title: Against All Odds (1984 film)

text: The film's soundtrack, nominated for a Grammy Award, featured songs from Big Country, Kid Creole & the Coconuts, Stevie Nicks and Genesis breakout stars Mike Rutherford, Peter Gabriel and Phil Collins; the last performed the title song, which was nominated for an Academy Award as Best Original Song and for a Golden Globe Award as Best Original Song as well as a Grammy for Best Pop Vocal Performance, Male.


title: Against All Odds (1984 film)

text: Professional football player Terry Brogan (Jeff Bridges) is released by his team, the Outlaws. Aging, injured and in need of money, he is contacted by an old acquaintance, the shady gambler and nightclub owner Jake Wise (James Woods), who wants Terry to find Jake's girlfriend Jessie Wyler (Rachel Ward), daughter of the Outlaws' owner. Jake claims that Jessie assaulted him, stole money and fled. Terry is reluctant to take on the job, but needs the money and knows Wise is capable of blackmailing him.


title: Against All Odds (1984 film)

text: Terry gets in touch with Jessie's mother (Jane Greer), ostensibly to find out where Jessie can be found, but mainly to convince Mrs. Wyler and her business partner Ben Caxton (Richard Widmark) to reinstate him on the team. Mrs. Wyler makes clear that she has no interest in his football career. She's willing to pay him more than Jake would if he will find Jessie for her. Beyond that, she has no use for him. Hank Sully (Alex Karras), the team's trainer, strongly advises Terry to stay away from Jake and offers to help Terry get a coaching job. Terry is convinced his days as a player are not over and instead decides to work for Jake to tide him over until the next season, when he can try to continue his playing career.


title: Against All Odds (1984 film)

text: Terry finds Jessie living in Cozumel, Mexico. He makes multiple attempts to approach Jessie, but she rebuffs him, aware that he must have been sent by either Jake or her mother. Terry tires of pursuing a spoiled brat and packs to leave, but Jessie appreciates that he hasn't revealed her whereabouts and invites him to see where she is staying. They become lovers. Terry confides the leverage Jake has over him is the knowledge that Terry once shaved points in an important football game after he had fallen into debt.


title: Against All Odds (1984 film)

text: Terry and Jessie remain happily together for a few weeks, with Terry continuing to tell Jake he's been unsuccessful in locating her. Sully is sent by Jake to investigate. He catches the lovers alone at the ruins of Chichen Itza. Wielding a gun, Sully demands that Terry turn over the girl and warns him she's "no good." He, too, has been involved in corruption with Jake's sports syndicate. A struggle between the men ensues and Jessie fatally shoots Sully. She wants to flee, as the two will be unable to offer an explanation that will allow them to avoid jail. But when Terry refuses, insisting that the two cannot just run away from the matter, Jessie abandons him.


title: Against All Odds (1984 film)

text: After disposing of Sully's body, Terry returns to Los Angeles and finds to his astonishment that Jessie has returned to Jake. He is bitter toward her, but Jake maintains a hold over him with the point-shaving incident, as well as Sully's sudden disappearance. Jake invites Terry to his nightclub where he is sent to break into the office of Kirsch (Saul Rubinek), the team's corrupt lawyer, who is also involved in Jake's gambling operation. Terry's mission is to retrieve Kirsch's files, which implicate those involved.


title: Against All Odds (1984 film)

text: After leaving the nightclub with the keys he needs for the break-in, Terry goes to Jake's house to see Jessie who didn't come to the show that night. After a desperate confrontation, she admits both her love for him and the hold Jake has over her knowing that she was directly involved in Sully's death. The next morning on the beach, Jake has a heartfelt talk with her, but Jessie is distant and asks him to let her go.


title: Against All Odds (1984 film)

text: Terry breaks into the office only to find Kirsch dead. A security guard has been hired to kill Kirsch and make it look like Terry committed the murder. Terry fights off the security guard, then hides Kirsch's body. He finds a local bar frequented by Kirsch's secretary, Edie (Swoosie Kurtz), where he tells her what has happened and that she, too, is in danger. Edie tells him about a secret box that contains the information to bring down the entire syndicate and local politicians. They return to the office to retrieve the box, where a fight occurs with another two guards, but again Terry escapes, this time with Edie and the files.


title: Against All Odds (1984 film)

text: When Jake tells Jessie that he's had Kirsch killed and framed Terry for the murder, she takes the desperate step of going to her mother's house and informing Caxton, telling him that Jake has been handling bets on his old football team using information he's been given by Sully and Kirsch. What she doesn't know is that Caxton is actually Jake's boss at the syndicate.


title: Against All Odds (1984 film)

text: Caxton takes charge. He arranges to meet Terry at the site of a new construction project that he and Mrs. Wyler are backing. Terry is able to disarm Caxton's henchman Tommy (Dorian Harewood). He says his price for turning over the files is that Caxton must take down Jake. Caxton indicates he is receptive to that idea, whereupon Jake pulls his own gun and threatens to kill Jessie, forcing Terry to drop his weapon. While the men have their attention focused on each other, Jessie retrieves the dropped gun and shoots Jake dead.


title: Against All Odds (1984 film)

text: Having killed both Jake and Sully, she must agree to terms set by Caxton to avoid going to jail. Caxton's terms include Jessie returning to her estranged mother's side and ending her relationship with Terry.


title: Against All Odds (1984 film)

text: Months later, Terry stays in the background while attending a publicity function for Caxton's and Mrs. Wyler's construction project. He just wants a last look at Jessie before leaving Los Angeles to play for a team in Miami. Caxton reminds him that he is no longer a part of Jessie's life. Terry acknowledges that this is true for the moment, but predicts that some day Jessie will break free of the hold that Caxton and Mrs. Wyler have on her. In the meantime, all Terry and Jessie can do is stare at one another from a distance.


title: Against All Odds (1984 film)

text: "Against All Odds" received a mixed reception from reviewers. The film has a 64% score on Rotten Tomatoes based on 14 critic reviews. Roger Ebert of the "Chicago Sun-Times" gave the film 3 out of 4 stars, saying it dragged in places due to "a lot of plot", but was redeemed by the subtle use of "social criticism". "The New York Times" highlights the effective contrast of Woods and Bridges.


title: Ammunition

text: Ammunition (informally ammo) is the material fired, scattered, dropped, or detonated from any weapon or weapon system. Ammunition is both expendable weapons (e.g., bombs, missiles, grenades, land mines) and the component parts of other weapons that create the effect on a target (e.g., bullets and warheads).


title: Ammunition

text: The purpose of ammunition is to project a force against a selected target to have an effect (usually, but not always, lethal). An example of ammunition is the firearm cartridge, which includes all components required to deliver the weapon effect in a single package. Until the 20th century, black powder was the most common propellant used but has now been replaced in nearly all cases by modern compounds.


title: Ammunition

text: Ammunition comes in a great range of sizes and types and is often designed to work only in specific weapons systems. However, there are internationally recognized standards for certain ammunition types (e.g., 5.56×45mm NATO) that enable their use across different weapons and by different users. There are also specific types of ammunition that are designed to have a specialized effect on a target, such as armor-piercing shells and tracer ammunition, used only in certain circumstances. Ammunition is commonly labeled or colored in a specific manner to assist in its identification and to prevent the wrong ammunition types from being used accidentally or inappropriately.


title: Ammunition

text: The term "ammunition" can be traced back to the mid-17th century. The word comes from the French "la munition", for the material used for war. "Ammunition" and "munition" are often used interchangeably, although "munition" now usually refers to the actual weapons system with the ammunition required to operate it. In some languages other than English ammunition is still referred to as munition, such as French (""munitions""), German (""Munition""), Italian (""munizione"") and Portuguese (""munição"").


title: Ammunition

text: Ammunition design has evolved throughout history as different weapons have been developed and different effects required. Historically, ammunition was of relatively simple design and build (e.g., sling-shot, stones hurled by catapults), but as weapon designs developed (e.g., rifling) and became more refined, the need for more specialized ammunition increased. Modern ammunition can vary significantly in quality but is usually manufactured to very high standards.


title: Ammunition

text: For example, ammunition for hunting can be designed to expand inside a target, maximizing the damage inflicted by one round. Anti-personnel shells are designed to fragment into many pieces and can affect a large area. Armor-piercing rounds are specially hardened to penetrate armor, while smoke ammunition covers an area with a fog that screens people from view. More generic ammunition (e.g., 5.56×45mm NATO) can often be altered slightly to give it a more specific effect (e.g., tracer, incendiary), whilst larger explosive rounds can be altered by using different fuzes.


title: Ammunition

text: The term "fuze" refers to the detonator of an explosive round or shell. The spelling is different in British English and American English (fuse/fuze respectively) and they are unrelated to a fuse (electrical). A fuse was earlier used to ignite the propellant (e.g., such as on a firework) until the advent of more reliable systems such as the primer or igniter that is used in most modern ammunition.


title: Ammunition

text: The fuze of a weapon can be used to alter how the ammunition works. For example, a common artillery shell fuze can be set to "point detonation" (detonation when it hits a target), delay (detonate after it has hit and penetrated a target), time-delay (explode a specified time after firing or impact) and proximity (explode above or next to a target without hitting it, such as for airburst effects or anti-aircraft shells). These allow a single ammunition type to be altered to suit the situation it is required for. There are many designs of a fuze, ranging from simple mechanical to complex radar and barometric systems.


title: Ammunition

text: Fuzes are usually armed by the acceleration force of firing the projectile, and usually arm several meters after clearing the bore of the weapon. This helps to ensure the ammunition is safer to handle when loading into the weapon and reduces the chance of the detonator firing before the ammunition has cleared the weapon.


title: Ammunition

text: The propellant is the component of ammunition that is activated inside the weapon and provides the kinetic energy required to move the projectile from the weapon to the target. Before the use of gunpowder, this energy would have been produced mechanically by the weapons system (e.g., a catapult or crossbow); in modern times, it is usually a form of chemical energy that rapidly burns to create kinetic force, and an appropriate amount of chemical propellant is packaged with each round of ammunition. In recent years, compressed gas, magnetic energy and electrical energy have been used as propellants.


title: Ammunition

text: Until the 20th-century, gunpowder was the most common propellant in ammunition. However, it has since been replaced by a wide range of fast-burning compounds that are more reliable and efficient.


title: Ammunition

text: The propellant charge is distinct from the projectile charge which is activated by the fuze, which causes the ammunition effect (e.g., the exploding of an artillery round).


title: Ammunition

text: The cartridge is the container that holds the projectile and propellant. Not all ammunition types have a cartridge case. In its place, a wide range of materials can be used to contain the explosives and parts. With some large weapons, the ammunition components are stored separately until loaded into the weapon system for firing. With small arms, caseless ammunition can reduce the weight and cost of ammunition, and simplify the firing process for increased firing rate, but the maturing technology has functionality issues.


title: Ammunition

text: The projectile is the part of the ammunition that leaves the weapon and has the effect on the target. This effect is usually either kinetic (e.g., as with a standard bullet) or through the delivery of explosives.


title: Ammunition

text: An ammunition dump is a military facility for the storage of live ammunition and explosives that will be distributed and used at a later date. Such a storage facility is extremely hazardous, with the potential for accidents when unloading, packing, and transferring the ammunition. In the event of a fire or explosion, the site and its surrounding area is immediately evacuated and the stored ammunition is left to detonate itself completely with limited attempts at firefighting from a safe distance. In large facilities, there may be a flooding system to automatically extinguish a fire or prevent an explosion. Typically, an ammunition dump will have a large buffer zone surrounding it, to avoid casualties in the event of an accident. There will also be perimeter security measures in place to prevent access by unauthorized personnel and to guard against the potential threat from enemy forces.


title: Ammunition

text: A magazine is a place where a quantity of ammunition or other explosive material is stored temporarily prior to being used. The term may be used for a facility where large quantities of ammunition are stored, although this would normally be referred to as an ammunition dump. Magazines are typically located in the field for quick access when engaging the enemy. The ammunition storage area on a warship is referred to as the "ship's magazine". On a smaller scale, magazine is also the name given to the ammunition storage and feeding device of a repeating firearm.


title: Ammunition

text: Gunpowder must be stored in a dry place (stable room temperature) to keep it usable, as long as for 10 years. It is also recommended to avoid hot places, because friction or heat might ignite a spark and cause an explosion.


title: Ammunition

text: The standard weapon of a modern soldier is an assault rifle, which, like other small arms, uses cartridge ammunition in a size specific to the weapon. Ammunition is carried on the person in box magazines specific to the weapon, ammo boxes, pouches or bandoliers. The amount of ammo carried is dependent on the strength of the soldier, the expected action required, and the ability of ammunition to move forward through the logistical chain to replenish the supply. A soldier may also carry a smaller amount of specialized ammunition for heavier weapons such as machine guns and mortars, spreading the burden for squad weapons over many people. Too little ammunition poses a threat to the mission, while too much limits the soldier's mobility also being a threat to the mission.


title: Ammunition

text: A shell is a payload-carrying projectile which, as opposed to a shot, contains explosives or other fillings, in use since the 19th century.


title: Ammunition

text: Artillery shells are ammunition that is designed to be fired from artillery which has an effect over long distances, usually indirectly (i.e., out of sight of the target). There are many different types of artillery ammunition, but they are usually high-explosive and designed to shatter into fragments on impact to maximize damage. The fuze used on an artillery shell can alter how it explodes or behaves so it has a more specialized effect. Common types of artillery ammunition include high explosive, smoke, illumination, and practice rounds. Some artillery rounds are designed as cluster munitions. Artillery ammunition will almost always include a projectile (the only exception being demonstration or blank rounds), fuze and propellant of some form. When a cartridge case is not used, there will be some other method of containing the propellant bags, usually a breech-loading weapon; see Breechloader.


title: Ammunition

text: Tank ammunition was developed in WWI as tanks first appeared on the battlefield. However, as tank-on-tank warfare developed (including the development of anti-tank warfare artillery), more specialized forms of ammunition were developed such as high-explosive anti-tank (HEAT) warheads and armour-piercing discarding sabot (APDS), including armour-piercing fin-stabilized discarding sabot (APFSDS) rounds. The development of shaped charges has had a significant impact on anti-tank ammunition design, now common in both tank-fired ammunition and in anti-tank missiles, including anti-tank guided missiles.


title: Ammunition

text: Naval weapons were originally the same as many land-based weapons, but the ammunition was designed for specific use, such as a solid shot designed to hole an enemy ship and chain-shot to cut rigging and sails. Modern naval engagements have occurred over far longer distances than historic battles, so as ship armor has increased in strength and thickness, the ammunition to defeat it has also changed. Naval ammunition is now designed to reach very high velocities (to improve its armor-piercing abilities) and may have specialized fuzes to defeat specific types of vessels. However, due to the extended ranges at which modern naval combat may occur, guided missiles have largely supplanted guns and shells.


title: Ammunition

text: With every successive improvement in military arms, a corresponding modification has occurred in the method of supplying ammunition in the quantity required. As soon as projectiles were required (such as javelins and arrows), there needed to be a method of replenishment. When non-specialized, interchangeable or recoverable ammunition was used (e.g., arrows), it was possible to pick up spent arrows (both friendly and enemy) and reuse them. However, with the advent of explosive or non-recoverable ammunition, this was no longer possible and new supplies of ammunition would be needed.


title: Ammunition

text: The weight of ammunition required, particularly for artillery shells, can be considerable, causing a need for extra time to replenish supplies. In modern times, there has been an increase in the standardization of many ammunition types between allies (e.g., the NATO Standardization Agreement) that has allowed for shared ammunition types (e.g., 5.56×45mm NATO).


title: Ammunition

text: lead-based ammunition production is the second-largest annual use of lead in the US, accounting for over 60,000 metric tons consumed in 2012. In contrast to the closed-loop nature of the largest annual use of lead (i.e. for lead-acid batteries, nearly all of which are, at the end of their lives, collected and recycled into new lead-acid batteries), the lead in ammunition ends up being almost entirely dispersed into the natural environment. For example, lead bullets that miss their target or remain in a carcass or body that was never retrieved can very easily enter environmental systems and become toxic to wildlife. The US military has experimented with replacing lead with copper as a slug in their green bullets which reduces the dangers posed by lead in the environment as a result of artillery. Since 2010, this has eliminated over 2000 tons of lead in waste streams.


title: Ammunition

text: Unexploded ammunition can remain active for a very long time and poses a significant threat to both humans and the environment.


title: Silver Age of Comic Books

text: The Silver Age of Comic Books was a period of artistic advancement and widespread commercial success in mainstream American comic books, predominantly those featuring the superhero archetype. Following the Golden Age of Comic Books and an interregnum in the early to mid-1950s, the Silver Age is considered to cover the period from 1956 to 1970, and was succeeded by the Bronze Age.


title: Silver Age of Comic Books

text: The popularity and circulation of comic books about superheroes had declined following World War II, and comic books about horror, crime and romance took larger shares of the market. However, controversy arose over alleged links between comic books and juvenile delinquency, focusing in particular on crime, horror, and superheroes. In 1954, publishers implemented the Comics Code Authority to regulate comic content.


title: Silver Age of Comic Books

text: In the wake of these changes, publishers began introducing superhero stories again, a change that began with the introduction of a new version of DC Comics' The Flash in "Showcase" #4 (October 1956). In response to strong demand, DC began publishing more superhero titles including Justice League of America, which prompted Marvel Comics to follow suit beginning with "The Fantastic Four" #1.


title: Silver Age of Comic Books

text: A number of important comics writers and artists contributed to the early part of the era, including writers Stan Lee, Gardner Fox, John Broome, and Robert Kanigher, and artists Curt Swan, Jack Kirby, Gil Kane, Steve Ditko, Mike Sekowsky, Gene Colan, Carmine Infantino, John Buscema, and John Romita Sr. By the end of the Silver Age, a new generation of talent had entered the field, including writers Denny O'Neil, Gary Friedrich, Roy Thomas, and Archie Goodwin, and artists such as Neal Adams, Herb Trimpe, Jim Steranko, and Barry Windsor-Smith.


title: Silver Age of Comic Books

text: Silver Age comics have become collectible, with a copy in the best condition known of "Amazing Fantasy" #15 (August 1962), the debut of Spider-Man, selling for $1.1 million in 2011. In 2022, a copy of "Fantastic Four" #1 sold for $1.5 million.


title: Silver Age of Comic Books

text: Comics historian and movie producer Michael Uslan traces the origin of the "Silver Age" term to the letters column of "Justice League of America" #42 (February 1966), which went on sale December 9, 1965. Letter-writer Scott Taylor of Westport, Connecticut, wrote: "If you guys keep bringing back the heroes from the [1930s–1940s] Golden Age, people 20 years from now will be calling this decade the Silver Sixties!" According to Uslan, the natural hierarchy of gold-silver-bronze, as in Olympic medals, took hold: "Fans immediately glommed onto this, refining it more directly into a "Silver" Age version of the Golden Age. Very soon, it was in our vernacular, replacing such expressions as ... 'Second Heroic Age of Comics' or 'The Modern Age' of comics. It wasn't long before dealers were ... specifying it was a Golden Age comic for sale or a Silver Age comic for sale."


title: Silver Age of Comic Books

text: Spanning World War II, when American comics provided cheap and disposable escapist entertainment that could be read and then discarded by the troops, the Golden Age of comic books covered the late 1930s to the late 1940s. A number of major superheroes were created during this period, including Superman, Batman, Wonder Woman, Captain Marvel, and Captain America. In subsequent years comics were blamed for a rise in juvenile crime statistics, although this rise was shown to be in direct proportion to population growth. When juvenile offenders admitted to reading comics, it was seized on as a common denominator; one notable critic was Fredric Wertham, author of the book "Seduction of the Innocent" (1954), who attempted to shift the blame for juvenile delinquency from the parents of the children to the comic books they read. The result was a decline in the comics industry. To address public concerns, in 1954 the Comics Code Authority was created to regulate and curb violence in comics, marking the start of a new era.


title: Silver Age of Comic Books

text: The Silver Age began with the publication of DC Comics' "Showcase" #4 (October 1956), which introduced the modern version of the Flash. At the time, only three superheroes—Superman (and his younger incarnation as Superboy), Batman (with his sidekick Robin), and Wonder Woman—were still published under their own titles. According to DC comics writer Will Jacobs, Superman was available in "great quantity, but little quality". Batman and Robin were doing better, but Batman's comics were "lackluster" in comparison to his earlier "atmospheric adventures" of the 1940s, and Wonder Woman, having lost her original writer and artist, was no longer "idiosyncratic" or "interesting". Aquaman and Green Arrow (with his sidekick, Speedy) were also still appearing as back-up features in "Adventure Comics", "the only other two superheroes" known to have remained continuously in print from the Golden Age as the Silver Age began, largely due to their creator's ongoing affection for them. Jacobs describes the arrival of "Showcase" #4 on the newsstands as "begging to be bought", the cover featured an undulating film strip depicting the Flash running so fast that he had escaped from the frame. Editor Julius Schwartz, writer Gardner Fox, and artist Carmine Infantino were some of the people behind the Flash's revitalization. Robert Kanigher wrote the first stories of the revived Flash, and John Broome was the writer of many of the earliest stories.


title: Silver Age of Comic Books

text: With the success of "Showcase" #4, several other 1940s superheroes were reworked during Schwartz' tenure, including Green Lantern, Aquaman, the Atom, and Hawkman, and the Justice Society of America was reimagined as the Justice League of America. The DC artists responsible included Murphy Anderson, Gil Kane, Ramona Fradon, Mike Sekowsky, and Joe Kubert. Only the characters' names remained the same; their costumes, locales, and identities were altered, and imaginative scientific explanations for their superpowers generally took the place of magic as a modus operandi in their stories. Schwartz, a lifelong science-fiction fan, was the inspiration for the re-imagined Green Lantern—the Golden Age character, railroad engineer Alan Scott, possessed a ring powered by a magical lantern, but his Silver Age replacement, test pilot Hal Jordan, had a ring powered by an alien battery and created by an intergalactic police force.


title: Silver Age of Comic Books

text: In the mid-1960s, DC established that characters appearing in comics published prior to the Silver Age lived on a parallel Earth the company dubbed Earth-Two. Characters introduced in the Silver Age and onward lived on Earth-One. The two realities were separated by a vibrational field that could be crossed, should a storyline involve superheroes from different worlds teaming up.


title: Silver Age of Comic Books

text: Although the Flash is generally regarded as the first superhero of the Silver Age, the introduction of the Martian Manhunter in "Detective Comics" #225 predates "Showcase" #4 by almost a year, and at least one historian considers this character the first Silver Age superhero. However, comics historian Craig Shutt, author of the "Comics Buyer's Guide" column "Ask Mister Silver Age", disagrees, noting that the Martian Manhunter debuted as a detective who used his alien abilities to solve crimes, in the "quirky detective" vein of contemporaneous DC characters who were "TV detectives, Indian detectives, supernatural detectives, [and] animal detectives". Schutt feels the Martian Manhunter only became a superhero in "Detective Comics" #273 (November 1959) when he received a secret identity and other superhero accoutrements, saying, "Had Flash not come along, I doubt that the Martian Manhunter would've led the charge from his backup position in "Detective" to a new super-hero age." Unsuccessful attempts to revive the superhero archetype's popularity include Captain Comet, who debuted in "Strange Adventures" #9 (June 1951); St. John Publishing Company's 1953 revival of Rocket Man under the title Zip-Jet; Fighting American, created in 1954 by the Captain America team of Joe Simon and Jack Kirby; Sterling Comics' Captain Flash and its backup feature Tomboy that same year; Ajax/Farrell Publishing's 1954–55 revival of the Phantom Lady; Strong Man, published by Magazine Enterprises in 1955; Charlton Comics' Nature Boy, introduced in March 1956, and its revival of the Blue Beetle the previous year; and Atlas Comics' short-lived revivals of Captain America, the Human Torch, and the Sub-Mariner, beginning in "Young Men Comics" #24 (December 1953). In the United Kingdom, the Marvelman series was published during the interregnum between the Golden and Silver Ages, substituting for the British reprints of the Captain Marvel stories after Fawcett stopped publishing the character's adventures.


title: Silver Age of Comic Books

text: The talking animal superheroes Supermouse and Mighty Mouse were published continuously in their own titles from the end of the Golden Age through the beginning of the Silver Age. Atomic Mouse was given his own title in 1953, lasting ten years. Atomic Rabbit, later named Atomic Bunny, was published from 1955 to 1959.


title: Silver Age of Comic Books

text: DC Comics sparked the superhero revival with its publications from 1955 to 1960. Marvel Comics then capitalized on the revived interest in superhero storytelling with sophisticated stories and characterization. In contrast to previous eras, Marvel characters were "flawed and self-doubting".


title: Silver Age of Comic Books

text: DC added to its momentum with its 1960 introduction of Justice League of America, a team consisting of the company's most popular superhero characters. Martin Goodman, a publishing trend-follower with his 1950s Atlas Comics line, by this time called Marvel Comics, "mentioned that he had noticed one of the titles published by National Comics seemed to be selling better than most. It was a book called "The" [sic] "Justice League of America" and it was composed of a team of superheroes", Marvel editor Stan Lee recalled in 1974. Goodman directed Lee to likewise produce a superhero team book, resulting in "The Fantastic Four" #1 (November 1961).


title: Silver Age of Comic Books

text: Under the guidance of writer-editor Stan Lee and artists/co-plotters such as Jack Kirby and Steve Ditko, Marvel began its own rise to prominence. With an innovation that changed the comic-book industry, "The Fantastic Four" #1 initiated a naturalistic style of superheroes with human failings, fears, and inner demons, who squabbled and worried about the likes of rent-money. In contrast to the straitlaced archetypes of superheroes at the time, this ushered in a revolution. With dynamic artwork by Kirby, Steve Ditko, Don Heck, and others complementing Lee's colorful, catchy prose, the new style became popular among college students who could identify with the angst and the irreverent nature of the characters such as Spider-Man, the X-Men and the Hulk during a time period of social upheaval and the rise of the counterculture of the 1960s.


title: Silver Age of Comic Books

text: Comic books of the Silver Age explained superhero phenomena and origins through science, inspired by contemporary science fiction, as opposed to the Golden Age, which commonly relied on magic or mysticism.


title: Silver Age of Comic Books

text: Comics historian Peter Sanderson compares the 1960s DC to a large Hollywood studio, and argues that after having reinvented the superhero archetype, DC by the latter part of the decade was suffering from a creative drought. The audience for comics was no longer just children, and Sanderson sees the 1960s Marvel as the comic equivalent of the French New Wave, developing new methods of storytelling that drew in and retained readers who were in their teens and older and thus influencing the comics writers and artists of the future.


title: Silver Age of Comic Books

text: One of the few most-selling American comics publishers in 1956, Harvey Comics, discontinued its horror comics when the Comics Code was implemented and sought a new target audience. Harvey's focus shifted to children from 6 to 12 years of age, especially girls, with characters such as Richie Rich, Casper the Friendly Ghost, and Little Dot. Many of the company's comics featured young girls who "defied stereotypes and sent a message of acceptance of those who are different". Although its characters have inspired a number of nostalgic films and ranges of merchandise, Harvey comics of the period are not nearly as sought after in the collectors' market in contrast to DC and Marvel titles.


title: Silver Age of Comic Books

text: The publishers Gilberton, Dell Comics, and Gold Key Comics used their reputations as publishers of wholesome comic books to avoid becoming signatories to the Comics Code and found various ways to continue publishing horror-themed comics in addition to other types. Gilberton's extensive "Classics Illustrated" line adapted literary classics, with the likes of "Frankenstein" alongside "Don Quixote" and "Oliver Twist"; Classics Illustrated Junior reprinted comic book versions of children's classics such as "The Wizard of Oz", "Rapunzel", and "Pinocchio". During the late 1950s and the 1960s, Dell, which had published comics in 1936, offered licensed TV series comic books from "Twilight Zone" to "Top Cat", as well as numerous Walt Disney titles. Its successor, Gold Key—founded in 1962 after Western Publishing started its own label rather than packaging content for business partner Dell—continued with such licensed TV series and movie adaptations, as well as comics starring such Warner Bros. Cartoons characters as Bugs Bunny and such comic strip properties as "Beetle Bailey".


title: Silver Age of Comic Books

text: With the popularity of the "Batman" television show in 1966, publishers that had specialized in other forms began adding campy superhero titles to their lines. As well, new publishers sprang up, often using creative talent from the Golden Age. Harvey Comics' Harvey Thriller imprint released "Double-Dare Adventures", starring new characters such as Bee-Man and Magicmaster. Dell published superhero versions of Frankenstein, Dracula and the Werewolf. Gold Key did licensed versions of live-action and animated superhero television shows such as "Captain Nice", "Frankenstein Jr." and "The Impossibles", and continued the adventures of Walt Disney Pictures' Goofy character in "Supergoof". American Comics Group gave its established character Herbie a secret superhero identity as the Fat Fury, and introduced the characters of Nemesis and Magic-Man. Even the iconic Archie Comics teens acquired super powers and superhero identities in comedic titles such as "Archie as Capt. Pureheart" and "Jughead as Captain Hero". Archie Comics also launched its Archie Adventure line (subsequently titled Mighty Comics), which included the Fly, the Jaguar, and a revamp of the Golden Age hero the Shield. In addition to their individual titles, they teamed in their group series "The Mighty Crusaders", joined by the Comet and Flygirl. Their stories blended typical superhero fare with the 1960s' camp.


title: Silver Age of Comic Books

text: Among straightforward Silver Age superheroes from publishers other than Marvel or DC, Charlton Comics offered a short-lived superhero line with characters that included Captain Atom, Judomaster, the Question, and Thunderbolt; Tower Comics had Dynamo, Mercury Man, NoMan and other members of the superhero espionage group T.H.U.N.D.E.R. Agents; and even Gold Key had Doctor Solar, Man of the Atom.


title: Silver Age of Comic Books

text: According to John Strausbaugh of "The New York Times", "traditional" comic book historians feel that although the Silver Age deserves study, the only noteworthy aspect of the Silver Age was the advent of underground comics. One commentator has suggested that, "Perhaps one of the reasons underground comics have come to be considered legitimate art is due to the fact that the work of these artists more truly embodies what much of the public believes is true of newspaper strips—that they are written and drawn (i.e., authentically signed by) a single person." While a large number of mainstream-comics professionals both wrote and drew their own material during the Silver Age, as many had since the start of American comic books, their work is distinct from what another historian describes as the "raw id on paper" of Robert Crumb and Gilbert Shelton. Most often published in black-and-white with glossy color cover and distributed through counterculture bookstores and head shops, underground comics targeted adults and reflected the counterculture movement of the time.


title: Silver Age of Comic Books

text: The Silver Age of comic books was followed by the Bronze Age. The demarcation is not clearly defined, but there are a number of possibilities.


title: Silver Age of Comic Books

text: Historian Will Jacobs suggests the Silver Age ended in April 1970 when the man who had started it, Julius Schwartz, handed over "Green Lantern"—starring one of the first revived heroes of the era—to the new-guard team of Denny O'Neil and Neal Adams in response to reduced sales. John Strausbaugh also connects the end of the Silver Age to Green Lantern. He observes that in 1960, the character embodied the can-do optimism of the era. However, by 1972 Green Lantern had become world-weary, with the character saying in one story, "Those days are gone—gone forever—the days I was confident, certain ... I was so young ... so sure I couldn't make a mistake! Young and cocky, that was Green Lantern. Well, I've changed. I'm older now ... maybe wiser, too ... and a lot less happy." Strausbaugh writes that the Silver Age "went out with that whimper".


title: Silver Age of Comic Books

text: Comics scholar Arnold T. Blumberg places the end of the Silver Age in June 1973, when Gwen Stacy, girlfriend of Peter Parker (Spider-Man), was killed in a story arc later dubbed "The Night Gwen Stacy Died", saying the era of "innocence" was ended by "the 'snap' heard round the comic book world—the startling, sickening snap of bone that heralded the death of Gwen Stacy." Silver Age historian Craig Shutt disputes this, saying, "Gwen Stacy's death shocked Spider-Man readers. Such a tragedy makes a strong symbolic ending. This theory gained adherents when Kurt Busiek and Alex Ross's "Marvels" miniseries in 1994 ended with Gwen's death, but I'm not buying it. It's too late. Too many new directions—especially [the sword-and-sorcery trend begun by the character] Conan and monsters [in the wake of the Comics Code allowing vampires, werewolves and the like]—were on firm ground by this time." He also dismisses the end of the 12-cent comic book, which went to 15 cents as the industry standard in early 1969, noting that the 1962 hike from 10 cents to 12 cents had no bearing in this regard. Shutt's line comes with "Fantastic Four" #102 (September 1970), Jack Kirby's last regular-run issue before the artist left to join DC Comics; this combines with DC's "Superman" #229 (August 1970), editor Mort Weisinger's last before retiring.


title: Silver Age of Comic Books

text: According to historian Peter Sanderson, the "neo-silver movement" that began in 1986 with "" by Alan Moore and Curt Swan, was a backlash against the Bronze Age with a return to Silver Age principles. In Sanderson's opinion, each comics generation rebels against the previous, and the movement was a response to "Crisis on Infinite Earths", which itself was an attack on the Silver Age. Neo-silver comics creators made comics that recognized and assimilated the more sophisticated aspects of the Silver Age.


title: Silver Age of Comic Books

text: The Silver Age marked a decline in horror, romance, talking animal humor, and Westerns as American-comics genres.


title: Silver Age of Comic Books

text: An important feature of the period was the development of the character makeup of superheroes. Young children and girls were targeted during the Silver Age by certain publishers; in particular, Harvey Comics attracted this group with titles such as "Little Dot". Adult-oriented underground comics also began during the Silver Age.


title: Silver Age of Comic Books

text: Some critics and historians argue that one characteristic of the Silver Age was that science fiction and aliens replaced magic and gods. Others argue that magic was an important element of both Golden Age and Silver Age characters. Many Golden Age writers and artists were science-fiction fans or professional science-fiction writers who incorporated SF elements into their comic-book stories. Science was a common explanation for the origin of heroes in the Silver Age.


title: Silver Age of Comic Books

text: The Silver Age coincided with the rise of pop art, an artistic movement that used popular cultural artifacts, such as advertising and packaging, as source material for fine, or gallery-exhibited, art. Roy Lichtenstein, one of the best-known pop art painters, specifically chose individual panels from comic books and repainted the images, modifying them to some extent in the process but including in the painting word and thought balloons and captions as well as enlarged-to-scale color dots imitating the coloring process then used in newsprint comic books. An exhibition of comic strip art was held at the Musée des Arts Décoratifs of the Palais de Louvre in 1967, and books were soon published that contained serious discussions of the art of comics and the nature of the medium.


title: Silver Age of Comic Books

text: In January 1966, a live-action "Batman" television show debuted to high ratings. Circulation for comic books in general and Batman merchandise in particular soared. Other masked or superpowered adventurers appeared on the television screen, so that "American TV in the winter of 1967 appeared to consist of little else but live-action and animated cartoon comic-book heroes, all in living colour." Existing comic-book publishers began creating superhero titles, as did new publishers. By the end of the 1960s, however, the fad had faded; in 1969, the best-selling comic book in the United States was not a superhero series, but the teen-humor book "Archie".


title: Silver Age of Comic Books

text: Swedish cartoonist Joakim Lindengren draws a Silver Age pastiche in his "Kapten Stofil" comic book series (1998–2009) about the powers of nostalgia in a grumpy, old comic book named Captain Geezer who longs to return to the Silver Age. Lindengren also borrows many elements from Silver Age comics in United States of Banana, a comic book he created with Puerto Rican author Giannina Braschi.


title: Silver Age of Comic Books

text: Arlen Schumer, author of "The Silver Age of Comic Book Art", singles out Carmine Infantino's Flash as the embodiment of the design of the era: "as sleek and streamlined as the fins Detroit was sporting on all its models". Other notable pencilers of the era include Curt Swan, Gene Colan, Steve Ditko, Gil Kane, Jack Kirby, Joe Kubert, Don Heck, George Tuska, Dick Ayers, and John Romita Sr.


title: Silver Age of Comic Books

text: Two artists that changed the comics industry dramatically in the late 1960s were Neal Adams, considered one of his country's greatest draftsmen, and Jim Steranko. Both artists expressed a cinematic approach at times that occasionally altered the more conventional panel-based format that had been commonplace for decades. Adams' breakthrough was based on layout and rendering. Best known for returning Batman to his somber roots after the campy success of the Batman television show, his naturalistic depictions of anatomy, faces, and gestures changed comics' style in a way that Strausbaugh sees reflected in modern graphic novels.


title: Silver Age of Comic Books

text: One of the few writer-artists at the time, Steranko made use of a cinematic style of storytelling. Strausbaugh credits him as one of Marvel's strongest creative forces during the late 1960s, his art owing a large debt to Salvador Dalí. Steranko started by inking and penciling the details of Kirby's artwork on "Nick Fury, Agent of S.H.I.E.L.D." beginning in "Strange Tales" #151, but by "Strange Tales" #155 Stan Lee had put him in charge of both writing and drawing Fury's adventures. He exaggerated the James Bond-style spy stories, introducing the vortex beam (which lifts objects), the aphonic bomb (which explodes silently), a miniature electronic absorber (which protected Fury from electricity), and the Q-ray machine (a molecular disintegrator)—all in his first 11-page story.


title: Silver Age of Comic Books

text: The following comics are sought after by collectors due to their historic significance. A near-mint-plus copy of "Amazing Fantasy" #15, the first appearance of Spider-Man, sold for $1.1 million to an unnamed collector on March 7, 2011.


title: Silver Age of Comic Books

text: Apocryphal legend has it that in 1961, Timely and Atlas publisher Martin Goodman was playing golf with either Jack Liebowitz or Irwin Donenfeld of rival DC Comics (then known as National Periodical Publications), who bragged about DC's success with the Justice League of America, which had debuted in "The Brave and the Bold" #28 (Feb. 1960) before going on to its own title.


title: Silver Age of Comic Books

text: Film producer and comics historian Michael Uslan later contradicted some specifics, while supporting the story's framework:


title: Penny dreadful

text: Penny dreadfuls were cheap popular serial literature produced during the nineteenth century in the United Kingdom. The pejorative term is roughly interchangeable with penny horrible, penny awful, and penny blood. The term typically referred to a story published in weekly parts of 8 to 16 pages, each costing one penny. The subject matter of these stories was typically sensational, focusing on the exploits of detectives, criminals, or supernatural entities. First published in the 1830s, penny dreadfuls featured characters such as Sweeney Todd, Dick Turpin, Varney the Vampire, and Spring-heeled Jack.


title: Penny dreadful

text: The BBC called penny dreadfuls "a 19th-century British publishing phenomenon". By the 1850s, there were up to a hundred publishers of penny-fiction, and in the 1860s and 1870s more than a million boys' periodicals were sold a week. "The Guardian" described penny dreadfuls as "Britain's first taste of mass-produced popular culture for the young", and "the Victorian equivalent of video games".


title: Penny dreadful

text: While the term "penny dreadful" was originally used in reference to a specific type of literature circulating in mid-Victorian Britain, it came to encompass a variety of publications that featured cheap sensational fiction, such as story papers and booklet "libraries". The penny dreadfuls were printed on cheap wood pulp paper and were aimed at young working class men. The popularity of penny dreadfuls was challenged in the 1890s by the rise of competing literature, especially the half-penny periodicals published by Alfred Harmsworth.


title: Penny dreadful

text: Crime broadsides were commonly sold at public executions in the United Kingdom in the 18th and 19th centuries. These were often produced by printers who specialised in them. They were typically illustrated by a crude picture of the crime, a portrait of the criminal, or a generic woodcut of a hanging taking place. There would be a written account of the crime and of the trial and often the criminal's confession of guilt. A doggerel verse warning others to not follow the executed person's example, to avoid their fate, was another common feature.


title: Penny dreadful

text: Victorian-era Britain experienced social changes that resulted in increased literacy rates. With the rise of capitalism and industrialisation, people began to spend more money on entertainment, contributing to the popularisation of the novel. Improvements in printing resulted in newspapers such as Joseph Addison's "The Spectator" and Richard Steele's "The Tatler", and England's more fully recognizing the singular concept of reading as a form of leisure; it was, of itself, a new industry. Other significant changes included industrialisation and an increased capacity for travel via the invention of tracks, engines, and the corresponding railway distribution (the first public railway, Stockton and Darlington Railway, opened in 1825). These changes created both a market for cheap popular literature and the ability for it to be circulated on a large scale. The first penny serials were published in the 1830s to meet this demand. Between 1830 and 1850 there were up to 100 publishers of penny-fiction, in addition to many magazines which embraced the genre. The serials were priced to be affordable to working-class readers, and were considerably cheaper than the serialised novels of authors such as Charles Dickens, which cost a shilling [twelve pennies] per part.


title: Penny dreadful

text: The stories themselves were reprints, or sometimes rewrites, of the earliest Gothic thrillers such as "The Castle of Otranto" or "The Monk", as well as new stories about famous criminals. The first ever Penny Blood, published in 1836, was called "Lives of the Most Notorious Highwaymen, Footpads, &c". The story continued over 60 issues, each eight pages of tightly-packed text with one half-page illustration. Some of the most famous of these penny part-stories were "The String of Pearls: A Romance" (introducing Sweeney Todd, "the Demon Barber of Fleet Street"), "The Mysteries of London" (inspired by the French serial "The Mysteries of Paris"), and "Varney the Vampire" (1845–47). "Varney" is the tale of the vampire Sir Francis Varney, and introduced many of the tropes present in vampire fiction recognizable to modern audiences — it was the first story to refer to sharpened teeth for a vampire.


title: Penny dreadful

text: Highwaymen were popular heroes; "Black Bess or the Knight of the Road", outlining the largely imaginary exploits of real-life English highwayman Dick Turpin, continued for 254 episodes and was well over 2,000 pages long. Turpin was not executed until page 2,207. Some lurid stories purported to be based on fact: "Spring-Heeled Jack" was what we would now call an urban myth. The first ‘sighting’ of him was in 1837, and he was described as having a terrifying and frightful appearance, with diabolical physiognomy, clawed hands and eyes that ‘resembled red balls of fire’. He was mainly sighted in London, but popped up elsewhere, and seems to have been a source of frightened fascination for several decades. At the height of Spring-Heeled Jack hysteria, several women reported being attacked by a clawed monster of a man breathing blue flames. The last ‘sighting’ was in Liverpool in 1904. In 1838, Robin Hood featured in a series of penny dreadfuls titled "Robin Hood and Little John: or, The Merry Men of Sherwood Forest", which sparked the beginning of the mass circulation of Robin stories. Other serials were thinly-disguised plagiarisms of popular contemporary literature. The publisher Edward Lloyd, for instance, published a number of hugely successful penny serials derived from the works of Charles Dickens, such as "Oliver Twiss" and "Nickelas Nicklebery".


title: Penny dreadful

text: The illustration which featured at the start of each issue was an integral part of the dreadfuls’ appeal, often acting as a teaser for future instalments. As one reader said, “You see’s an engraving of a man hung up, burning over a fire, and some [would] go mad if they couldn’t learn… all about him.” No wonder one publisher’s rallying cry to his illustrators was “more blood – much more blood!”


title: Penny dreadful

text: Working class boys who could not afford a penny a week often formed clubs that would share the cost, passing the flimsy booklets from reader to reader. Other enterprising youngsters would collect a number of consecutive parts, then rent the volume out to friends. In 1866, "Boys of England" was introduced as a new type of publication, an eight-page magazine that featured serial stories as well as articles and shorts of interest. Numerous competitors quickly followed, with such titles as "Boys' Leisure Hour, Boys' Standard, Young Men of Great Britain", etc. As the price and quality of other types of fiction works were the same, these also fell under the general definition of penny dreadfuls.


title: Penny dreadful

text: Appearing in the 1860s, American dime novels were edited and rewritten for a British audience. These appeared in booklet form, such as the "Boy's First Rate Pocket Library". Frank Reade, Buffalo Bill, and Deadwood Dick were all popular with the penny dreadful audience.


title: Penny dreadful

text: The penny dreadfuls were influential since they were, in the words of one commentator, "the most alluring and low-priced form of escapist reading available to ordinary youth, until the advent in the early 1890s of future newspaper magnate Alfred Harmsworth's price-cutting 'halfpenny dreadfuller'". In reality, the serial novels were overdramatic and sensational, but generally harmless. If anything, the penny dreadfuls, although obviously not the most enlightening or inspiring of literary selections, resulted in increasingly literate youth in the Industrial period. The wide circulation of this sensationalist literature, however, contributed to an ever-greater fear of crime in mid-Victorian Britain.


title: Penny dreadful

text: The popularity of penny dreadfuls among British children was challenged in the 1890s by the rise of competing literature. Leading the challenge were popular periodicals published by Alfred Harmsworth. Priced at one half-penny, Harmsworth's story papers were cheaper and, at least initially, were more respectable than the competition. Harmsworth claimed to be motivated by a wish to challenge the pernicious influence of penny dreadfuls. According to an editorial in the first number of "The Half-penny Marvel" in 1893:


title: Penny dreadful

text: It is almost a daily occurrence with magistrates to have before them boys who, having read a number of 'dreadfuls', followed the examples set forth in such publications, robbed their employers, bought revolvers with the proceeds, and finished by running away from home, and installing themselves in the back streets as 'highwaymen'. This and many other evils the 'penny dreadful' is responsible for. It makes thieves of the coming generation, and so helps fill our gaols.


title: Penny dreadful

text: "The Half-penny Marvel" was soon followed by a number of other Harmsworth half-penny periodicals, such as "The Union Jack". At first the stories were high-minded moral tales, reportedly based on true experiences, but it was not long before these papers started using the same kind of material as the publications they competed against. From 1896, the cover of the half-penny comic "Illustrated Chips" featured the long-running comic strip of the tramps Weary Willie and Tired Tim, with a young Charlie Chaplin among its readers. A. A. Milne, the author of "Winnie the Pooh", once said, "Harmsworth killed the penny dreadful by the simple process of producing the 'ha'penny dreadfuller'". The quality of the Harmsworth/Amalgamated Press papers began to improve throughout the early 20th century, however. By the time of the First World War, papers such as "Union Jack" dominated the market in the UK.


title: Penny dreadful

text: The penny dreadfuls were also challenged by book series such as The Penny Library of Famous Books launched in 1896 by George Newnes which he characterized as "penny delightfuls" intended to counter the pernicious effects of the penny dreadfuls, and such as the Penny Popular Novels launched in 1896 by W. T. Stead.


title: Penny dreadful

text: A growing consumer culture, increased literacy rates, industrialisation, and the invention of railway (which allowed for mass distribution), created a new market for cheap popular literature for the masses, and the ability for it to be circulated on a large scale. Penny dreadfuls were created in the 1830s to meet this demand. "The Guardian" described penny dreadfuls as "Britain’s first taste of mass-produced popular culture for the young", and "the Victorian equivalent of video games". More than one million boys’ periodicals were sold per week.


title: Penny dreadful

text: Two popular characters to come out of the penny dreadfuls were Jack Harkaway, introduced in the "Boys of England" in 1871, and Sexton Blake, who began in "the Half-penny Marvel" in 1893. In 1904, the "Union Jack" became "Sexton Blake's own paper", and he appeared in every issue thereafter, up until the paper's demise in 1933. In total, Blake appeared in roughly 4,000 adventures, right up into the 1970s. Harkaway was also popular in America and had many imitators.


title: Penny dreadful

text: The fictional Sweeney Todd, the subject of both a successful musical by Stephen Sondheim and a feature film by Tim Burton, also first appeared in an 1846/1847 penny dreadful titled "The String of Pearls: A Romance" by James Malcolm Rymer and Thomas Peckett Prest.


title: Penny dreadful

text: The penny dreadfuls inspired the British comics that began to emerge in the 1870s. Describing penny dreadfuls as "a 19th-century British publishing phenomenon", the BBC adds, their "very disposability (the booklets’ bargain cover price meant they were printed on exceptionally flimsy paper) has made surviving examples a rarity, despite their immense popularity at the time."


title: Penny dreadful

text: Some items that have been named after this topic include a song called "Penny Dreadfuls" by Animal Collective, the Irish literary magazine "The Penny Dreadful", and "Penny Dreadful", a Showtime horror television series set in Victorian England.


title: John Jacob Jingleheimer Schmidt

text: "John Jacob Jingleheimer Schmidt" is a traditional children's song that originates from the United States and Canada. The song consists of one verse repeated (usually four times), each time increasing or decreasing in volume or tempo. If the volume is lowered, the last line ("da da da" or “tra la la la”) often remains constant, shouted even as the rest of the song reduces to a whisper.


title: John Jacob Jingleheimer Schmidt

text: There are various lyrics to the song; for example, in the following version, the verse is repeated four times, often while altering the volume or pitch:


title: John Jacob Jingleheimer Schmidt

text: While the origins of the song are obscure, some evidence places its roots with vaudeville and theatre acts of the late 19th century and early 20th century popular in immigrant communities. Some vaudeville acts during the era, such as the work of Joe Weber and Lew Fields, often gave voice to shared frustrations of German-American immigrants and heavily leaned on malapropisms and difficulties with the English language as a vehicle for their humor. "John Jacob Jingleheimer Schmidt" shares many characteristics with "My Name Is Jan Jansen", a song that can trace its origin to Swedish vaudeville in the late 19th century.


title: John Jacob Jingleheimer Schmidt

text: The song appears to have already become widely known by the mid-twentieth century. It received a major boost when it was circulated throughout the country during scout troop gatherings in the late 1920s and early 1930s. In 1926, "The Times" newspaper of Munster, Indiana, printed that, during a Girl Scout outing, the scouts sat around a camp fire and "it was solemnly announced that John Jacob Jingleheimer Smith after a long and useful life had died from overwork on the way to Whiting. He was buried with due ceremony and his ghost is not to be seen until October first. All the favorite camp songs were sung." In 1927, the "Portsmouth Daily Times" reported that a group of boys from the state YMCA camp sang several camp songs, including "John Jacob Jingleheimer Schmidt." In 1931, Elmira, New York, newspaper the "Star-Gazette" reported that at a Boy Scout gathering at Seneca Lake, as scouts entered the mess hall, "Troop 18 soon burst into the first camp song, 'John Jacob Jingleheimer Smith'." A 1941 "Milwaukee Journal" article also refers to the song, with the same alternate title of "John Jacob Jingleheimer Smith."


title: John Jacob Jingleheimer Schmidt

text: The song is indefinitely repetitive, in a similar manner to "The Song That Never Ends", "Yon Yonson" or "Michael Finnegan."


title: John Jacob Jingleheimer Schmidt

text: Versions of the song appear in other languages, such as the Spanish rendition, "Juan Paco Pedro de la Mar".


title: Madhur Jaffrey

text: Madhur Jaffrey CBE (née Bahadur; born 13 August 1933) is an Indian-British-American actress, food and travel writer, and television personality. She is recognized for bringing Indian cuisine to the western hemisphere with her debut cookbook, "An Invitation to Indian Cooking" (1973), which was inducted into the James Beard Foundation’s Cookbook Hall of Fame in 2006. She has written over a dozen cookbooks and appeared on several related television programmes, the most notable of which was "Madhur Jaffrey's Indian Cookery", which premiered in the UK in 1982. She was the food consultant at the now-closed "Dawat", which was considered by many food critics to be among the best Indian restaurants in New York City.


title: Madhur Jaffrey

text: She was instrumental in bringing together filmmakers James Ivory and Ismail Merchant and acted in several of their films such as "Shakespeare Wallah" (1965), for which she won the Silver Bear for Best Actress award at the 15th Berlin International Film Festival. She has appeared in dramas on radio, stage and television.


title: Madhur Jaffrey

text: In 2004, she was named an honorary Commander of the Order of the British Empire (CBE) in recognition of her services to cultural relations between the United Kingdom, India and the United States, through her achievements in film, television and cookery. In 2022, she was awarded the Padma Bhushan from the Government of India, which is the third highest civilian award.


title: Madhur Jaffrey

text: Her childhood memoir of India during the final years of the British Raj, "Climbing the Mango Trees", was published in 2006.


title: Madhur Jaffrey

text: Jaffrey was born in Civil Lines, Delhi, into a Mathur Kayastha Hindu joint family. She is the fifth of six children of Lala Raj Bans Bahadur (1899–1974) and his wife, Kashmiran Rani (1903–1971). Madhur's grandfather, Rai Bahadur Raj Narain (1864–1950), had built a sprawling family compound, named Number 7 Raj Narain Marg, by the Yamuna river amid fruit orchards.


title: Madhur Jaffrey

text: When Jaffrey was about two years old, her father accepted a position in a family-run concern, Ganesh Flour Mills, and moved to Kanpur as the manager of a "vanaspati ghee" factory there. In Kanpur, Jaffrey attended St. Mary's Convent School along with her elder sisters, Lalit and Kamal. In kindergarten at the age of five, she played the role of the brown mouse in a musical version of the "Pied Piper of Hamelin". The family lived in Kanpur for eight years, until her grandfather's deteriorating health caused a move back to Delhi in 1944.


title: Madhur Jaffrey

text: In Delhi, Jaffrey attended Queen Mary's Higher Secondary School where her history teacher, Mrs McKelvie, encouraged her to participate in school plays. Jaffrey played the role of Titania in William Shakespeare's play "A Midsummer Night's Dream" followed by the lead role in "Robin Hood and His Merry Men". Madhur's brothers, Brij Bans Bahadur and Krishen Bans Bahadur, who were much older than her, were enrolled in St. Stephen's College, Delhi. Every winter, St. Stephen's students put on a Shakespearean play that Jaffrey would watch avidly from the front row.


title: Madhur Jaffrey

text: A supporter of Mahatma Gandhi's demand for Indian independence from British rule, Jaffrey spent some time each day spinning "khadi" and delivered several large spools of thread to a central collection center in Delhi.


title: Madhur Jaffrey

text: In 1947, Jaffrey experienced first-hand the effects of the partition of India. At school, her classmates split into two on the issue of partition; the Muslim girls supported the idea while the Hindus were against it. On August 15 she watched the transfer of power at India Gate and got a clear glimpse of Jawaharlal Nehru and Lord Mountbatten coming down Rajpath in an open horse carriage. The massive multi-directional migration that began almost immediately afterwards caused riots and killing in Delhi. The male members of her family guarded their house with guns that they had previously used only for hunting game. At school, all her Muslim classmates left without a farewell. In 1948, a few days before Mahatma Gandhi was shot dead, she attended one of his prayer meetings at Birla House and sang bhajans. She heard the news of his assassination on the radio, followed by Jawaharlal Nehru's address later that night, "the light has gone out of our lives, and there is darkness everywhere." She saw Gandhi's funeral procession at Rajpath and witnessed his cremation at Rajghat.


title: Madhur Jaffrey

text: At home, Jaffrey's family primarily ate food prepared by servants but supervised by the women of the family. They occasionally indulged in Mughlai cuisine bought in the bylanes of Old Delhi, like "bedmi aloo", "seekh kebab", "shami kebab", "rumali roti" and "bakarkhani". Refugees from Punjab who settled in Delhi after partition brought their own style of cooking. Moti Mahal, a "dhaba" in Daryaganj, introduced "tandoori chicken" and then went on to invent butter chicken and "dal makhani". Jaffrey found Punjabi food's simplicity and freshness very enticing and routinely picked up tandoori food from Moti Mahal for family picnics.


title: Madhur Jaffrey

text: At school, the subject of domestic science included learning dishes like blancmange, whose bland taste drove Jaffrey to dismiss the cookery lessons as preparing "British invalid foods from circa 1930". However, at the time of the practical examination, her class was asked to make a dish from an assortment of potatoes, tomatoes, onions, garlic, ginger and Indian spices in a pot over wood to be lit with matches. Jaffrey did her best but guessed that she failed the subject of domestic science altogether.


title: Madhur Jaffrey

text: Jaffrey and her cousins would regularly answer summons from the nearby All India Radio station for parts in radio plays or children's programs. As she was paid a small fee for each session, Jaffrey considered this to be her first professional work.


title: Madhur Jaffrey

text: Meanwhile, Jaffrey's father had moved to Daurala as general manager of Daurala Sugar Works, a factory owned by family friends, the Shri Ram family. Jaffrey, along with her brothers, her younger sister, Veena, and her mother remained behind in Delhi in to avoid disrupting the children's education. During this period, Jaffrey's elder sisters were at boarding school in Nainital. In the letters that they exchanged with their siblings and cousins at Delhi, they addressed each other only by their initials. This tradition cemented over time so that Jaffrey became "M" for her circle of close friends and family. Jaffrey's father eventually returned from Daurala and joined Delhi Cloth Mills, a textile factory owned by the Shri Ram family.


title: Madhur Jaffrey

text: From 1950 to 1953 Jaffrey attended Miranda House, a women's college, where she gained a B.A. degree in English Honours with a minor in philosophy.


title: Madhur Jaffrey

text: She took part in her college's all-women productions of "Hamlet" and "The Importance of Being Earnest". She appeared in "The Comedy of Errors" performed by St. Stephen's College.


title: Madhur Jaffrey

text: In 1951, Jaffrey joined the Unity Theatre, an English language repertory company founded by Saeed Jaffrey in New Delhi. She auditioned for the role of the Queen's Reader in Jean Cocteau's play "The Eagle Has Two Heads" just four days before the opening but was cast in the role. The next play that she did with Saeed was Christopher Fry's "A Phoenix Too Frequent".


title: Madhur Jaffrey

text: After graduation from Miranda House in 1953, Jaffrey joined All India Radio, where Saeed Jaffrey was an announcer. She worked as a disc jockey at night. Saeed and Jaffrey fell in love, and dated at Gaylord, a restaurant in Connaught Place.


title: Madhur Jaffrey

text: During this period, Jaffrey also met Ruth Prawer Jhabvala, a British novelist who had moved to Civil Lines, Delhi, after marriage to Cyrus Jhabvala, an Indian architect, in 1951. Jaffrey answered a casting call by Prawer Jhabvala and worked with her on All India Radio plays. The protagonists of Prawer Jhabvala's first novel, "To Whom She Will" (1955), a young couple who work at a radio station in Delhi and fall in love, were based on Madhur and Saeed Jaffrey. The novel was published in America the following year as "Amrita" (1956).


title: Madhur Jaffrey

text: In early 1955, Jaffrey was in the audience at St. Stephen's College, Delhi, for a programme of literary readings by Sybil Thorndike and Lewis Casson, married English actors who toured internationally in Shakespearean productions. Later that year, the "Unity Theatre" put on a performance of Tennessee Williams' one-act play, "Auto-da-Fé", in which Madhur played the rigidly moralistic mother to Saeed's young postal worker, Eloi. The last play that Madhur did with Saeed was "Othello" in which Saeed was cast as Iago while Madhur played Iago's wife, Emilia.


title: Madhur Jaffrey

text: Jaffrey decided to pursue acting as a profession. She won a grant from the British government that she could use to pay for education at the Royal Academy of Dramatic Art (RADA).


title: Madhur Jaffrey

text: The head of the British Council in India was impressed by her performance in "Auto-da-Fé" and offered her a scholarship. Armed with these two sources of money, Jaffrey arrived at Southampton on 6 December 1955 on the P&O liner RMS Strathmore from Bombay.


title: Madhur Jaffrey

text: Jaffrey joined the Royal Academy of Dramatic Art (RADA) with Diana Rigg, Siân Phillips and Glenda Jackson as her contemporaries. She won a scholarship from RADA after an audition. This supplemented her earlier grant and scholarship. She also picked up minor acting roles on BBC television and radio. Her father would send her a small amount of money periodically and her total income proved sufficient to live modestly in London. She rented rooms from at least two different landlords before settling down in a bedsit in Brent with a young Jewish family, the Golds, who allowed her to use their kitchen and their utensils to cook her own food. Her landlady, Blanche Gold, was roughly her age. Blanche had one child and was pregnant.


title: Madhur Jaffrey

text: Jaffrey found British food and Indian restaurants of that time to be terrible. The grey roast beef and overcooked cabbage with watery potatoes served at the fifth-floor canteen of RADA were unappetizing. She wrote to her mother, begging her for recipes of the home cooked meals of her childhood. Her mother responded with recipes written in Hindi on onionskin paper in letters sent via airmail. The very first letter was dated 19 March 1956 and included recipes for meat spiced with cinnamon, cardamom and bay, a cauliflower dish, and egg curry with hard-boiled eggs. The first recipe that she tried was jeera aloo (potatoes with cumin). She bought pumpernickel from a neighborhood Jewish bakery as a substitute for chapatis.


title: Madhur Jaffrey

text: In late 1955, Saeed Jaffrey won a Fulbright scholarship to study drama in America the following year. In spring 1956, he approached Jaffrey's parents in Delhi for her hand in marriage but they refused because they felt that his financial prospects as an actor did not appear sound. Jaffrey got her father's permission to marry Saeed eventually. In summer 1956, Saeed flew to London on his way to America and proposed to Jaffrey. She refused but gave him a tour of RADA where she pointed out English actors, such as Peter O'Toole, whom she thought would soon have a high profile in the profession. Soon afterwards, Saeed boarded the to sail across the Atlantic Ocean from Southampton to New York City.


title: Madhur Jaffrey

text: In 1957 Jaffrey graduated from RADA with honours. Not knowing whether to stay on in London, join a repertory company or go back to India, she wrote to Saeed describing her dilemma. Saeed had just graduated from Catholic University of America's Department of Speech and Drama and had been selected to act in summer stock plays at St. Michael's Playhouse in Winooski, Vermont. Seeing Saeed troubled by Jaffrey's letter, Reverend Gilbert V. Hartke, the department head at Catholic University, arranged for Jaffrey to teach pantomime at St. Michael's Playhouse at Winooski that summer. Father Hartke also arranged for her to go to Catholic University on a partial scholarship and work at the Drama School library in order to meet her living expenses. After gaining her American work visa, Madhur sailed across the Atlantic on the to join Saeed at Winooski.


title: Madhur Jaffrey

text: In September 1957 Jaffrey stayed in Washington, D.C., with Saeed, who had returned there to rehearse for the 1957–58 season with the National Players, a professional touring company that performed classical plays all over America. Midway through the tour, Saeed returned to Washington, D.C. from Miami to marry Madhur in a modest civil ceremony. The next day, they travelled to New York City where Madhur got a job as a tour guide to the United Nations, while Saeed did public relations work for the Government of India Tourist Office. Between 1959 and 1963, Madhur and Saeed had three daughters: Meera, Zia and Sakina.


title: Madhur Jaffrey

text: In September 1958, Ismail Merchant arrived from Bombay to attend the New York University Stern School of Business. Merchant had heard of Saeed from his theater days in Delhi. He himself wanted to produce plays and make movies. Saeed was then playing the lead at Lee Strasberg's Actors Studio in an Off-Broadway production of "Blood Wedding", a tragedy by Spanish dramatist Federico García Lorca. Merchant approached Saeed with a proposal to put on a Broadway production of "The Little Clay Cart", starring the Jaffreys. Saeed took him home for dinner, where he met Madhur, who was heavily pregnant with the Jaffreys' first child.


title: Madhur Jaffrey

text: The following year, James Ivory, then an emerging film maker from California, approached Saeed Jaffrey to provide the narration for his short film about Indian miniature painting, "The Sword and the Flute" (1959). Saeed brought Ivory home for dinner and introduced him to Madhur. When "The Sword and the Flute" screened in New York City in 1961, the Jaffreys encouraged Merchant to attend the screening, where he met Ivory for the first time. They subsequently met regularly at the Jaffreys' dinners and cemented their relationship into a lifetime partnership, both personal and professional. The Jaffreys planned to go back to India, start a travelling company and tour with it. They would often discuss this idea with James Ivory and started writing a script in his brownstone on East 64th Street.


title: Madhur Jaffrey

text: The Jaffreys soon expanded their social circle to include other members of the Indian community in New York City who were involved in the arts. They regularly hosted large dinners cooked by Madhur, who was determined to master everything, including biryani and pulao.


title: Madhur Jaffrey

text: In 1962, Madhur and Saeed appeared in Rolf Forsberg's Off-Broadway production of "A Tenth of an Inch Makes The Difference". Their performance was described by "The New York Times" drama critic, Milton Esterow, as "sensitive acting" that made up "the brightest part of the evening". The pay for such roles was generally $10/hour.


title: Madhur Jaffrey

text: By 1965, the Jaffreys' marriage had collapsed. Madhur arranged for their children to live with her parents and sister in Delhi while Madhur went to Mexico for the formal divorce proceedings. The divorce was finalized in 1966.


title: Madhur Jaffrey

text: Madhur visited to India for the shooting of "Shakespeare Wallah" (1965). After the film's shooting was complete, she lived in India with her children until Ismail Merchant decided that she needed to be at the Berlin International Film Festival because he had entered the film in competition there. In Berlin, she won the Silver Bear for Best Actress award. Sanford Allen, a violinist she had met when she was a guide at the Lincoln Center for the Performing Arts in New York City, sent her a bunch of roses on her win. Jaffrey returned to New York City when the film was screened at the New York Film Festival. She and Sanford Allen met again and decided to pursue a relationship seriously.


title: Madhur Jaffrey

text: In 1966 Ismail Merchant, in search of further publicity for the film, decided to cultivate "The New York Times" food critic Craig Claiborne. He persuaded Claiborne to profile Jaffrey as an actress who could also cook. When Claiborne agreed, Jaffrey borrowed a friend's apartment in which to meet him since she felt she could not do so in the one-bedroom apartment on Eleventh Street that she shared with Allen. She rearranged the furniture in the borrowed apartment and made stuffed green peppers, koftas in sour cream and cucumber raita.


title: Madhur Jaffrey

text: In 1967, Jaffrey traveled to India to attend a black-tie premiere of "Shakespeare Wallah" in Delhi hosted by the British High Commissioner to India, John Freeman and his wife, Catherine. At the premiere she met Marlon Brando, an actor Jaffrey admired deeply for his method acting technique. Brando was in India to raise money for UNICEF and the film premiere also served as a fund-raiser. Later that year, Jaffrey shot scenes for Merchant Ivory's next film, "The Guru" (1969). She returned from India with her children. The family, along with Sanford Allen, moved into a 14th-floor apartment in a Greenwich Village co-op. In order to better provide for her children, she became a freelance writer for food and travel magazines, covering subjects as diverse as paintings, music, dance, drama, sculpture, and architecture.


title: Madhur Jaffrey

text: In 1969, Madhur married Sanford Allen, who at the time was a violinist with the New York Philharmonic Orchestra.


title: Madhur Jaffrey

text: When Merchant and Ivory went to India to make "The Householder" (1963) they met Shashi Kapoor and his in-laws, the Kendals. Geoffrey Kendal and his wife, Laura Liddell, had a traveling theatre company, "Shakespeareana", that performed plays by Shakespeare pan India. Combining the Jaffreys' original idea with the real-life "Shakespeareana", Merchant and Ivory came up with their next film "Shakespeare Wallah" (1965). Ruth Prawer Jhabvala was persuaded to write a movie star role for Madhur. Saeed was dropped from the project because the Jaffreys' marriage had collapsed at this point.


title: Madhur Jaffrey

text: When Madhur travelled to India for the shooting of "Shakespeare Wallah", her first shots were in Kasauli, a hill station. The hairpin bends on the drive there caused her nausea and vomiting, leading the crew to despair that a person so petite and sickly could ever play a glamorous film star. Kenneth Tynan, a film critic for "The Observer", described her performance as "a ravishing study in felinity".


title: Madhur Jaffrey

text: She went on to act in further Merchant Ivory films like "The Guru" (1969), "Autobiography of a Princess" (1976), "Heat and Dust" (1983), directed by Ivory, and "The Perfect Murder" (1988). She starred as the title character in their film "Cotton Mary" (1999) and co-directed it with Merchant.


title: Madhur Jaffrey

text: Madhur Jaffrey has appeared in "Six Degrees of Separation" (1993), "Vanya on 42nd Street" (1994), "Flawless" (1999) and "Prime" (2005). She starred in and produced "ABCD" (1999) and guest-starred in the "" episode "Name" as a psychiatrist, and the "" episode "The Healer" as a lecturer. In 1985, she was in the Hindi film "Saagar" where she played the role of Kamladevi, Rishi Kapoor's grandmother. In 1992–94, she appeared with Billie Whitelaw in the British television series "Firm Friends". In 1999, she appeared with daughter Sakina Jaffrey in the film "Chutney Popcorn". In "Cosmopolitan" (2003), a film broadcast on PBS, she played a traditional Hindu wife who suddenly leaves her husband. She also starred alongside Deborah Kerr in the 1985 movie "The Assam Garden". In 2009 she appeared with Aasif Mandvi in "Today's Special", adapted from Mandvi's play about a sous chef who is forced to run his father's tandoori restaurant in Queens. In 2012 she played a doctor in "A Late Quartet" who diagnoses Christopher Walken's character with Parkinson's disease. She appeared as the older version of the Indian super heroine character Celsius, in her civilian identity Arani Desai, in a 2019 episode of the DC Universe series " Doom Patrol".


title: Madhur Jaffrey

text: In 1962, she appeared in "A Tenth of an Inch Makes the Difference" by Rolf Forsberg. In 1969, she appeared in "The Guide", based on the novel by R. K. Narayan, and in 1970, she appeared in "Conduct Unbecoming", written by Barry England. In 1993, she appeared in "Two Rooms" by Lee Blessing.


title: Madhur Jaffrey

text: In 1999, she appeared in "Last Dance at Dum Dum" by Ayub Khan-Din. In 2004, Jaffrey appeared in "Bombay Dreams" on Broadway, where she played the main character's grandmother (Shanti). In 2005, she appeared in "India Awakening" by Anne Marie Cummings.


title: Madhur Jaffrey

text: Jaffrey is the author of cookbooks of Indian, Asian, and world vegetarian cuisines. Many have become best-sellers; some have won James Beard Foundation awards. She has presented a cooking series on television, including "Madhur Jaffrey's Indian Cookery" in 1982, "Madhur Jaffrey's Far Eastern Cookery" in 1989 and "Madhur Jaffrey's Flavours of India" in 1995. She lives in Manhattan and has a home in upstate New York. As a result of the success of her cookbooks and TV, Jaffrey developed a line of mass-marketed cooking sauces.


title: Madhur Jaffrey

text: Ironically, she did not cook at all as a child growing up in Delhi. She had almost never been in the kitchen and almost failed cooking at school. It was only after she went to London at the age of 19 to study at RADA that she learned how to cook, using recipes of familiar dishes that were provided in correspondence from her mother. Her editor Judith Jones claimed in her memoirs that Jaffrey was an ideal cookbook writer precisely because she had learned to cook childhood comfort food as an adult, and primarily from written instructions. In the 1960s, after her award-winning performance in "Shakespeare Wallah", she became known as the "actress who could cook".


title: Madhur Jaffrey

text: After an article about her and her cooking appeared in the "New York Times" in 1966, she received a book contract from an independent editor to write a book on Indian cooking. Jaffrey started compiling all the recipes learnt by her through correspondence with her mother and adapted for the American kitchen. Due to a period of rapid consolidation in the American publishing industry, the book went to Harcourt Brace Jovanovich but got no attention there either. Jaffrey took the book to her friend, Ved Mehta, who in turn mentioned it to publisher André Schiffrin. Schiffrin passed on the book to Knopf editor Judith Jones, who had championed Julia Child's cookbook at a time when no other publisher would touch it. Judith Jones snapped up the book immediately, only asking Jaffrey to add serving suggestions and menus for people not familiar with Indian cooking. In 1973 "An Invitation to Indian Cooking" was published, Jaffrey's first cookbook. During the 1970s, she taught classes in Indian cooking, both at the James A. Beard School of Cooking and in her Manhattan apartment. She was hired by the BBC to present a show on Indian cooking. In 1986, the restaurant Dawat opened in Manhattan using recipes that she provided.


title: Madhur Jaffrey

text: The social historian Panikos Panayi described her as the doyen of Indian cookery writers, but noted that their and her influence remained limited to Indian cuisine. Panayi commented that despite Jaffrey's description of "most Indian restaurants in Britain as 'second-class establishments that had managed to underplay their own regional uniqueness, most of her dishes too "do not appear on dining tables in India".


title: Madhur Jaffrey

text: Madhur has three daughters from her marriage to Saeed Jaffrey: Zia, Meera and Sakina. Saeed Jaffrey's autobiography "Saeed: An Actor's Journey" (1998) describes their relationship in the early years of his life.


title: Madhur Jaffrey

text: Zia Jaffrey is a part-time assistant professor of Creative Writing at The New School in New York City. She has written for newspapers like "The New York Times" and "The Washington Post". Her work has also appeared in magazines like "The Nation"," Vogue", and "Elle". She is the author of "The Invisibles: A Tale of Eunuchs of India" (1996) that explores the "hijra" community, whom she first encountered at a family wedding in Delhi in 1984. In 2013 she published "The New Apartheid", a book on South Africa's AIDS epidemic.


title: Madhur Jaffrey

text: Meera Jaffrey graduated from Oberlin College, Ohio, with a major in Chinese studies. She teaches in the Music Department of the Learning Community Charter School in Jersey City, New Jersey. In 2005 she traveled to China to shoot a documentary film, "Fine Rain: Politics and Folk Songs in China", that explores China through its folk songs. Meera is married to Craig Bombardiere and the two have a son, Rohan Jaffrey.


title: Madhur Jaffrey

text: Sakina Jaffrey picked up her love of Chinese culture from her elder sister, Meera. She graduated from Vassar College, New York with a major in Chinese studies and lived in Taiwan in her twenties. She is an actress, best known for her role as Linda Vasquez in the American television series House of Cards. She lives in Nyack, New York, with her husband, Francis Wilkinson, a journalist, and their two children, Cassius and Jamila.


title: Madhur Jaffrey

text: Madhur Jaffrey is the aunt of the British journalist Rohit Jaggi and his sister the literary critic Maya Jaggi, their mother being Madhur's elder sister, Lalit.


title: Madhur Jaffrey

text: Jaffrey is cousin to the late Raghu Raj Bahadur (1924–1997), considered to be one of the world's top theoretical statisticians, and his sister, the late Sheila Dhar (1929–2001) . In her memoirs "Here's Someone I'd Like You to Meet" (1995), Sheila Dhar recounts her difficult relationship with her father, referred to as "Shibbudada" in Jaffrey's own memoirs, "Climbing the Mango Trees".


title: 2015 FIFA corruption case

text: In 2015, United States federal prosecutors disclosed cases of corruption by officials and associates connected with the Fédération internationale de Football Association (FIFA), the governing body of association football, futsal and beach soccer.


title: 2015 FIFA corruption case

text: Near the end of May 2015, fourteen people were indicted in connection with an investigation by the United States Federal Bureau of Investigation (FBI) and the Internal Revenue Service Criminal Investigation Division (IRS-CI) into wire fraud, racketeering, and money laundering. The United States Attorney General simultaneously announced the unsealing of the indictments and the prior guilty pleas by four football executives and two corporations.


title: 2015 FIFA corruption case

text: The investigation revolved around collusion between officials of continental football bodies CONMEBOL (South America) and CONCACAF (Caribbean, Central and North America), and sports marketing executives. The sports marketing executives were holders of media and marketing rights for high-profile international competitions including the Americas' FIFA World Cup qualifying tournaments, and showpiece tournaments CONCACAF Gold Cup and Copa América.


title: 2015 FIFA corruption case

text: CONCACAF President Jeffrey Webb, also serving president of the Cayman Islands Football Association, was arrested in connection with the investigation, as was former CONMEBOL President Nicolás Leoz, while two sitting FIFA Executive Committee members were also arrested: Eduardo Li of the Costa Rican Football Federation and Eugenio Figueredo, formerly of the Uruguayan Football Association. The investigation lasted several years, with the first arrest, of former CONCACAF president Jack Warner's son Daryll, made in July 2013.


title: 2015 FIFA corruption case

text: In total, seven then-current FIFA officials were arrested at the Hotel Baur au Lac in Zürich on 27 May. They were preparing to attend the 65th FIFA Congress, which was scheduled to include the election of the president of FIFA. They were expected to be extradited to the United States on suspicion of receiving in bribes. There was also a simultaneous raid on the CONCACAF headquarters in Miami Beach, and later, two further men handed themselves in to police for arrest: Jack Warner and marketing executive Alejandro Burzaco. Two further arrests of FIFA officials at the hotel occurred in December 2015.


title: 2015 FIFA corruption case

text: The arrests case triggered Australia, Colombia, Costa Rica, Germany and Switzerland to open or intensify separate criminal investigations into top FIFA officials for corruption.


title: 2015 FIFA corruption case

text: The 2015 arrests centre on the alleged use of bribery, fraud and money laundering to corrupt the issuing of media and marketing rights for FIFA games in the Americas, estimated at $150 million, including at least $110 million in bribes related to the Copa América Centenario to be hosted in 2016 in the United States. The indictment handed down by the U.S. District Court in Brooklyn, New York, alleges that bribery was used in an attempt to influence clothing sponsorship contracts, the selection process for the 2010 FIFA World Cup host, and the 2011 FIFA presidential election. Specifically, an unnamed sports equipment company – identified in multiple sources as Nike, Inc. – is alleged to have paid at least $40 million in bribes to become the sole provider of uniforms, footwear, accessories, and equipment to the Brazil national team.


title: 2015 FIFA corruption case

text: In December 2010, federal law enforcement agents secured the undercover cooperation of American football executive and CONCACAF official Chuck Blazer. The FBI's New York office had begun its probe as a spin-off of an unrelated organised crime investigation, and in August 2011, IRS-CI's Los Angeles office began investigating Blazer's alleged failure to file personal income tax returns. In December 2011, IRS-CI became aware of what the FBI was up to from news reports and the two offices began a joint investigation of Blazer.


title: 2015 FIFA corruption case

text: They were investigating Blazer's involvement in the bidding process for host countries for the FIFA World Cups from the early 1990s onwards. The United States is one of five countries that broadly exercise worldwide jurisdiction to tax the net income of its citizens from any source in the world. It also requires taxpayers to report and pay tax on illegal income, and exercises worldwide jurisdiction over all financial institutions with U.S.-based account holders. Blazer agreed to cooperate almost immediately after two agents approached him in New York and confronted him with proof of his tax crimes.


title: 2015 FIFA corruption case

text: In December 2010, Prince William, Duke of Cambridge and British Prime Minister David Cameron attended a meeting with FIFA vice-president Chung Mong-joon in which a vote-trading deal for the right to host the 2018 World Cup was discussed.


title: 2015 FIFA corruption case

text: In November 2013, Blazer pleaded guilty to 10 criminal charges including wire fraud conspiracy, money laundering, and offenses involving income tax and banking. Blazer's guilty plea had aimed to stave off a more serious charge of racketeering, which carried a potential 20-year prison sentence. Blazer would later make secret recordings of meetings with FIFA officials, and allegedly carried a recording device concealed in a keyring during the 2012 Summer Olympics in London. The information against Blazer (the charging document used in lieu of an indictment for a plea bargain) was revealed on 27 May 2015, the same day that the arrests were made in Zurich.


title: 2015 FIFA corruption case

text: In 2011, Phaedra Al-Majid, who was part of the successful 2022 Qatari World Cup Bid, came forward as a whistle-blower. She claimed that Qatar paid $1.5 million to African Football Confederation president Issa Hayatou, Ivory Coast FIFA member Jacques Anouma and Nigeria's suspended official Amos Adamu to vote for Qatar; all three denied the allegations. She later stated that she had fabricated her claims for media attention. Al-Majid co-operated with the Garcia Report.


title: 2015 FIFA corruption case

text: In November 2014, she stated that she was coerced into withdrawing her allegations as she feared for her safety and due to her lack of legal representation. , she was in FBI protective custody, when she stated, "The FBI have everything... There are people who are annoyed with me [for speaking out], and what really irks them is that I'm a female, Muslim whistleblower... I just don't think Blatter actually intends to quit. Everything he does is very calculated. He'll try very hard to save himself, I'm sure of it."


title: 2015 FIFA corruption case

text: In May 2011, "The Sunday Times" published claims from a whistle-blower that President of CAF Issa Hayatou had, along with fellow Executive Committee member Jacques Anouma, accepted $1.5 million bribes from Qatar to secure his support for their bid for the 2022 FIFA World Cup.


title: 2015 FIFA corruption case

text: In 2013, former FIFA President João Havelange and the Brazilian Football Confederation President Ricardo Teixeira were both found to have taken bribes worth millions of dollars. FIFA executive committee member Manilal Fernando was sanctioned with a lifetime ban for bribery and corruption.


title: 2015 FIFA corruption case

text: In the wake of the corruption case, it was reported that in 2008 the general secretary of FIFA, Jérôme Valcke was alleged to have transferred $10 million that had been given to FIFA by Danny Jordaan, president of the South African Football Association, to accounts controlled by Jack Warner, then head of CONCACAF. The payment is a key piece of the American prosecutors' indictment that accuses Warner of taking a bribe in exchange for helping South Africa secure the right to host the 2010 FIFA World Cup.


title: 2015 FIFA corruption case

text: The payment from the South African Football Association had been intended to support the development of football in the Caribbean. $1.6 million of the South African payment was used by Warner to pay personal loans and credit cards and a further $360,000 was withdrawn by people connected to Warner. The Trinidadian supermarket chain JTA Supermarkets also received $4,860,000 from the FIFA payment.


title: 2015 FIFA corruption case

text: The Department of Justice has not charged anybody at FIFA with bribery. Prosecutors have instead alleged racketeering, wire fraud, and money laundering conspiracies under the Racketeer Influenced and Corrupt Organizations Act (RICO) Act, which was intended for use against the Mafia. In addition, officials have been charged with violations of the Travel Act. The relevant part of the law essentially says that it is illegal to engage in interstate or foreign travel, or use the mails or "any facility in interstate commerce" to promote, manage, establish or carry on an illegal activity. That activity can be illegal under either federal or state law.


title: 2015 FIFA corruption case

text: Bribery is definitely included on the list of what is considered an illegal activity under the Travel Act. Any relevant transaction, even if it is only tangentially related to America, can be targeted. In one instance, a representative of First Caribbean International Bank in the Bahamas flew to New York to pick up a cheque for $250,000 (the alleged bribe) from the bribe recipient to transport it safely back to the defendant's bank account.


title: 2015 FIFA corruption case

text: FIFA commissioned former United States Attorney Michael J. Garcia to investigate and report on the bidding processes behind the awarding of the 2018 FIFA World Cup to Russia and the 2022 FIFA World Cup to Qatar. In November 2014, FIFA made a copy of Garcia's report available to the Attorney General of Switzerland, who then stated that there were "grounds for suspicion that, in isolated cases, international transfers of assets with connections to Switzerland took place which merit examination by the criminal prosecution authorities".


title: 2015 FIFA corruption case

text: Sepp Blatter had been president of FIFA since 1998 (until his removal in December 2015). "The Guardian" said that FIFA's actions would "... inevitably be viewed with cynicism given Blatter's track record of using the Swiss courts and FIFA's regulatory processes to kick problematic issues into the long grass and deflect attention onto individuals who have already left football".


title: 2015 FIFA corruption case

text: In May 2015, on the same day as the arrests resulting from the FBI's investigation and in a separate action, the Swiss prosecuting authorities launched a criminal inquiry on "suspicion of criminal mismanagement and of money laundering" concerning the 2018 and 2022 bidding processes. The Swiss authorities seized "electronic data and documents" in a raid on FIFA's Zürich headquarters. The Swiss police also planned to question ten members of the FIFA Executive Committee who participated in the December 2010 votes that chose the hosts for the 2018 and 2022 world cups.