's Spider-Man: Into the Spider-Verse. Furthermore, the latter of the three swept that year's major film awards for animated features, including the Academy Award. A sequel to Spider-Man: Into the Spider-Verse came out in 2023 titled Spider-Man: Across the Spider-Verse also to much critical acclaim with another sequel to be released sometime in the future.

Criticism
As superhero film production increased during the latter end of the 2010s, the genre's contribution to cinema was questioned. Martin Scorsese, in an interview with Empire magazine, commented that "the closest I can think of them, as well made as they are, with actors doing the best they can under the circumstances, is theme parks. It isn't the cinema of human beings trying to convey emotional, psychological experiences to another human being." He stated that the Marvel films were not "cinema". He later added that he was worried about studios' overreliance on the format because in "many places around this country and the world, franchise films are now your primary choice if you want to see something on the big screen. It's a perilous time in film exhibition, and there are fewer independent theaters than ever." In that New York Times essay, he also credited the work of people who make these films, writing "Many franchise films are made by people of considerable talent and artistry. You can see it on the screen. The fact that the films themselves don't interest me is a matter of personal taste and temperament. I know that if I were younger, if I'd come of age at a later time, I might have been excited by these pictures and maybe even wanted to make one myself," he wrote, adding "but I grew up when I did and I developed a sense of movies — of what they were and what they could be — that was as far from the Marvel universe as we on Earth are from Alpha Centauri."

Criticism of Marvel Studios' films continued with Jennifer Aniston stating that Marvel movies are "diminishing" and believed that there should be a "resurgence" of "the era of Meg Ryan." "Let's get the Terms of Endearment back out there. You know, Heaven Can Wait, Young Frankenstein, Blazing Saddles, Goodbye Girl." Denis Villeneuve dismissed "too many Marvel films" being "a cut and paste of others" and Roland Emmerich stating that large blockbuster films such as the MCU and Star Wars films were "ruining our industry a little" since "nobody does anything original anymore". However, in March 2022, Nicolas Cage stated that "Marvel has done a really excellent job of entertaining the whole family. They put a lot of thought into it. I mean, it's definitely had a big progression from when I was doing the first two 'Ghost Rider' movies. Kevin Feige, or whoever is behind that machine, has found a masterful way of weaving the stories together and interconnecting all the characters. What could be wrong with wholesome entertainment that is appealing to the parents and the children, and gives people something to look forward to?" Cage asked. "I just, I don't see what the issue is."

Some media commentators have attributed the increased popularity of superhero franchises in the new millennium to the social and political climate in Western society since the September 11 attacks, although others have argued advances in special effects technology have played a more significant role. Others have postulated that its box office dominance is in part due to its flexibility, a shared trait from its original publishing origins. Namely, the editorial realities of comic book publishing, which can have series running for decades, encouraged writers to resort to a variety of story situations so diverse from the fantastic to the relatively realistic, for so long and so often that it has become an expected element of the genre to have such adaptability. For example, with the common element being that they all feature heroes with extraordinary abilities and typically in a distinctive costume, many successful superhero films have used a plethora of genres such as horror (Blade), psychological thriller (Unbreakable), period drama (Captain America: The First Avenger), space opera (Guardians of the Galaxy), family film (The Incredibles), teen film (Spider-Man: Homecoming), exploitation (Deadpool), heist film (Ant-Man), fantasy (Doctor Strange), neo-noir (The Dark Knight), political thriller (Captain America: The Winter Soldier), and Western (Logan).

However, there is additional questioning as to how broad or vague the superhero genre is – and whether it could be legitimately classified as a film genre at all – when the basic definition is that of a benevolent hero or antihero with superhuman abilities, in which case many other films not traditionally associated as superhero plots would fall under the description.

Writer Alan Moore, a veteran of the comics industry known for his work on Watchmen, V for Vendetta, Batman: The Killing Joke, and From Hell, has expressed criticism of modern superhero movies in general, which he once called a "blight" to cinema and "also to culture to a degree." He said in an October 2022 interview with The Guardian that the popularization of the genre on the part of adults is an "infantilization" that can act as "a precursor to fascism." Lamenting at how deeply such films became part of the culture, Moore commented:

"'I will always love and adore the comics medium, but the comics industry and all of the stuff attached to it just became unbearable...Hundreds of thousands of adults [are] lining up to see characters and situations that had been created to entertain the 12-year-old boys – and it was always boys – of 50 years ago. I didn't think that superheroes were adult fare. I think that this was a misunderstanding born of what happened in the 1980s – to which I must put my hand up to a considerable share of the blame, though it was not intentional – when things like Watchmen were first appearing. There were an awful lot of headlines saying, 'Comics Have Grown Up'. I tend to think that, no, comics hadn't grown up. There were a few titles that were more adult than people were used to. But the majority of comics titles were pretty much the same as they'd ever been. It wasn't comics growing up. I think it was more comics meeting the emotional age of the audience coming the other way.'"

During a September 2023 interview with The Telegraph, Moore reiterated this view, saying that what had appealed to him most about output from comics publishers was "no more", saying, "Now they're called 'graphic novels', which sounds sophisticated, and you can charge a lot more for them. These innocent and inventive and imaginative superhero characters from the '40s, '50s and '60s are being recycled to a modern audience as if they were adult fare." During that same interview, journalist Jake Kerridge asked Moore if it was true that he divided the money he had received from onscreen adaptations of his work among the writers and other staffpersons of those productions. Moore replied, "I no longer wish it to even be shared with them. I don't feel, with the recent films, that they have stood by what I assumed were their original principles. So, I asked for DC Comics to send all of the money from any future TV series or films to Black Lives Matter."

By the 2020s, the term  had emerged to describe audiences' increasing exhaustion of overly homogeneous superhero films, as evidenced by diminishing box-office returns and poor critical reception. In particular, the Marvel Cinematic Universe has been criticized for oversaturating the market with its expansion to streaming beginning with Phase Four, prompting Marvel Studios to begin rethinking its annual output.

Parody

 * Andrzej Kondratiuk's 1970 film Hydrozagadka is a parody of the American ideals glorified in superhero films.
 * Kinka Usher's 1999 film Mystery Men features a group of inept amateur superheroes.
 * Another comedic play on superheroes is The Specials, a 2000 film in which the title team is more concerned with their public image than actually being superheroes.
 * Kevin Smith's 2001 film Jay and Silent Bob Strike Back, parodies film companies' seemingly compulsive purchase of comic book film rights with "Bluntman and Chronic". In the film, the character Brodie Bruce (played by Jason Lee) describes the process: "After X-Men hit at the box office, the movie companies started buying out every comic property they could get their dirty little hands-on".
 * Mark Hamill's 2004 parody film Comic Book: The Movie, was about a comic book fan and a film adaptation of his favorite character, and was released direct-to-video and achieved mild success, garnering a cult following among comic book readers.
 * Craig Mazin directed the more direct parody Superhero Movie, released in 2008.
 * 2008's Hancock saw a subversion of the genre by having the title character become a reluctant superhero. The movie grossed more than $629 million at the box office.
 * Alejandro González Iñárritu's Oscar-winning 2014 film Birdman or (The Unexpected Virtue of Ignorance) satirizes Hollywood's reliance on superhero and blockbuster films. In the film, Michael Keaton portrays Riggan Thomson, a washed-up Hollywood actor famous for playing the superhero Birdman in blockbuster movies decades earlier. He is tormented by the voice of Birdman, which mocks and criticizes him, and he sees himself performing feats of levitation and telekinesis.
 * The 2016 movie Deadpool and its 2018 sequel Deadpool 2 were box-office juggernauts, making $782.6 million and $785.8 million respectively.
 * Philippe Lacheau's 2021 French movie Super-héros malgré lui follows an actor who landed the role of a superhero named "Badman", but suffers an accident that caused him amnesia, and so he starts believing to be an actual superhero. The movie references DC and Marvel while making fun of the superhero film genre.

title: Superhero film


text:
Contamination delay

In digital circuits, the contamination delay (denoted as tcd) is the minimum amount of time from when an input changes until any output starts to change its value. This change in value does not imply that the value has reached a stable condition. The contamination delay only specifies that the output rises (or falls) to 50% of the voltage level for a logic high. The circuit is guaranteed not to show any output change in response to an input change before tcd time units (calculated for the whole circuit) have passed. The determination of the contamination delay of a combined circuit requires identifying the shortest path of contamination delays from input to output and by adding each tcd time along this path.

For a sequential circuit such as two D-flip flops connected in series, the contamination delay of the first flip-flop must be factored in to avoid violating the hold-time constraint of the second flip-flop receiving the output from the first flip flop. Here, the contamination delay is the amount of time needed for a change in the flip-flop clock input to result in the initial change at the flip-flop output (Q). If there is insufficient delay from the output of the first flip-flop to the input of the second, the input may change before the hold time has passed. Because the second flip-flop is still unstable, its data would then be "contaminated." Every path from an input to an output can be characterized with a particular contamination delay.

Well-balanced circuits will have similar speeds for all paths through a combinational stage, so the minimum propagation time is close to the maximum. This corresponding maximum time is the propagation delay. The condition of data being contaminated is called a race.

title: Contamination delay


text:
Talk:Ivan Galamian

Comment
I just made this page from the bare facts I know about Galamian. If you know more, PLEASE CONTRIBUTE!!!!! Also, if someone can figure out how to change the title so that it has a capital "G" that is a very desired change.

 * I moved it for you. Welcome to Wikipedia! Antandrus 04:33, 14 Dec 2004 (UTC)

Joshua Bell?
don't know who the heck made the comment about joshua bell studying under Galamian, so I'm deleting it

title: Talk:Ivan Galamian


text:
Talk:Contamination delay

This article needs a diagram to illustrate the point. If anyone can upload one it would be great, but I'll get to it later.

title: Talk:Contamination delay


text:
Such a Better Day

The Twins's Such A Better Day is their second best songs collection album includes their hits along with 4 new songs released in December 2004.

Special edition package comes with free gifts:

 * Twins Souvenir Band
 * Twins Compact Mirror
 * Twins Photo Album

Second version comes with free gift:

 * Twins Wrist Band

Track listing
Disc 1
 * 1) 精選 (New)
 * 2) 冬令時間 (New)
 * 3) 士多啤梨蘋果橙
 * 4) 下一站天后
 * 飲歌
 * 千金
 * 1) 你講你愛我
 * 女人味
 * 1) 夏日狂嘩
 * 2) 雙失情人節
 * 3) 大浪漫主義
 * 4) 二人世界盃
 * 眼紅紅
 * 1) 女校男生

Disc 2
 * 1) 18變 (New)
 * 2) 追女仔 (New)
 * 3) 多謝失戀
 * 4) 死性不改 (Twins + Boy'z 合唱版)
 * 5) 愛情當入樽
 * 6) 亂世佳人
 * 7) 朋友的愛
 * 8) 戀愛大過天
 * 丟架
 * 1) 大紅大紫
 * 2) 風箏與風
 * 拍住上
 * 1) 梨渦淺笑
 * 2) 我們的紀念冊

title: Such a Better Day


text: Category:T Tauri stars

title: Category:T Tauri stars


text:
Wikipedia:Articles for deletion/Leo Web Design

Leo Web Design
Notable? -- Graham ☺ | Talk 04:27, 14 Dec 2004 (UTC)
 * No claim is made for notability. Probably more notable than Terry Pratchett's daughter -- at this point; and may she blossom into a Nobel prizewinner -- but still to be deleted. -- Hoary 05:20, 14 Dec 2004 (UTC)
 * Delete. Not notable enough for Wikipedia. utcursch 09:05, Dec 14, 2004 (UTC)
 * Delete, looks like ad. [[User:MacGyverMagic|Mgm|(talk)]] 12:10, Dec 14, 2004 (UTC)
 * Delete: An ad. (So, is this named after some dude or a zodiac symbol?  I remember a place called "Walter's Appliance."  I kept imagining Walter's prosthetic leg running a store.)  Geogre 15:00, 14 Dec 2004 (UTC)
 * I wonder if that's the same guy that left something at Walters Ash? -- Graham ☺ | Talk 15:36, 14 Dec 2004 (UTC)
 * I also saw a gas station that said, "Welcome to Don's Beverage." I thought that was a bit unhygenic.  Geogre 19:29, 14 Dec 2004 (UTC)
 * Delete, ad Wyss 22:09, 14 Dec 2004 (UTC)
 * Delete, Americentric. I've never heard of a country called PA... Alphax (talk) 05:13, Dec 15, 2004 (UTC)
 * Ad. Delete. P Ingerson 11:58, 16 Dec 2004 (UTC)
 * Delete. Just another company. Ad. - Andre Engels 10:30, 17 Dec 2004 (UTC)


text:
Knowledge Machine

The Knowledge Machine is a concept of Seymour Papert, which is intended to enable children to explore any situation and engage them completely. Although Papert never clearly defined the Knowledge Machine, one interpretation is a virtual reality device that allows the user to slip into any situation and have a simulated experience of that situation.

The Knowledge Machine (KM) is also a developed system at the University of Texas for knowledge representation and reasoning within the artificial intelligence field. km was developed and continues to be actively maintained by Peter Clark and Bruce Porter.

title: Knowledge Machine


text:
Consolidated Bank of Canada

The Consolidated Bank of Canada was created from the merger of City Bank and Royal Canadian Bank in 1876, collapsed in 1879, and liquidation completed in 1882.

title: Consolidated Bank of Canada


text:
Jump 'n Bump

Jump 'n Bump is a 1998 freeware and open-source MS-DOS platform multiplayer video game by Brainchild Design.

Gameplay
Jump 'n Bump has no plot, other than that it involves up to four rabbits in multiplayer deathmatch: Dott, Jiffy, Fizz, and Mijji, trying to hop onto each other's heads to squish each other and score a point, while sending gibs flying everywhere. The rabbits are controlled by players on the same computer, using the keyboard, mouse, and/or joystick.

Development
Jump 'n Bump was written in C and Assembly language by Brainchild Design in 1998. The graphics were made with Deluxe Paint 2 and PaintShop Pro 5. The Mod music was made with FastTracker 2. Although the players' scores are tracked, the game continues indefinitely until it is ended by the players.

In 1999 the game with its source code was released as Emailware. The game has since been ported to a number of other operating systems and platforms, with the release of a SDL version.

Brainchild Design has since become inactive. Their website refers to Bitbliss Studios for more games.

Reception
Jump 'n Bump was mentioned as one of the earliest "instant kill games" when Samurai Gunn was compared to it in 2013. The N++ developers cited in 2014 Jump 'n Bump as inspiration for the Deathmatch mode in their game.

Due to the popularity and source code availability the game was ported to newer systems and platforms like Windows, Android, PlayStation 2, Wii and several others.

The game helped inspire the later indie game Bunnies by BlackHoleSun Software.

title: Jump 'n Bump