title: Creative destruction

text: One such example is the way in which online ad-supported news sites such as "The Huffington Post" are leading to creative destruction of the traditional newspaper. "The Christian Science Monitor" announced in January 2009 that it would no longer continue to publish a daily paper edition, but would be available online daily and provide a weekly print edition. The "Seattle Post-Intelligencer" became online-only in March 2009. At a national level in USA, employment in the newspaper business fell from 455,700 in 1990 to 225,100 in 2013. Over that same period, employment in internet publishing and broadcasting grew from 29,400 to 121,200. Traditional French alumni networks, which typically charge their students to network online or through paper directories, are in danger of creative destruction from free social networking sites such as LinkedIn and Viadeo.


title: Creative destruction

text: In fact, successful innovation is normally a source of temporary market power, eroding the profits and position of old firms, yet ultimately succumbing to the pressure of new inventions commercialised by competing entrants. Creative destruction is a powerful economic concept because it can explain many of the dynamics or kinetics of industrial change: the transition from a competitive to a monopolistic market, and back again. It has been the inspiration of endogenous growth theory and also of evolutionary economics.


title: Creative destruction

text: David Ames Wells (1890), who was a leading authority on the effects of technology on the economy in the late 19th century, gave many examples of creative destruction (without using the term) brought about by improvements in steam engine efficiency, shipping, the international telegraph network, and agricultural mechanization.


title: Creative destruction

text: Geographer and historian David Harvey in a series of works from the 1970s onwards ("Social Justice and the City", 1973; "The Limits to Capital", 1982; "The Urbanization of Capital", 1985; "Spaces of Hope", 2000; "Spaces of Capital", 2001; "Spaces of Neoliberalization", 2005; "The Enigma of Capital and the Crises of Capitalism", 2010), elaborated Marx's thought on the systemic contradictions of capitalism, particularly in relation to the production of the urban environment (and to the production of space more broadly). He developed the notion that capitalism finds a "spatial fix" for its periodic crises of overaccumulation through investment in fixed assets of infrastructure, buildings, etc.: "The built environment that constitutes a vast field of collective means of production and consumption absorbs huge amounts of capital in both its construction and its maintenance. Urbanization is one way to absorb the capital surplus". While the creation of the built environment can act as a form of crisis displacement, it can also constitute a limit in its own right, as it tends to freeze productive forces into a fixed spatial form. As capital cannot abide a limit to profitability, ever more frantic forms of "time-space compression" (increased speed of turnover, innovation of ever faster transport and communications' infrastructure, "flexible accumulation") ensue, often impelling technological innovation. Such innovation, however, is a double-edged sword:


title: Creative destruction

text: Globalization can be viewed as some ultimate form of time-space compression, allowing capital investment to move almost instantaneously from one corner of the globe to another, devaluing fixed assets and laying off labour in one urban conglomeration while opening up new centres of manufacture in more profitable sites for production operations. Hence, in this continual process of creative destruction, capitalism does not resolve its contradictions and crises, but merely "moves them around geographically".


title: Creative destruction

text: In his 1987 book "All That is Solid Melts into Air: The Experience of Modernity", particularly in the chapter entitled "Innovative Self-Destruction" (pp. 98–104), Marshall Berman provides a reading of Marxist "creative destruction" to explain key processes at work within modernity. The title of the book is taken from a well-known passage from "The Communist Manifesto". Berman elaborates this into something of a "Zeitgeist" which has profound social and cultural consequences:


title: Creative destruction

text: Here Berman emphasizes Marx's perception of the fragility and evanescence of capitalism's immense creative forces, and makes this apparent contradiction into one of the key explanatory figures of modernity.


title: Creative destruction

text: In 2021, an article was published by Berman's younger son Daniel Berman which attempted to apply the elder Berman's conception of creative destruction to the field of art history. Entitled "Looking the Negative in the Face: Creative Destruction and the Modern Spirit in Photography, Photomontage, and Collage", the essay reconsiders the modern media of photography, photomontage, and collage through the lens of "creative destruction". In doing so, the younger Berman attempts to show that in certain works of art of the above-mentioned media, referents (such as nature, real people, other works of art, newspaper clippings, etc.) can be given new and unique significance even while necessarily being obscured by the very nature of their presentation. The article was published in the second volume of Hunter College's graduate art history journal "Assemblage".


title: Creative destruction

text: The sociologist Manuel Castells, in his trilogy on "" (the first volume of which, "", appeared in 1996), reinterpreted the processes by which capitalism invests in certain regions of the globe, while divesting from others, using the new paradigm of "informational networks". In the era of globalization, capitalism is characterized by near-instantaneous flow, creating a new spatial dimension, "the space of flows". While technological innovation has enabled this unprecedented fluidity, this very process makes redundant whole areas and populations who are bypassed by informational networks. Indeed, the new spatial form of the mega-city or megalopolis, is defined by Castells as having the contradictory quality of being "globally connected and locally disconnected, physically and socially". Castells explicitly links these arguments to the notion of creative destruction:


title: Creative destruction

text: Developing the Schumpeterian legacy, the school of the Science Policy Research Unit of the University of Sussex has further detailed the importance of creative destruction exploring, in particular, how new technologies are often idiosyncratic with the existing productive regimes and will lead to bankruptcy companies and even industries that do not manage to sustain the rate of change. Chris Freeman and Carlota Perez have developed these insights. More recently, Daniele Archibugi and Andrea Filippetti have associated the 2008 economic crisis to the slow-down of opportunities offered by information and communication technologies (ICTs). Using as a metaphor the film "Blade Runner", Archibugi has argued that of the innovations described in the film in 1982, all those associated to ICTs have become part of our everyday life. But, on the contrary, none of those in the field of Biotech have been fully commercialized. A new economic recovery will occur when some key technological opportunities will be identified and sustained.


title: Creative destruction

text: In 1992, the idea of creative destruction was put into formal mathematical terms by Philippe Aghion and Peter Howitt, giving an alternative model of endogenous growth compared to Paul Romer's expanding varieties model.


title: Creative destruction

text: In 1995, Harvard Business School authors Richard L. Nolan and David C. Croson released "Creative Destruction: A Six-Stage Process for Transforming the Organization." The book advocated downsizing to free up slack resources, which could then be reinvested to create competitive advantage.


title: Creative destruction

text: More recently, the idea of "creative destruction" was utilized by Max Page in his 1999 book, "The Creative Destruction of Manhattan, 1900–1940." The book traces Manhattan's constant reinvention, often at the expense of preserving a concrete past. Describing this process as "creative destruction," Page describes the complex historical circumstances, economics, social conditions and personalities that have produced crucial changes in Manhattan's cityscape.


title: Creative destruction

text: In addition to Max Page, others have used the term "creative destruction" to describe the process of urban renewal and modernization. T.C. Chang and Shirlena Huang referenced "creative destruction" in their paper "Recreating place, replacing memory: Creative Destruction at the Singapore River." The authors explored the efforts to redevelop a waterfront area that reflected a vibrant new culture while paying sufficient homage to the history of the region. Rosemary Wakeman chronicled the evolution of an area in central Paris, France known as Les Halles. Les Halles housed a vibrant marketplace starting in the twelfth century. Ultimately, in 1971, the markets were relocated and the pavilions torn down. In their place, now stand a hub for trains, subways and buses. Les Halles is also the site of the largest shopping mall in France and the controversial Centre Georges Pompidou.


title: Creative destruction

text: The term "creative destruction" has been applied to the arts. Alan Ackerman and Martin Puncher (2006) edited a collection of essays under the title "Against Theater: Creative destruction on the modernist stage." They detail the changes and the causal motivations experienced in theater as a result of the modernization of both the production of performances and the underlying economics. They speak of how theater has reinvented itself in the face of anti-theatricality, straining the boundaries of the traditional to include more physical productions, which might be considered avant-garde staging techniques.


title: Creative destruction

text: Additionally within art, Tyler Cowen's book "Creative Destruction" describes how art styles change as artists are simply exposed to outside ideas and styles, even if they do not intend to incorporate those influences into their art. Traditional styles may give way to new styles, and thus creative destruction allows for more diversified art, especially when cultures share their art with each other.


title: Creative destruction

text: In his 1999 book, "Still the New World, American Literature in a Culture of Creative Destruction", Philip Fisher analyzes the themes of creative destruction at play in literary works of the twentieth century, including the works of such authors as Ralph Waldo Emerson, Walt Whitman, Herman Melville, Mark Twain, and Henry James, among others. Fisher argues that creative destruction exists within literary forms just as it does within the changing of technology.


title: Creative destruction

text: Neoconservative author Michael Ledeen argued in his 2002 book "The War Against the Terror Masters" that America is a revolutionary nation, undoing traditional societies: "Creative destruction is our middle name, both within our own society and abroad. We tear down the old order every day, from business to science, literature, art, architecture, and cinema to politics and the law." His characterization of creative destruction as a model for social development has met with fierce opposition from paleoconservatives.


title: Creative destruction

text: Creative destruction has also been linked to sustainable development. The connection was explicitly mentioned for the first time by Stuart L. Hart and Mark B. Milstein in their 1999 article "Global Sustainability and the Creative Destruction of Industries", in which he argues new profit opportunities lie in a round of creative destruction driven by global sustainability. (An argument which they would later on strengthen in their 2003 article "Creating Sustainable Value" and, in 2005, with "Innovation, Creative Destruction and Sustainability".) Andrea L. Larson agreed with this vision a year later in "Sustainable Innovation Through an Entrepreneurship Lens", stating entrepreneurs should be open to the opportunities for disruptive improvement based on sustainability. In 2005, James Hartshorn (et al.) emphasized the opportunities for sustainable, disruptive improvement in the construction industry in his article "Creative Destruction: Building Toward Sustainability".


title: Creative destruction

text: Some economists argue that the destructive component of creative destruction has become more powerful than it was in the past. They claim that the creative component does not add as much to growth as in earlier generations, and innovation has become more rent-seeking than value-creating.


title: Creative destruction

text: The following text appears to be the source of the phrase "Schumpeter's Gale" to refer to creative destruction:


title: Creative destruction

text: Politicians often impose impediments to the forces of creative destruction by regulating entry and exit rules that make it difficult for churning to take place. In a series of papers Andrei Shleifer and Simeon Djankov illustrate the effects of such regulation on slowing down competition and innovation.


title: Creative destruction

text: The film "Other People's Money" (1991) provides contrasting views of creative destruction, presented in two speeches regarding the takeover of a publicly traded wire and cable company in a small New England town. One speech is by a corporate raider, and the other is given by the company CEO, who is principally interested in protecting his employees and the town.


title: P. S. Mithran

text: P. S. Mithran is an Indian film director and writer, who is currently working in the Tamil film industry. Mithran is a staunch follower of Periyar. He made his directorial debut through "Irumbu Thirai" (2018). He followed it up with the superhero film, "Hero" (2019), and spy thriller, "Sardar" (2022).


title: P. S. Mithran

text: In August 2016, Vishal decided to fund and act in a venture directed by P. S. Mithran, and subsequently signed on actress Samantha to play the leading female role in the film. The team signed Arjun to play the antagonist in October 2016, with the actor accepting terms without hearing the film's entire script. Subsequently, music composer Yuvan Shankar Raja, cinematographer George C. Williams and editor Ruben were added to the project. Designers NJ Sathya and Neeraja Kona also were revealed to be in charge of the costumes of the lead actors for the film. The film, titled "Irumbu Thirai", was released on 11 May 2018, to positive reviews from critics, for its story, screenplay, background score and performances (particularly those of Vishal and Arjun). It completed a 100-day box office run..


title: P. S. Mithran

text: Mithran's next venture was the superhero film "Hero" (2019), starring Sivakarthikeyan and Kalyani Priyadarshan in the lead roles. Mithran once again collaborated with actor Arjun and music director Yuvan Shankar Raja for the film, and debuted Bollywood actor Abhay Deol through the film, playing the main antagonist. The film released on 20 December 2019 to a positive reception from critics.


title: P. S. Mithran

text: Mithran's films mainly focus on thrillers and common societal themes. His films often use green tinting. As of "Hero", music director Yuvan Shankar Raja, cinematographer George C. Williams, and editor Ruben are his regular collaborators. His films have focused on topics such as cybersecurity, intellectual theft, national security, espionage, and water adulteration.


title: P. S. Mithran

text: Through "Hero" (2019) and "Sardar" (2022), Mithran has introduced Bollywood actors, Abhay Deol and Chunky Pandey, into Tamil cinema.


title: Mike Bloomfield

text: Michael Bernard Bloomfield (July 28, 1943 – February 15, 1981) was an American guitarist and composer, born in Chicago, Illinois, who became one of the first popular music superstars of the 1960s to earn his reputation almost entirely on his instrumental prowess, as he rarely sang before 1969. Respected for his guitar playing, Bloomfield knew and played with many of Chicago's blues musicians before achieving his own fame and was instrumental in popularizing blues music in the mid-1960s. In 1965, he played on Bob Dylan's "Highway 61 Revisited", including the single "Like a Rolling Stone", and performed with Dylan at that year's Newport Folk Festival.


title: Mike Bloomfield

text: Bloomfield was ranked No. 22 on Rolling Stone's list of "100 Greatest Guitarists of All Time" in 2003 and No. 42 by the same magazine in 2011. He was inducted into the Blues Hall of Fame in 2012 and, as a member of the Paul Butterfield Blues Band, was inducted into the Rock and Roll Hall of Fame in 2015.


title: Mike Bloomfield

text: Bloomfield was born into a wealthy Jewish Chicago family. Bloomfield's father, Harold Bloomfield, was born in Chicago in 1914. Harold's father, Samuel Bloomfield, started Bloomfield Industries in the early 1930s. After Samuel passed away, Harold and his brother, Daniel, inherited the company. Bloomfield's mother, Dorothy Klein, was born in Chicago in 1918 and married Harold in 1940. She came from an artistic, musical family, working as an actress and a model before marrying Harold.


title: Mike Bloomfield

text: Bloomfield's family lived in various locations around Chicago before settling at 424 West Melrose Street on the North Side. When he was twelve his family moved to suburban Glencoe, Illinois, where he attended New Trier High School for two years. During this time, he began playing in local bands, and Bloomfield put together a band called the Hurricanes, named after Ohio rock band Johnny and the Hurricanes. New Trier High School expelled Bloomfield after his band performed a raucous rock and roll song at a 1959 school gathering. He attended Cornwall Academy in Massachusetts for one year and then returned to Chicago, where he spent his last year of education at a local YMCA school, Central YMCA High School.


title: Mike Bloomfield

text: Bloomfield had attended a 1957 Chicago performance by blues singer Josh White, and began spending time in Chicago's South Side blues clubs and playing guitar with such black bluesmen as Sleepy John Estes, Yank Rachell, and Little Brother Montgomery. He first sat in with a black blues band in 1959, when he performed with Luther "Guitar Junior" Johnson at a Chicago club called the Place. He performed with Howlin' Wolf, Muddy Waters, and many other Chicago blues performers during the early 1960s. In 1962 he married Susan Smith.


title: Mike Bloomfield

text: Writing in 2001, keyboardist, songwriter and record producer Al Kooper said Bloomfield's talent "was instantly obvious to his mentors. They knew this was not just another white boy; this was someone who truly understood what the blues were all about." Among his early supporters were B.B. King, Muddy Waters, Bob Dylan and Buddy Guy. "Michael used to say, 'It's a natural. Black people suffer externally in this country. Jewish people suffer internally. The suffering's the mutual fulcrum for the blues.'"


title: Mike Bloomfield

text: In the early 1960s he met harmonica player and singer Paul Butterfield and guitarist Elvin Bishop, with whom he would later play in The Paul Butterfield Blues Band. He also began friendships and professional associations with fellow Chicagoan Nick Gravenites and Bronx-born record producer Norman Dayron, who was attending the University of Chicago. He developed a friendship with blues singer Big Joe Williams. In 1963 Bloomfield and his two friends George Mitchell and Pete Welding ran a weekly blues showcase at the Fickle Pickle. He subsequently built up his reputation in two Chicago clubs, Big John's and Magoo's. With help from his friend Joel Harlib, a Chicago photographer who became Bloomfield's de facto manager, he became a Columbia Records recording artist. In early 1964 Harlib took an audition tape by Bloomfield to Columbia producer and talent scout John Hammond, who signed him to Columbia's Epic Records label.


title: Mike Bloomfield

text: Bloomfield recorded a few sessions for Columbia in 1964 that remained unreleased until after his death. In early 1965 he joined the Paul Butterfield Blues Band, which included Elvin Bishop and keyboardist Mark Naftalin, along with drummer Sam Lay and bassist Jerome Arnold, who had previously worked in Howlin' Wolf's band. Elektra Records producer Paul Rothchild recorded the band in spring 1965, but the majority of the tracks were not released until the 1990s. However, one of the tracks Rothchild recorded during his first pass at producing the group, a Nick Gravenites song titled "Born in Chicago", was included on the Elektra album "Folksong '65", which sold two hundred thousand copies when it was released in September 1965. "Born in Chicago" became an underground hit for the Butterfield Band. Their debut album, "The Paul Butterfield Blues Band", was recorded in September and released the following month.


title: Mike Bloomfield

text: In June 1965, Bloomfield had recorded with Bob Dylan, whom he had met in 1963 at a Chicago club called the Bear. The club was bankrolled by future Dylan and Butterfield manager Albert Grossman, who would play a major part in Bloomfield's career. Bloomfield's Telecaster guitar licks were featured on Dylan's "Like a Rolling Stone", a single produced by Columbia Record's Tom Wilson. Bloomfield would play on most of the tracks on Dylan's 1965 "Highway 61 Revisited" album, and he appeared onstage with Dylan in July at the Newport Folk Festival, where Dylan used Bloomfield and the Butterfield Band—minus Paul Butterfield—along with keyboardists Al Kooper and Barry Goldberg. The show marked Dylan's first use of an electric band in a live performance, and Bloomfield's playing on the songwriter's "Maggie's Farm" is considered a landmark electric-guitar performance. After the Newport Folk Festival ended, Bloomfield helped Dylan complete the sessions for "Highway 61 Revisited", and Dylan asked Bloomfield to join his touring band. Bloomfield demurred, preferring to continue playing with the Butterfield Band.


title: Mike Bloomfield

text: After Sam Lay fell ill after a series of dates in November 1965, the Butterfield Band brought Chicago-born drummer Billy Davenport into the group. During the first part of 1966, the band played in California, and they recorded their second album, "East-West", that summer. The record's title track found the band exploring modal music, and it was based upon a song Gravenites and Bloomfield had been playing since 1965, "It's About Time".


title: Mike Bloomfield

text: Bloomfield played on recording sessions between 1965 and 1967. His guitar playing had a huge impact on San Francisco Bay Area musicians after playing with the Butterfield band at Bill Graham's Fillmore in March 1966, San Francisco's Avalon Ballroom and also in the Los Angeles area due to the storied two-week run at the Golden Bear in Huntington Beach. He became a mentor and inspiration for many guitarists, especially in the SF Bay Area. He did a 1965 date with Peter, Paul and Mary that resulted in a song called "The King of Names", and he recorded in 1966 with pop group Chicago Loop, whose "When She Wants Good Lovin' (My Baby Comes to Me)" made "Billboard Magazine"'s chart that year. He also played guitar on recordings by Chuck Berry, Mitch Ryder and James Cotton.


title: Mike Bloomfield

text: Bloomfield tired of the Butterfield Band's rigorous touring schedule and, relocating to San Francisco, sought to create his own group. He formed the short-lived Electric Flag in 1967, with two longtime Chicago collaborators, Barry Goldberg and vocalist Nick Gravenites. The band featured a horn section. The band's rhythm section was composed of bassist Harvey Brooks and drummer Buddy Miles. Miles had previously played in Wilson Pickett's touring band, while Brooks had performed with Al Kooper in bands in New York City, and had played with both Kooper and Bloomfield on Bob Dylan's "Highway 61 Revisited". The group's first effort was the soundtrack for director-producer Roger Corman's 1967 movie "The Trip", which was recorded in the spring of that year.


title: Mike Bloomfield

text: The Electric Flag debuted at the 1967 Monterey Pop Festival and issued an album, "A Long Time Comin'", in April 1968 on Columbia Records. Critics complimented the group's distinctive, intriguing sound but found the record itself somewhat uneven. By that time, however, the band was already disintegrating; rivalries between members, shortsighted management, and heroin abuse all took their toll. Shortly after the release of that album, Bloomfield left his own band, with Gravenites, Goldberg, and bassist Harvey Brooks following.


title: Mike Bloomfield

text: Bloomfield also made an impact through his work with Al Kooper, who had played with Bloomfield on Dylan's "Like a Rolling Stone". Kooper had become an A&R man for Columbia Records, and Bloomfield and Kooper had played piano on Moby Grape's 1968 "Grape Jam", an instrumental album that had been packaged with the group's "Wow" collection.


title: Mike Bloomfield

text: "Why not do an entire jam album together?" Kooper remembered in 1998, writing the booklet notes for the Bloomfield anthology "". "At the time, most jazz albums were made using this modus operandi: pick a leader or two co-leaders, hire appropriate sidemen, pick some tunes, make some up and record an entire album on the fly in one or two days. Why not try and legitimize rock by adhering to these standards? In addition, as a fan, I was dissatisfied with Bloomfield's recorded studio output up until then. It seemed that his studio work was inhibited and reined in, compared to his incendiary live performances. Could I put him in a studio setting where he could feel free to just burn like he did in live performances?"


title: Mike Bloomfield

text: The result was "Super Session", a jam album that spotlighted Bloomfield's guitar skills on one side. Bloomfield, who suffered from insomnia, left the sessions after the first day. Guitarist Stephen Stills completed the album with Kooper. It received excellent reviews and became the best-selling album of Bloomfield's career. Its success led to a live sequel, "The Live Adventures of Mike Bloomfield and Al Kooper", recorded over three nights at Fillmore West in September 1968.


title: Mike Bloomfield

text: Bloomfield continued with solo, session and back-up work from 1968 to 1980. He played guitar on Mother Earth's cover of Memphis Slim's "Mother Earth", a track from their 1968 "Living with the Animals" album, and on two albums by Texas-born soul singer Wayne Talbert. With Mark Naftalin, he produced the 1968 sessions for James Cotton's 1968 album "Cotton in Your Ears". He released his first solo album, "It's Not Killing Me", in 1969. Bloomfield also helped Janis Joplin assemble her Kozmic Blues Band (for the album "I Got Dem Ol' Kozmic Blues, Again Mama!") in 1969, co-wrote "Work Me, Lord" for the album, and played the guitar solo on Joplin's blues composition "One Good Man". Columbia released another 1969 album, a live concert jam, "Live at Bill Graham's Fillmore West", including Mark Naftalin, former Electric Flag bandmates Marcus Doubleday and Snooky Flowers, and a guest appearance by Taj Mahal. In the same year he reunited with Paul Butterfield and Sam Lay for the Chess Records album "Fathers and Sons", featuring Muddy Waters and pianist Otis Spann. Bloomfield composed and recorded the soundtrack for the film "Medium Cool", directed by his second cousin, Haskell Wexler. The film includes footage shot in Chicago during the 1968 Democratic National Convention. With Nick Gravenites, he produced blues guitarist Otis Rush's 1969 album "Mourning in the Morning", recorded at FAME Studios in Muscle Shoals, Alabama with a band that included keyboardists Mark Naftalin and Barry Beckett, along with guitarist Duane Allman.


title: Mike Bloomfield

text: He recorded his second solo album, "Try It Before You Buy It", in 1973. Columbia rejected it; the complete version of the record would not appear until 1990. Also in 1973, he cut "Triumvirate" with Dr. John and guitarist and singer John Hammond Jr. In 1974, he rejoined the Electric Flag for an album titled "The Band Kept Playing". In 1975 he recorded an album with the group KGB. The group's name is an acronym of the initials of singer and songwriter Ray Kennedy, Barry Goldberg and Bloomfield. The band also included Ric Grech and drummer Carmine Appice. Grech and Bloomfield quit shortly after its release. As the record hit stores in 1976, Bloomfield told journalists that the group had been an ill-conceived moneymaking project. The album was not well received by critics, but it did contain the standout track "Sail On, Sailor". Its authorship was credited to "Wilson-Kennedy", and had a bluesy, darker feel, along with Ray Kennedy's original cocaine-related lyrics. In the same year, he performed with John Cale on Cale's soundtrack for the film "Caged Heat". In 1976 he recorded an instructional album for guitarists, "If You Love These Blues, Play 'Em as You Please", which was financed through "Guitar Player" magazine.


title: Mike Bloomfield

text: In the 1970s Bloomfield played in local San Francisco Bay area clubs, including the Keystone Korner, and sat in with other bands. In 1977, Bloomfield was selected by Andy Warhol to do the soundtrack for the pop artist's last film, "Andy Warhol's Bad" (also known as BAD). An unreleased single, "Andy's Bad", was also produced for the project. During 1979–1981 he performed often with the King Perkoff Band, sometimes introducing them as the "Michael Bloomfield and Friends" outfit. Bloomfield recorded "Hustlin' Queen", written by John Isabeau and Perkoff in 1979. He toured Italy and Sweden with guitarist Woody Harris and cellist Maggie Edmondson in the summer of 1980. He sat in with Bob Dylan at San Francisco's Warfield Theatre on November 15, 1980. Bloomfield played on Dylan's "Like a Rolling Stone" and "The Groom's Still Waiting at the Altar". He continued to play live dates, and his performance at San Francisco State College on February 7, 1981, would be his semi-final appearance. His final performance was at Mission Ranch, Carmel, CA, approximately 48 hours before his death.


title: Mike Bloomfield

text: Although Bloomfield came from a wealthy family, he never inherited a large lump sum. He received annual income from a trust that had been created by his paternal grandfather, which gave him $50,000 each year.


title: Mike Bloomfield

text: Bloomfield died in San Francisco on February 15, 1981. He was found seated behind the wheel of his car, with all four doors locked. According to police, an empty Valium bottle was found on the car seat, but no suicide note was found. The medical examiner who performed the autopsy ruled the death accidental overdose, due to cocaine and methamphetamine poisoning. Bloomfield's last album, "Cruisin' for a Bruisin"', was released the day his death was announced. His remains are interred in a crypt at Hillside Memorial Park Cemetery, in Culver City, near Los Angeles.


title: Mike Bloomfield

text: Bloomfield's musical influences include Scotty Moore, Chuck Berry, Little Richard, B.B. King, Big Joe Williams, Otis Rush, Albert King, Freddie King and Ray Charles.


title: Mike Bloomfield

text: Bloomfield originally used a Fender Telecaster, though he had also used a Fender Duo-Sonic while recording for Columbia following his 1964 signing to the label. During his tenure with the Butterfield Blues Band, he used that Tele on the first Butterfield album and on their earliest tours in the fall of 1965. By November he had swapped that guitar with International Submarine Band guitarist John Nuese for Nuese's 1954 Gibson Les Paul Goldtop model, which he used for some of the "East-West" sessions and which he acquired in Boston.


title: Mike Bloomfield

text: In 1967, Bloomfield swapped the Goldtop with his friend repairman/musician Dan Erlewine for Dan's 1959 Les Paul Standard and $100. The Les Paul Standard had proven unpopular in the late 1950s because it was deemed too heavy and too expensive by rock and roll guitarists. Gibson discontinued manufacturing the model in 1960. Bloomfield used the Les Paul Standard in the Electric Flag and on the "Super Session" album and concerts. He later switched between the Les Paul and the Telecaster, but his use of the Les Paul inspired other guitarists to use the model and spurred Gibson to reintroduce the Les Paul Standard in 1968.


title: Mike Bloomfield

text: Bloomfield eventually lost the guitar in Canada; Wolkin and Keenom's biography revealed that a club owner kept the guitar as partial compensation after Bloomfield cut short a round of appearances. This turned out to be accurate and the gig in question was at the Cave in Vancouver, booked from Tue. Nov. 12th, 1974, for five days, until Sat. the 16th. The band played the first night but the next day, Bloomfield boarded a plane and flew home to San Francisco with virtually no notice to the club, hotel, or band members; his friend Mark Naftalin found a note on a torn piece of paper in the hotel room that read, "bye bye, sorry". Bloomfield's two guitars had been left at the club and were retained by club owner Stan Grozina, who wanted compensation for lost revenues.


title: Mike Bloomfield

text: Unlike contemporaries such as Jimi Hendrix and Jeff Beck, Bloomfield rarely experimented with feedback and distortion, preferring a loud yet clean, almost chiming sound with a healthy amount of reverb and vibrato; this approach would strongly influence Jerry Garcia, who segued from a career in acoustic-based music to electric rock at the height of the Butterfield Band's influence in 1965. One of his amplifiers of choice was a 1965 Fender Twin Reverb. His solos, like those of most blues guitarists, were based in the minor pentatonic scale and the blues scale. However, his liberal use of chromatic notes within the pentatonic framework and his periodic lines based on Indian and Eastern modes allowed a considerable degree of fluidity in his solos.


title: Mike Bloomfield

text: Gibson has since released a Michael Bloomfield Les Paul—replicating his 1959 Standard—in recognition of his impact on the blues genre, his role in the revived production of the guitar, and his influence on many other guitarists. Because the actual guitar had been unaccounted for so many years, Gibson relied on hundreds of photographs provided by Bloomfield's family to reproduce the guitar. The model comes in two configurations—a clean Vintage Original Specifications (VOS) version, with only Bloomfield's mismatched volume and tone control knobs, missing toggle switch cover, and kidney-shaped tuners replacing the Gibson originals indicating its inspiration and a faithful, process-aged reproduction of the guitar as it was when Bloomfield played it last, complete with the finish smudge below the bridge and various nicks and smudges elsewhere around the body.


title: Rodan

text: Rodan is depicted as a colossal, prehistoric, irradiated species of "Pteranodon". In 2014, IGN ranked Rodan as #6 on their "Top 10 Japanese Movie Monsters" list, while "Complex" listed the character as #15 on its "The 15 Most Badass Kaiju Monsters of All Time" list.


title: Rodan

text: The Japanese name "Radon" is a contraction of "Pteranodon". The spelling of Radon in Japanese also corresponds to the name of Ladon, the dragon guarding the Hesperides in Greek mythology - since there is no distinction between "l" and "r" in Japanese.


title: Rodan

text: It was changed to "Rodan" for English-speaking markets in order to avoid confusion with the element radon. However, in "Godzilla vs Mechagodzilla II", the English version of the film used the original name "Radon".


title: Rodan

text: As with Godzilla, writer Ken Kuronuma turned to prehistoric animals for inspiration in developing the character, though unlike the former, whose species is largely left ambiguous, Rodan is explicitly stated to be a kind of "Pteranodon". Just as Godzilla was conceived as a symbol of an American nuclear threat, Rodan was seen as an embodiment of the same danger originating from the Soviet Union.


title: Rodan

text: Rodan's debut appearance was the first and only time that the character was given a chestnut color. It originally had a menacing face with a jagged, toothed beak, which would disappear in later incarnations as the character became more heroic. Rodan was portrayed via a combination of suitmation and wire-operated puppets for flight sequences. During suitmation sequences, Rodan was portrayed by Haruo Nakajima, who almost drowned when the wires holding the 150 lb. suit above a water tank snapped. In "Ghidorah, the Three-Headed Monster", the Rodan suit was of visibly lesser quality than the previous one, having a more comical face, a thick neck which barely concealed the shape of the performer's head within and triangular wings. The modification of the character's face was deliberate, as Rodan was meant to be a slapstick character rather than the tragic villain seen in its film debut. A new suit was constructed for "Invasion of Astro-Monster" which more closely resembled the first, having more rounded wings and a sleeker face. The sleek face was retained in "Destroy All Monsters", though the wings and chest area were crudely designed.


title: Rodan

text: Rodan was revived in 1993's "Godzilla vs. Mechagodzilla II", this time portrayed entirely via a wire-manipulated marionette and hand puppets. Having received criticism for his emphasis on battle sequences relying heavily on beam weapons, special effects artist Koichi Kawakita sought to make the confrontation between Godzilla and Rodan as physical as possible.


title: Rodan

text: In 2014, Legendary Pictures announced that they had acquired the rights to Rodan, Mothra and King Ghidorah from Toho to use in their MonsterVerse.


title: Rodan

text: Rodan appears in a post-credits scene of "". It is in the depicting cave paintings showing him, Mothra, King Ghidorah, and Godzilla in the footage that is shown to James Conrad and Mason Weaver.


title: Rodan

text: A casting call confirmed that Rodan, Mothra, and King Ghidorah would be featured in "". Viral marketing describes him as a titanic kaiju with the skeletal structure of a "Pteranodon" and magma-like skin serving as plate armor. The film's promotional website, Monarch Sciences, identifies the fictional island of Isla de Mara off the eastern coast of Mexico as Rodan's location and describes him as being tall with a weight of 39,043 tons and a wingspan of , making it the shortest version of the character, yet also the heaviest and the one with the greatest wingspan; though part of the short height is this version of Rodan being a quadruped like a real pterosaur as opposed to an upright biped like the Toho versions. It is also stated to be powerful enough to level cities with thunderclaps generated by its wings.


title: Rodan

text: In "King of the Monsters", Colonel Alan Jonah uses Dr. Emma Russell to have the ORCA device awaken Rodan from Monarch's Mexican outpost 56. With Rodan awoken, Monarch's jets lead it into fighting King Ghidorah where it is defeated. After Godzilla is (seemingly) killed by the Oxygen Destroyer, Rodan becomes submissive to the latter before being defeated by Mothra in Boston and then switching loyalties to Godzilla after Ghidorah is destroyed, leading the other Titans into bowing to him. According to a news clipping shown in the end credits, Rodan returned to hibernation in a mountain north of Fiji.


title: Rodan

text: Rodan made a cameo as a skeletal remain alongside Anguirus corpse in the prologue of , laying near the Great Wall of China. A news reporter can be heard mentioning Rodan during the scene showing its dead body.


title: Rodan

text: The story behind the corpses of Anguirus and Rodan is explained in Godzilla: Monster Apocalypse, a prequel novel of the movie. The first Rodan emerged in Paektu Mountain on November 2005, Rodan is then lured to China by the Korean People's Army. Rodan engaged in combat against Anguirus, which emerged at the same time in Siberia and lured to China by the Russian army, in Shanghai. The Chinese military fought back against Anguirus and Rodan with a bio-weapon, named Hedorah. Hedorah succeeded in killing the two, but it developed its own self-consciousness and betrayed humanity. In 2036, a flock of Rodans took over Siberia and compete against the Megaguiruses, both preying on European refugees on the Trans-Siberian Railway.


title: Rodan

text: In Godzilla: Project Mechagodzilla, a prequel novel of , a second Rodan was said to attack Kyushu in 2029, its fate is unknown. In the mid-2030s, a flock of Rodans attacked Rome and eventually took over the Italian Peninsula, preying on people. During project: Long March, a plan to keep Godzilla on land and lured him into Eurasia, humanity fight against Rodan and several other monsters in North Africa In 2044. A year later, during Operation: Great Wall, a plan to bury Godzilla alive in the Himalayas, humanity attacked by the Meganulons, the Rodans preyed on both human and Meganulons.


title: Rodan

text: The character's shriek was created by sound technician Ichiro Minawa, who sought to replicate the "contrabass technique" composer Akira Ifukube used for Godzilla. He layered it with a sped up human voice. The sound would be remixed and reused for several other Toho monsters, including the second incarnation of King Ghidorah and Battra.


title: The Sweeney

text: The Sweeney is a 1970s British television police drama focusing on two members of the Flying Squad, a branch of the Metropolitan Police specialising in tackling armed robbery and violent crime in London. It stars John Thaw as Detective Inspector Jack Regan and Dennis Waterman as his partner, Detective Sergeant George Carter. It was produced by the Thames Television subsidiary Euston Films for broadcast on the ITV network in the UK between 2 January 1975 and 28 December 1978.


title: The Sweeney

text: The programme's title comes from the real-world Cockney rhyming slang nickname "Sweeney Todd" used to refer to the Flying Squad by London's criminal fraternity in the mid 20th Century.


title: The Sweeney

text: The popularity of the series in the UK led to two feature films, "Sweeney!" (1977) and "Sweeney 2" (1978), both starring Thaw and Waterman, and a later film, "The Sweeney" (2012), starring Ray Winstone as Regan and Ben Drew as Carter.


title: The Sweeney

text: "The Sweeney" was developed from a one-off TV drama entitled "Regan" which served as the pilot episode for the series. "Regan" is a 90-minute television film written by Ian Kennedy Martin for the Thames Television anthology series "Armchair Cinema" (see "Armchair Theatre") in 1974.


title: The Sweeney

text: The part of Jack Regan was specifically written for John Thaw, who was a friend of Ian Kennedy Martin, with whom he had worked on the TV drama series "Redcap" in the 1960s. Dennis Waterman was cast after his performance in the "Special Branch" episode "Stand and Deliver", also produced by Euston Films.


title: The Sweeney

text: From the very beginning, the "Regan" film was seen as having series potential. After it scored highly in the ratings, work began on the development of the series proper. Ian Kennedy Martin saw the subsequent series as being mainly studio-based, with more dialogue and less action, but producer Ted Childs, inspired in part by "Get Carter" (1971) and "The French Connection" (1971), disagreed. Following this battle for creative control, Ian Kennedy Martin parted company with the project. His shoes as series writer were filled by his brother Troy Kennedy Martin, Roger Marshall, Ranald Graham and Trevor Preston.


title: The Sweeney

text: Every writer on the series was given very specific guidelines to follow: "Each show will have an overall screen time (minus titles) of 48 minutes 40 seconds. Each film will open with a teaser of up to 3 minutes, which will be followed by the opening titles. The story will be played across three acts, each being no more than 19 minutes and no fewer than 8 minutes in length. Regan will appear in every episode, Carter in approximately 10 out of 13 episodes. In addition to these main characters, scripts should be based around three major speaking parts, with up to ten minor speaking parts."


title: The Sweeney

text: Previously, most TV police dramas had shied away from showing officers as being fallible. The series shows a somewhat more realistic side of police life, depicting them as flawed human beings, some with a disregard for authority, rules and the "system". Police officers in "The Sweeney" are ready and willing to meet violence with violence when dealing with London's hardened criminals, and are prone to cut corners and bend the law in pursuit of their prey, as long as it gets the right result. Until "The Sweeney", the violent reality of policing was largely ignored by British television. The series broke new ground for TV drama and didn't shy away from self-awareness and genre-referential humour. This is very evident in episodes such as 2.7 "Golden Fleece" when Regan brandishes a lollipop at Carter and says "who loves ya, baby" in a nod to hit US crime series "Kojak" (1973–78); or in 2.10 "Trojan Bus" when Regan whistles the theme-tune to the BBC's sedate police series "Dixon of Dock Green" (1955–76) after a particularly elementary piece of detective work.


title: The Sweeney

text: The series also captured the zeitgeist as it was made during a dark period for the real-world Flying Squad. During the mid-1970s Flying Squad officers were publicly censured for being involved in bribery, corruption and for having excessively close links with the criminal fraternity. At the time, this reality served as a backdrop to the series, and it is reflected in the mood, tone and story lines of "The Sweeney". Detective Chief Superintendent Kenneth Drury, the Flying Squad's real-life commander, was convicted on five counts of corruption and imprisoned for eight years. Twelve other officers were also convicted and many more resigned. In the late 1970s, this and other scandals led to a massive internal investigation into the activities of the Metropolitan and City of London Police lead by Dorset Police, codenamed Operation Countryman. All of this may have inspired parts of the plot of "Sweeney 2".


title: The Sweeney

text: The two main protagonists are Detective Inspector Jack Regan (John Thaw) and Detective Sergeant George Carter (Dennis Waterman). The third is Detective Chief Inspector Frank Haskins (Garfield Morgan), their boss and a senior Flying Squad officer.


title: The Sweeney

text: John Thaw stars as Detective Inspector John "Jack" Albert Regan, a tough police officer, often frustrated by Scotland Yard's red tape. Originally from Manchester (like Thaw himself), he has been in London for several years. He occasionally refers to his northern roots (his poor upbringing, his father's work on the Manchester Ship Canal), which prompts banter from George Carter, a Londoner, such as humming "The Red Flag". A heavy drinker and smoker (comically, he is sometimes seen stealing other people's cigarettes), Regan has some success with women; although not as much as Carter, or in one episode, Detective Chief Inspector Haskins. He has an ex-wife, Kate, and daughter, Susie, who live in Ruislip.


title: The Sweeney

text: Regan may be tough but he is also a decent man, seen to help out an ex-informer whose son is kidnapped in 4.9 "Feet of Clay"; and his sympathetic pushing enables his boss Haskins to ask for help when his wife goes missing after a breakdown, in 4.13 "Victims"; it's Regan who finds her. Regan will bend the rules in order to achieve the desired result: for example, fabricating evidence, arranging for a criminal to be kidnapped, illegally entering private property and threatening to lie about being attacked by a prisoner in order to get information. Despite this he has his own very strong moral code. He's unwilling to cheat for personal gain, delivers a blistering attack on a corrupt copper, and refuses to take bribes.


title: The Sweeney

text: Although he is seen driving various cars himself throughout the series, Regan usually travels by squad car with police driver. He drives what is presumably his own car, a green 1974 Ford Capri (Mk II) 3.0 Ghia (PTW 475M), in episode 1.13 "Abduction".


title: The Sweeney

text: Dennis Waterman plays Detective Sergeant George Hamilton Carter who comes from south London. In the series' timeline, George was in the Flying Squad prior to events in "Regan", but quit for family reasons (cf. "Regan" and 1.5 "Jigsaw"). Carter is not as aggressive as Regan and usually plays the "good cop" role. He is married to Alison Carter, a schoolteacher, but is widowed when she is murdered in episode 2.5 "Hit and Run". He is a former amateur boxer, as shown in the pilot "Regan", and is described as having professional boxing potential in episode 2.1 "Chalk and Cheese". Like Regan, he enjoys a drink, and follows football. After the death of his wife Carter is shown dating women in several episodes.


title: The Sweeney

text: Garfield Morgan plays Detective Chief Inspector Frank Haskins. He is married and has three children, all at boarding school, and is Regan's immediate superior. Prior to the series timeline, the character had done "National Service in the Signals Corps in a minor intelligence role" (as revealed in episode 2.9 "Stay Lucky, Eh?"). He is frequently seen at odds with Regan, preferring more conventional "by-the-book" policing methods. (Though is still willing and able to "mix it" with villains on the street, giving Regan and Carter physical and/or armed support several times.)


title: The Sweeney

text: The main episodes featuring Haskins are 2.7 "Golden Fleece", in which he is set up to be the victim of a corruption inquiry, and 4.13 "Victims", in which his wife, Doreen, suffers a mental breakdown.


title: The Sweeney

text: During the first three series, Haskins appears in the opening titles of every episode whether or not the character appears in the actual story.


title: The Sweeney

text: Haskins is absent at the start of the fourth and final series due to Garfield Morgan's other professional commitments, but he returns a few episodes in. Correspondingly, there are two versions of the fourth series opening titles, one with, and one without, Haskins.


title: The Sweeney

text: The series introduces several other Squad officers over the years including: Detective Sergeant Matt Mathews (John Flanagan); Detective Sergeant Kent (Carl Rigg); Detective Constable Thorpe (Martin Read); Detective Constable Jellineck (James Warrior); Detective Constable Gerry Burtonshaw (Nick Brimble); Detective Sergeant Tom Daniels (John Alkin).


title: The Sweeney

text: Regan's squad car comes with an "authorised" police driver. In the first series Regan has a variety of drivers including Len (Jack McKenzie), Fred (Denis DeMarne) and Brian Cooney (Billy Murray). Episode 1.7 "The Placer" introduces the character of Bill (Tony Allen) who becomes Regan's regular driver, although he plays a peripheral, non-speaking role in most episodes. Tony Allen subsequently worked as wardrobe manager for many of John Thaw's later projects.


title: The Sweeney

text: When Haskins is absent, other senior officers step in to manage the squad, including Detective Chief Inspector Stephen Quirk (Bill Maynard) and Detective Chief Inspector Anderson (Richard Wilson), sarcastically referred to as "Andy Pandy" by Regan, Carter, and other Squad officers.


title: The Sweeney

text: Other more senior officers include: Detective Chief Superintendent Maynon (Morris Perry), a semi-regular throughout the series and more willing than Haskins to bend the rules to get a result (later promoted to Commander); Detective Superintendent Grant (T.P. McKenna); Detective Chief Superintendent Braithwaite (Benjamin Whitrow). Colin Douglas features as an unnamed Commander in series 1, with Michael Latimer as Commander Jackman in series 2.


title: The Sweeney

text: The relationship between Squad officers is largely informal. Regan is always referred to as "Guv'nor", or just "Guv". He invariably calls Carter and the other Squad members by their first names, or occasionally nicknames. Carter, as Regan's assigned Sergeant, is frequently addressed as "Skipper" or "Skip". When off duty, Regan and Carter are friends and drinking buddies, so in private Carter calls him "Jack". This is all in accordance with widespread police convention. Everyone calls DCI Haskins simply "Haskins" (or Mister Haskins), though Regan occasionally calls him by his first name, "Frank".


title: The Sweeney

text: The cars used in "The Sweeney" became just as important to the series as any of the human characters.


title: The Sweeney

text: The most iconic car in the series is NHK 295M, a metallic copper-bronze 1974 Ford Consul 3000 GT V6 (often mistaken for a Granada Mk1). As well as being the main squad car used to get Regan and Carter around London, it also features in the opening titles of series 1-3 (driven by stuntman Joe Wadham).


title: The Sweeney

text: Other squad cars featured include an onyx green 1973 Ford Granada 3.0 Ghia (Mk1) (NHK 292M), a blue 1974 Ford Cortina 2000 XL (Mk3) (NHK 296M), a bronze 1976 Ford Granada (Mk1) 3.0 Ghia X (RHJ 997R). The main squad cars were supplied for filming by Ford from their press fleet at no cost, and the producers were specifically told that the cars were not to be damaged. Such was the prominence of the company's cars in the series, it was jokingly referred to as "The Ford Squad". In later episodes Ford updated the cars, providing a metallic silver Mk1 Ford Granada Ghia 3.0 V6 (NWC 301P), a silver 1978 Ford Granada (Mk2) 2.8iS (VHK 491S) and a silver Ford Cortina (Mk4) 2.0 GL (PNO 548R), among others.


title: The Sweeney

text: A jupiter red Granada (UAY 272S) was due to be used for filming in season four but it suffered bodywork damage while being delivered to Euston Films and was replaced.


title: The Sweeney

text: The series is infamous for featuring Jaguars as the criminal's car of choice. Jaguar S-types in particular were regularly deployed throughout the series as getaway cars, most notably in episode 1.10 "Stoppo Driver". A blue/grey S-type DWD 606C is used in the series 1-3 opening titles, pursued and chased down by the Squad in NHK 295M.


title: The Sweeney

text: One reason cited for the regular appearance of Jaguars is that they were favoured by the stunt drivers as being the "safest" cars to use. The same few cars would be used and re-used, crashed, fixed up, and resprayed numerous times. According to Kevin Whately, John Thaw claimed that he had witnessed the regency red 1960 Jaguar Mark 2 (registration 248 RPA) used in "Inspector Morse" being written off several times while filming "The Sweeney". Apparently, the car was in real-life a "polished up wreck" and would often break down during filming.


title: The Sweeney

text: A red Fiat 850 coupé (UJB 92G) makes cameo appearances in several episodes: typically, it is parked at the side of the road as the action takes place around it. One theory is that the car belonged to a crew member who tried to include it as an in-joke in as many episodes as possible.


title: The Sweeney

text: Regan's ex-wife Kate (Janet Key) appears in the pilot "Regan" and in episode 1.13 "Abduction". Their daughter Susie (Jennifer Thanisch) appears most notably in "Abduction".


title: The Sweeney

text: Carter's wife Alison (Stephanie Turner) is seen attempting to prise him away from the Squad in episode 1.5 "Jigsaw", while her hostility toward Regan is apparent in 1.13 "Abduction". She is murdered in episode 2.5 "Hit and Run". In the DVD commentary for "Abduction", it is claimed that Alison was written out because actress Stephanie Turner was asking for too much money to continue to appear in the series. Stephanie Turner went on to appear in "Juliet Bravo", also devised and part-written by Ian Kennedy Martin.


title: The Sweeney

text: Doreen Haskins (Sheila Reid) features in the penultimate episode 4.12 "Victims", which deals with her deteriorating mental health and the impact of police work on family life. One of Haskins' three children, Richard, also appears in this episode.


title: The Sweeney

text: "The Sweeney" strived for authenticity and social realism. This ethos was reflected in most aspects of production, from the storylines, casting, locations and most importantly the dialogue. As well as the series title, cockney rhyming-slang gave extra colour to the dialogue, including ‘poppy’ (money), ‘bottle’ (courage) and ‘grass’ (informer). Criminal and police slang was also used, including 'ringer' (a car thief, also a stolen car with fake plates), 'stoppo' (a getaway car), 'snout' (informant), 'factory' (police station/office), 'fence' (selling stolen goods, also someone who sells stolen goods) and 'fireman' (someone who deals with problems). Many of these slang terms were brought to a wider audience for the first time in "The Sweeney", some even entered popular use, but the terms have remained part of the British crime drama landscape.


title: The Sweeney

text: "The Sweeney" was shot on 16mm film, allowing producers to use much smaller and more agile camera crews than shooting on videotape allowed at that time. This made it possible to shoot almost entirely on location for both exteriors and interiors, helping to give the series a startling degree of realism and elevating London as a character of its own. Using film also allowed directors to feature many more action sequences. Directors Tom Clegg, Terry Green, Douglas Camfield, David Wickes, Mike Vardy and William Brayne were among the group of "guerrilla filmmakers" that realised the episodes. What they and the crews delivered is a fast-paced series, depicting the Squad's relentless battle against armed robbery; but it also includes a substantial degree of humour. For the period it has a high degree of on-screen violence, and it is not unknown for several deaths to occur in an episode.


title: The Sweeney

text: Each episode had a budget of £266,000 with an eight-and-a-half-week production schedule: two weeks' pre-production (for casting, finding locations etc.), two weeks' shooting, four weeks' picture editing (the first two weeks of which overlapped with the shoot), two weeks' sound editing, and two-and-a-half days' dubbing.


title: The Sweeney

text: The filming of each episode normally took 10 working days, shooting about five minutes of edited screen time per day. Due to this, the number of different filming locations had to be restricted to 10, i.e. one location per day. At the Euston Films production office in Colet Court, Hammersmith, a standing set of the Flying Squad offices was constructed which provided an alternative option for when inclement weather restricted the day's shooting. Two days would normally be spent filming on the set, equalling 10 minutes of any episode being set in the offices. Shooting took place through the spring, summer, autumn and winter months; exterior night shooting was expensive, and was limited to three minutes of external night material in any episode.


title: The Sweeney

text: Most of the locations used for filming "The Sweeney" were around the west London area—in particular, Acton, Chiswick, Shepherd's Bush, Hammersmith, Fulham, Earl's Court, Kensington & Chelsea and Notting Hill districts, close to the Euston Films HQ at Colet Court in Hammersmith. The London Docklands, derelict at the time, were ideal for filming location sequences. The opening titles were filmed in Colet Gardens. However, other notable locations in London, the South East of England and further afield were also used for filming the show's episodes and included:


title: The Sweeney

text: The cinematic versions of "The Sweeney" feature the same actors and characters as the TV series, however both films have levels of swearing, violence, sex and nudity that would not have been possible on television at the time.


title: The Sweeney

text: In "Sweeney!," Regan and Carter become involved in a plot which shares similarities to the 1963 Profumo affair and British actor Barry Foster features as an American socialite loosely based on Stephen Ward. Made in 1976, and released in 1977, the film appears to be set in 1979. On screen and in-film references include the line "The same damned speech you made in 1978" and a large banner at the OPEC delegates meeting features the convention's logo and the year "1979". This suggests that the events of the film occur after the end of the television series chronologically, assuming series 4 is set in 1978 as broadcast.


title: The Sweeney

text: In "Sweeney 2", Regan and Carter are on the trail of particularly violent armed criminals. The gang has carried out several successful bank and payroll robberies all over London and killed anyone that gets in their way, even their own members. Regan and Carter are assigned the case as a last order from Detective Chief Superintendent Jupp (Denholm Elliott) before he resigns to face allegations of corruption in the courts.


title: The Sweeney

text: In director Nick Love's film, the characters from the original series are re-imagined, and the setting and action are moved to the early 21st Century. "The Sweeney" (2012) stars Ray Winstone as Regan, Ben Drew as Carter and Damian Lewis as Haskins.


title: The Sweeney

text: In the UK, "The Guardian"'s Steve Rose gave Nick Love's film a one star review, saying that "rather than upgrading the 1970s TV favourite, it (the 2012 film) treats it like a stolen car – to be stripped down, resprayed and erased of identifying features. Only the brand name has been retained."


title: The Sweeney

text: The title theme music and end credit reprise were both written by Harry South, a key figure in British jazz during the 1950s and 1960s.


title: The Sweeney

text: Dave Gelly writing in "The Guardian" called South's title music "the most emblematic TV theme of its day".


title: The Sweeney

text: Incidental and background music for the series was selected from off-the-shelf production music libraries, including De Wolfe, KPM, Bruton and Chappell. In 2001 a soundtrack album "Shut it! The Music of The Sweeney" was released and in contains a large selection of the incidental music used in the programme, some augmented with classic pieces of dialogue from various episodes. Also included on the album is the main title theme music from the first feature film, "Sweeney!".


title: The Sweeney

text: The first three books were written by Ian Kennedy Martin, the rest by Joe Balham. The plots of the books are not taken from any of the television episodes; overall, the tone of the books differs somewhat from the television series in that Regan is usually depicted as working alone, and his relationship with Carter is distinctly unfriendly.


title: The Sweeney

text: The 1993 Comic Strip film "Detectives on the Edge of a Nervous Breakdown" features a character introduced as "Shouting George from "The Weeny"" (played by Jim Broadbent).


title: The Sweeney

text: In 1977 and 1978, publishers Brown Watson (who specialised in annuals based on TV series) published two editions of "The Sweeney Annual" featuring a mix of comic strips (some with art by Brian Lewis) and illustrated text stories, interspersed with occasional features on the TV series, articles about policing, puzzles and (in the 1978 annual) an interview with John Thaw and Dennis Waterman.


title: The Sweeney

text: In the early 1980s, the comic "Jackpot" featured a strip called "The Teeny Sweeney" which was originally drawn by J. Edward Oliver. A trio of schoolboys played at being plain-clothes policemen, with two of them looking like little versions of Regan and Carter. They even had "Flying Squad" written on the side of their cartie. Their attempts at being helpful, however, almost always ended in disaster.


title: The Sweeney

text: A TV ad for the Nissan Almera car in the late 1990s had two characters similar to Carter and Regan racing through London to deal with a "bank job". A suspicious group of men have entered a bank dressed as painters. As "Carter" races the car through the streets, "Regan" keeps bellowing at him and others to "Shut it!"


title: The Sweeney

text: At one stage, "Regan" shouts "Mark it!", which is slang for following a suspect, but in this case, means "market" as "Carter" drives erratically through a market place. "Carter" tells "Regan" to stop shouting, to which "Regan" barks the reply "I can't!".


title: The Sweeney

text: When they burst into the bank, it turns out that the men are genuine painters and that "Regan", their guv (or boss), is there to tell them that they have the wrong sort of white paint(!) "Carter" says, "Think we'd better go back to the yard, guv, and get some more." "Shut up!"


title: The Sweeney

text: One of the painters talks in a squeaky-like voice and is called "Squealer", which is slang for informant.


title: The Sweeney

text: The complete TV series of "The Sweeney" was released by Network on 14 DVDs in 2005. This release did not include the pilot film "Regan" or either of the two feature films.


title: The Sweeney

text: In 2007 Network released an 18-disc box-set containing "Regan", all four television series and both feature films. The box-set also contains exclusive extras, listed below:


title: The Sweeney

text: Commentaries with Dennis Waterman, Garfield Morgan, producer Ted Childs, writers Trevor Preston and Troy Kennedy-Martin, directors Tom Clegg and David Wickes and editor Chris Burt.


title: The Sweeney

text: Episode introductions by guest stars Warren Mitchell, Wanda Ventham, Prunella Gee, John Forgeham, Billy Murray, Tony Selby and Dudley Sutton.


title: The Sweeney

text: Episode introductions by guest stars Bill Maynard, Gwen Taylor, James Booth, Ken Hutchison and Lynda Bellingham.


title: The Sweeney

text: In 2012, the first series was released on high-definition Blu-ray by Network. For this release the original 16 mm film negatives were scanned in HD and comprehensively restored by BBC Studios and Post Production.


title: The Sweeney

text: In September 2018, Network confirmed via Twitter that Blu-ray releases of Series 2 to 4 had been abandoned due to "lack of demand".


title: Susan Blakely

text: Susan Blakely is an American actress and model. She is best known for her leading role in the 1976 ABC miniseries "Rich Man, Poor Man", for which she received a Golden Globe Award for Best Actress – Television Series Drama. Blakely also has appeared in films including "The Towering Inferno" (1974), "Report to the Commissioner" (1975), "Capone" (1975), "The Concorde ... Airport '79" (1979) and "Over the Top" (1987).


title: Susan Blakely

text: Blakely was born in Frankfurt, Germany, the daughter of American parents, Mary Louise, a former art teacher, and Colonel Larry Blakely, a career Army officer. After she attended University of Texas at El Paso, she moved to New York and studied acting with Warren Robertson, Lee Strasberg, Sanford Meisner at the Neighborhood Playhouse and later studied with Charles Conrad and Warner Loughlin in Los Angeles. She began a professional modeling career in 1967 at Ford Modeling Agency and in 1970 appeared in a television commercial for Dippity-Do, a hair styling gel.


title: Susan Blakely

text: Blakely arrived in Hollywood in the early 1970s, and began appearing in supporting roles in films including "Savages", "The Way We Were", and "The Lords of Flatbush". Her first major role was as Patty Simmons in the 1974 disaster film "The Towering Inferno". The following year, she played the female lead roles in films "Report to the Commissioner" alongside Michael Moriarty, and "Capone" opposite Ben Gazzara.


title: Susan Blakely

text: Blakely gained wide critical acclaim with her leading role in the 1976 ABC television miniseries "Rich Man, Poor Man", based on the 1969 novel of the same name by Irwin Shaw. For her performance, Blakely won that year's Golden Globe Award for Best Actress – Television Series Drama and earned a nomination for the Primetime Emmy Award for Outstanding Lead Actress in a Miniseries or a Movie. She earned a second Emmy Award nomination the following year when she reprised her role in "Rich Man, Poor Man Book II". After her television success, she played leading roles in two movies in 1979: the disaster film "The Concorde ... Airport '79" opposite Alain Delon, and the sport drama "Dreamer" with Tim Matheson.


title: Susan Blakely

text: During 1980s and 1990s, Blakely played leading roles in many made-for-television movies. She portrayed Frances Farmer in the 1982 film based on Farmer's autobiography, "Will There Really Be a Morning?", for which she was nominated for a Golden Globe Award for Best Actress – Miniseries or Television Film. She played Eva Braun opposite Anthony Hopkins in the Adolf Hitler biographical film "The Bunker" (1981), and Joan Kennedy in "The Ted Kennedy Jr. Story" (1986). She appeared in such feature films as "Over the Top" (1987), "My Mom's a Werewolf" (1989), and "Hate Crime" (2005). She recently guest-starred on "This Is Us" and "NCIS" and in past years on "Hotel", "The Twilight Zone", "Stingray", "Falcon Crest", "Murder, She Wrote", "Nip/Tuck", "Brothers & Sisters", "Southland", "Two and a Half Men", "In the Heat of the Night" (1988 TV series), and "Cougar Town".


title: Susan Blakely

text: In 1969, Blakely married a lawyer, Todd Merer but divorced in 1981. In 1982, Blakely married media consultant, film and television producer Steve Jaffe. They reside in Beverly Hills.


title: Jeff Mangum

text: Jeff Mangum (born 24 October 1970) is an American singer, songwriter, and musician who gained prominence as the founder, songwriter, vocalist and guitarist of Neutral Milk Hotel, as well for his co-founding of The Elephant 6 Recording Company. Mangum is characterized for his complex, lyrically dense songwriting, exemplified on the critically lauded album "In the Aeroplane Over the Sea," as well as for his public image as a recluse associated with his extended periods of musical inactivity and minimal press interaction. An article published in "Slate" described Mangum as the "Salinger of Indie Rock."


title: Jeff Mangum

text: Mangum was born in Ruston, Louisiana, where he met the other co-founding members of Elephant 6, Robert Schneider, Will Cullen Hart, and Bill Doss. Together they shared a passion for home recording, influenced by the likes of the Minutemen, John Cage, and 1960s psychedelia. Mangum's earliest musical projects included Maggot (a punk group with Will Hart), Cranberry Lifecycle (an experimental pop project, also with Hart) and Synthetic Flying Machine (which featured Bill Doss). In the early 1990s Mangum, Hart and Doss moved from Ruston to Athens, Georgia and Synthetic Flying Machine evolved into Olivia Tremor Control, led primarily by Hart and Doss. Mangum has contributed vocals, drums and sound effects to many of the Olivia's subsequent recordings, including their debut EP "California Demise", released in 1994 on the Elephant 6 Recording Co. imprint.


title: Jeff Mangum

text: Mangum left Athens and travelled around the United States, working on solo four-track tape recordings under the name Milk, which would soon become Neutral Milk Hotel. The earliest Neutral Milk Hotel releases included the Elephant 6 cassette "Hype City Soundtrack", and "Everything Is", a 7" released by Cher Doll Records. Mangum recorded his debut LP "On Avery Island" at Robert Schneider's Pet Sounds Studio in Denver, Colorado between 1994 and 1995. The album was released in 1996 on Merge Records in North America and Fire Records in the UK. Following the album's release, Mangum expanded Neutral Milk Hotel to include his friends Scott Spillane, Julian Koster and Jeremy Barnes. The group returned to Denver in 1997 to record "In the Aeroplane Over the Sea", which was released the following year and would become one of the most highly acclaimed indie rock albums of all time.


title: Jeff Mangum

text: Mangum disbanded Neutral Milk Hotel following an extensive tour of North America and Europe, culminating in a solo set on New Year's Eve 1998 at the 40 Watt Club in Athens. Allegedly suffering from poor health and a nervous breakdown, Mangum made few public appearances until February 2001, when he performed a one-off show in New Zealand at the request of Chris Knox. That summer, Mangum released a compilation of field recordings of Bulgarian folk music on the Orange Twin label titled "". This was followed by a live solo album "Live at Jittery Joe's", recorded by filmmaker Lance Bangs in 1997. In the fall of 2001 he joined Circulatory System and The Instruments on an East Coast tour, providing drums and vocals. While working with the people involved in the Major Organ and the Adding Machine act, a short film by the same name was curated. Mangum provides to the soundtrack (which is a modified version of the album by the same name) as well as playing several very minor roles in the film.


title: Jeff Mangum

text: In February 2002, Mangum was interviewed by Pitchfork where he discussed his emotional response to "In The Aeroplane Over The Sea", his recent interest in Buddhism and Eastern thought, travelling across Europe, and working on new field recordings and sound collage pieces (under the name Korena Pang). He also expressed doubt that he would record another Neutral Milk Hotel album, "I just feel like these windows open up for something to be honest, and they don't stay open for very long. I guess my path feels sort of different now".


title: Jeff Mangum

text: In the summer and fall of 2002, Mangum hosted several shows on the free-form New Jersey radio station WFMU. His playlists included excerpts from music therapy classes, "musique concrète" pieces, European folk music, and environmental recordings by Chris Watson. He also played a two-hour drone piece by Tony Conrad, and the entirety of "Live at the Village Vanguard Again!" by John Coltrane and "Rock Bottom" by Robert Wyatt. Mangum also debuted a lengthy new sound collage work, entitled "To Animate the Body with the Cocoon of the Her Unconscious Christ the Mother Removes Her Death Body of 1910 Only To Be Reborn in the Same Spirit as a School of Blow Fish Believing in the Coming of the Milk Christ", and credited to The Long Warm Wall of Alfred Snouts.


title: Jeff Mangum

text: Mangum regularly contributed vocals, drums and sound effects to a number of Elephant 6-related albums throughout the 2000s. These included "Curse Of The Seven Jackals" (with Laura Carter, Eric Harris, Chris Jolly & Heather McIntosh), "Major Organ and the Adding Machine" (with Julian Koster, Kevin Barnes and Will Hart, amongst others), Circulatory System's self-titled debut, "Signal Morning" and "Mosaics Within Mosaics", the Apples in Stereo's "New Magnetic Wonder", the Music Tapes' "Mary's Voice" and Jeremy Barnes' "A Hawk and a Hacksaw".


title: Jeff Mangum

text: In August 2005, Mangum appeared onstage with the Olivia Tremor Control at New York City's Bowery Ballroom to sing "I Have Been Floated". He made no further public appearances until October 2008, when he took part in the Elephant 6 Holiday Surprise reunion tour, performing the Neutral Milk Hotel song "Engine" at several shows accompanied by Julian Koster on singing saw.


title: Jeff Mangum

text: In December 2009, Mangum contributed a cover of "Sign the Dotted Line" to a Chris Knox tribute album titled "". This was followed by an appearance at a Knox benefit show on May 6, 2010 at Le Poisson Rouge, where Mangum performed a number of acoustic Neutral Milk Hotel songs. On December 4, 2010, Mangum played an unannounced set at a loft in Bushwick, Brooklyn.


title: Jeff Mangum

text: On April 20, 2011, Robert Schneider debuted a score composed by Mangum for the Teletron, a mind-controlled electronic instrument invented by Schneider. In August 2011, Mangum launched the website Walking Wall of Words, through which he self-released a vinyl box set of Neutral Milk Hotel recordings and previously unreleased material. He also curated a series of downloadable 'radio broadcasts' and sold one-of-a-kind drawings, with a portion of proceeds donated to charities including Children of the Blue Sky.


title: Jeff Mangum

text: Also in August, Mangum commenced a tour of the East Coast, performing mainly Neutral Milk Hotel songs. On September 30, he played a full set at the All Tomorrow's Parties festival in Asbury Park, NJ. On October 4, he made an appearance at Zuccotti Park in New York City and played several songs to those participating in the Occupy Wall Street protests. In March 2012, he curated the ATP festival in Minehead, England, inviting a number of Elephant 6 groups including The Apples In Stereo, The Music Tapes, Olivia Tremor Control and A Hawk and a Hacksaw. Influential artists such as The Fall, Thurston Moore, Roscoe Mitchell and the Sun Ra Arkestra also performed at the three-day event.


title: Jeff Mangum

text: Mangum's solo tour continued throughout 2012 and into 2013, including high-profile appearances at Coachella, Primavera Sound, and the Calgary Folk Music Festival. He was often accompanied by friends and former Neutral Milk Hotel bandmates Koster, Spillane and Barnes onstage. On October 11, 2013, Neutral Milk Hotel performed their first full show in fifteen years at a former Methodist church in Baltimore, MD. An extensive reunion tour was announced for late 2013 through 2014, including shows in Taiwan, Japan, Australia, New Zealand, and throughout North America and Europe. The band's final show of 2014 took place at Fun Fun Fun Fest in Austin, TX, on November 9.


title: Jeff Mangum

text: In April 2015, Neutral Milk Hotel embarked upon their "last tour for the foreseeable future" including dates with Dot Wiggin and Circulatory System. Their final show took place at the Phoenix Theater, Petaluma, CA on June 11.


title: Jeff Mangum

text: Korena Pang was a name used by Jeff Mangum for his sound collage work, which he debuted during his 2002 show on New Jersey radio station WFMU. The name first appeared in the liner notes to the 1996 Neutral Milk Hotel album "On Avery Island", and has been used interchangeably with another pseudonym, Alfred Snouts. Mangum described the process of constructing sound collage pieces during a rare interview with Pitchfork the same year:


title: Jeff Mangum

text: "I made a record of montage sounds in '99 under the name Korena Pang, but it was never put out because it didn't do it for me [...] That record was more just a collection of twenty different home recordings, whereas the montage work I'm doing now is like a thousand sounds in one minute. Now I'm able to go out into the world with my field recorder, record sounds, and bring them home to collage on the computer. The raw sounds can really move and come alive that way. I love the idea of a record containing an entire universe; where the sounds span decades of recording from all over the world and all sorts of different sources."


title: Jeff Mangum

text: In January 2008, it was reported that Mangum had married filmmaker and activist Astra Taylor. Taylor joined Mangum onstage for a number of shows in 2013 and 2014, playing guitar and accordion.


title: Jeff Mangum

text: Mangum is vegan, and on October 27, 2011, performed a benefit show at the Woodstock Farm Animal Sanctuary, raising over $16,500.


title: Jeff Mangum

text: In March 2020, ahead of the US presidential election, Mangum endorsed the presidential campaign of US Senator Bernie Sanders in a message to "his friends" (fans of the band), subsequently shared publicly and co-signed by Taylor.


title: Cookiecutter shark

text: The cookiecutter shark (Isistius brasiliensis), also called the cigar shark, is a species of small squaliform shark in the family Dalatiidae. This shark occurs in warm, oceanic waters worldwide, particularly near islands, and has been recorded as deep as . It migrates vertically up to every day, approaching the surface at dusk and descending with the dawn. Reaching only in length, the cookiecutter shark has a long, cylindrical body with a short, blunt snout, large eyes, two tiny spineless dorsal fins, and a large caudal fin. It is dark brown, with light-emitting photophores covering its underside except for a dark "collar" around its throat and gill slits.


title: Cookiecutter shark

text: The name "cookiecutter shark" refers to its feeding habit of gouging round plugs, as if cut out with a cookie cutter, out of larger animals. Marks made by cookiecutter sharks have been found on a wide variety of marine mammals and fishes, as well as on submarines, undersea cables, and even human bodies. It also consumes whole smaller prey such as squid. Cookiecutter sharks have adaptations for hovering in the water column and likely rely on stealth and subterfuge to capture more active prey. Its dark collar seems to mimic the silhouette of a small fish, while the rest of its body blends into the downwelling light via its ventral photophores. When a would-be predator approaches the lure, the shark attaches itself using its suctorial lips and specialized pharynx and neatly excises a chunk of flesh using its bandsaw-like set of lower teeth. This species has been known to travel in schools.


title: Cookiecutter shark

text: Though rarely encountered because of its oceanic habitat, a handful of documented attacks on humans were apparently caused by cookiecutter sharks. Nevertheless, this diminutive shark is not regarded as dangerous to humans. The International Union for Conservation of Nature has listed the cookiecutter shark under least concern, as it is widely distributed, has no commercial value, and is not particularly susceptible to fisheries.


title: Cookiecutter shark

text: French naturalists Jean René Constant Quoy and Joseph Paul Gaimard originally described the cookiecutter shark during the 1817–1820 exploratory voyage of the corvette "Uranie" under Louis de Freycinet, giving it the name "Scymnus brasiliensis" because the type specimen was caught off Brazil. In 1824, their account was published as part of "Voyage autour du monde...sur les corvettes de S.M. l'Uranie et la Physicienne", Louis de Freycinet's 13 volume report on the voyage. In 1865, American ichthyologist Theodore Nicholas Gill coined the new genus "Isistius" for this species, after Isis, the Egyptian goddess of light.


title: Cookiecutter shark

text: One of the earliest accounts of the wounds left by the cookiecutter shark on various animals is in ancient Samoan legend, which held that "atu" (skipjack tuna) entering Palauli Bay would leave behind pieces of their flesh as a sacrifice to Tautunu, the community chief. In later centuries, various other explanations for the wounds were advanced, including lampreys, bacteria, and invertebrate parasites. In 1971, Everet Jones of the U.S. Bureau of Commercial Fisheries (a predecessor of the National Marine Fisheries Service) discovered the cigar shark, as the cookiecutter shark was then generally known, was responsible. Shark expert Stewart Springer thus popularized the name "cookiecutter shark" for this species (though he originally called them "demon whale-biters"). Other common names used for this shark include luminous shark, smalltooth cookiecutter shark, and smooth cookiecutter shark.


title: Cookiecutter shark

text: The cookiecutter shark has an elongated, cigar-shaped body with a short, bulbously rounded snout. The nostrils have a very short flap of skin in front. The large, oval, green eyes are placed forward on the head, though not so that binocular vision is extensive. Behind the eyes are large spiracles, positioned on the upper surface of the head.


title: Cookiecutter shark

text: The mouth is short, forming a nearly transverse line, and is surrounded by enlarged, fleshy, suctorial lips. About 30–37 tooth rows are in the upper jaw and 25–31 tooth rows are in the lower jaw, increasing with body size. The upper and lower teeth are extremely different; the upper teeth are small, narrow, and upright, tapering to a single, smooth-edged cusp. The lower teeth are also smooth-edged, but much larger, broader, and knife-like, with their bases interlocking to form a single saw-like cutting edge. The five pairs of gill slits are small.


title: Cookiecutter shark

text: The pectoral fins are short and roughly trapezoidal in shape. Two spineless dorsal fins are placed far back on the body, the first originating just ahead of the pelvic fins and the second located just behind. The second dorsal fin is slightly larger than the first, and the pelvic fins are larger than either. The anal fin is absent. The caudal fin is broad, with the lower lobe almost as large as the upper, which has a prominent ventral notch. The dermal denticles are squarish and flattened, with a slight central concavity and raised corners. The cookiecutter shark is chocolate brown in color, becoming subtly lighter below, and a dark "collar" wraps around the gill region.


title: Cookiecutter shark

text: The fins have translucent margins, except for the caudal fin, which has a darker margin. Complex, light-producing organs called photophores densely cover the entire underside, except for the collar, and produce a vivid green glow. The maximum recorded length for this species is for males and for females.


title: Cookiecutter shark

text: Inhabiting all of the world's major tropical and warm-temperate oceanic basins, the cookiecutter shark is most common between the latitudes of 20°N and 20°S, where the surface water temperature is . In the Atlantic, it has been reported off the Bahamas and southern Brazil in the west, Cape Verde, Guinea to Sierra Leone, southern Angola, and South Africa in the east, and Ascension Island in the south. In the Indo-Pacific region, it has been caught from Mauritius to New Guinea, Australia, and New Zealand, including Tasmania and Lord Howe Island, as well as off Japan. In the central and eastern Pacific, it occurs from Fiji north to the Hawaiian Islands, and east to the Galápagos, Easter, and Guadalupe Islands. Fresh wounds observed on marine mammals suggest this shark may range as far as California in warm years.


title: Cookiecutter shark

text: Based on catch records, the cookiecutter shark appears to conduct a diel vertical migration up to each way. It spends the day at a depth of , and at night it rises into the upper water column, usually remaining below , but on rare occasions venturing to the surface. This species may be more tolerant of low dissolved oxygen levels than sharks in the related genera "Euprotomicrus" and "Squaliolus". It is frequently found near islands, perhaps for reproductive purposes or because they hold congregations of large prey animals. In the northeastern Atlantic, most adults are found between 11°N and 16°N, with the smallest and largest individuals being found in lower and higher latitudes, respectively. There is no evidence of sex segregation.


title: Cookiecutter shark

text: Best known for biting neat round chunks of tissue from marine mammals and large fish, the cookiecutter shark is considered a facultative ectoparasite, as it also wholly ingests smaller prey. It has a wide gape and a very strong bite, by virtue of heavily calcified cranial and labial cartilages. With small fins and weak muscles, this ambush predator spends much of its time hovering in the water column. To maintain neutral buoyancy, its liver, which can comprise some 35% of its weight, is rich in low-density lipids. As this species has higher skeletal density than "Euprotomicrus" or "Squaliolus", its body cavity and liver are proportionately much larger, and the oil content is much higher. Its large caudal fin allows for a quick burst of speed to catch larger, faster prey that come in range.


title: Cookiecutter shark

text: The cookiecutter shark regularly replaces its teeth like other sharks, but sheds its lower teeth in entire rows rather than one at a time. A cookiecutter shark long has been calculated to have shed 15 sets of lower teeth by the time it is long, totaling 435–465 teeth. This represents a significant investment of resources and is probably why the shark swallows its old sets of teeth, so that it can recycle the calcium content. Unlike other sharks, the retina of the cookiecutter shark has ganglion cells concentrated in a concentric area rather than in a horizontal streak across the visual field; this may help to focus on prey in front of the shark. This fat shark has been known to travel in schools, which may increase the effectiveness of its lure (see below), as well as discourage counterattacks by much larger predators.


title: Cookiecutter shark

text: The intrinsic green luminescence of the cookiecutter shark is the strongest known of any shark, and has been reported to persist for three hours after it has been taken out of water. The ventrally positioned photophores serve to disrupt its silhouette from below by matching the downwelling light, a strategy known as counter-illumination, that is common among bioluminescent organisms of the mesopelagic zone. The individual photophores are set around the denticles and are small enough that they cannot be discerned by the naked eye, suggesting they have evolved to fool animals with high visual acuity and/or at close distances.


title: Cookiecutter shark

text: Set apart from the glowing underside, the darker, nonluminescent collar tapers at both sides of the throat, and has been hypothesized to serve as a lure by mimicking the silhouette of a small fish from below. The appeal of the lure would be multiplied in a school of sharks. If the collar does function in this way, the cookiecutter shark would be the only known case of bioluminescence in which the absence of light attracts prey, while its photophores serve to prevent premature detection by incoming would-be predators. As the shark can only match a limited range of light intensities, its vertical movements likely serve to preserve the effectiveness of its disguise across various times of day and weather conditions.


title: Cookiecutter shark

text: Virtually every type of medium- to large-sized oceanic animal sharing the habitat of the cookiecutter shark is open to attack; bite scars have been found on cetaceans (including porpoises, dolphins, beaked whales, sperm whales and baleen whales), pinnipeds (including fur seals, leopard seals and elephant seals), dugongs, sharks (including blue sharks, goblin sharks, basking sharks, great white sharks, megamouth sharks and smalltooth sand tiger sharks), stingrays (including deepwater stingrays, pelagic stingrays and sixgill stingrays), and bony fishes (including billfishes, tunas, dolphinfishes, jacks, escolars, opahs, and pomfrets). The cookiecutter shark also regularly hunts and eats entire squid with a mantle length of , comparable in size to the shark itself, as well as bristlemouths, copepods, and other prey of more modest dimensions.


title: Cookiecutter shark

text: Parasitic attacks by the cookiecutter shark leave a round "crater wound", averaging across and deep. The prevalence of these attacks can be high: off Hawaii, nearly every adult spinner dolphin bears scars from this species. Diseased or otherwise weakened animals appear to be more susceptible, and in the western Atlantic observations have been made of emaciated beached melon-headed whales with dozens to hundreds of recent and healing cookiecutter shark wounds, while such wounds are rare on nonemaciated beached whales. The impact of parasitism on prey species, in terms of resources diverted from growth or reproduction, is uncertain.


title: Cookiecutter shark

text: The cookiecutter shark exhibits a number of specializations to its mouth and pharynx for its parasitic lifestyle. The shark first secures itself to the body surface of its prey by closing its spiracles and retracting its basihyal (tongue) to create pressure lower than that of the surroundings; its suctorial lips ensure a tight seal. It then bites, using its narrow upper teeth as anchors while its razor sharp lower teeth slice into the prey. Finally, the shark twists and rotates its body to complete a circular cut, quite possibly aided by the initial forward momentum and subsequent struggles of its prey. The action of the lower teeth may also be assisted by back-and-forth vibrations of the jaw, a mechanism akin to that of an electric carving knife. This shark's ability to create strong suction into its mouth is likely also of use in capturing smaller prey such as squid.


title: Cookiecutter shark

text: Like other dogfish sharks, the cookiecutter shark is aplacental viviparous, with the developing embryos being sustained by yolk until birth. Females have two functional uteri and give birth to litters of 6 to 12 pups. A case has been recorded of a female carrying 9 embryos long; though they were close to the birth size, they still had well-developed yolk sacs, suggesting a slow rate of yolk absorption and a long gestation period. The embryos had developed brown pigmentation, but not the dark collar or differentiated dentition. Newborn cookiecutter sharks measure long. Males attain sexual maturity at a length of , and females at a length of .


title: Cookiecutter shark

text: Favoring offshore waters and thus seldom encountered by humans, the cookiecutter shark is not considered dangerous because of its small size. However, it has been implicated in a few attacks; in one case, a school of 30-cm (12 in) long fish with blunt snouts attacked an underwater photographer on an open-ocean dive. Similar reports have come from shipwreck survivors, of suffering small, clean, deep bites during night time. In March 2009, Maui resident Mike Spalding was bitten by a cookiecutter shark while swimming across Alenuihaha Channel. Swimmer Eric Schall was bitten by a cookiecutter shark March 31, 2019 while crossing the Kaiwi Channel and suffered a large laceration to his stomach. A second cookiecutter attack occurred in the same spot three weeks later. Isaiah Mojica was attempting the channel swim April 6, 2019 as part of the Oceans Seven challenge when he was bitten on the left shoulder. A third person attempting to complete the swim was bitten in nearly the same area of the channel. Adherbal Treidler de Oliveira was attempting the swim July 29, 2019, when he was bitten once on the stomach and then a second time on the left thigh. Two of the three swimmers were using electrical shark deterrents which did not deter the sharks. In 2017, a seven year old boy, Jack Tolley, was bitten in the leg while wading in Alma Bay in North Queensland with his family. The shark caused a 7.3 cm wound that was nearly down to the bone. There are several records of bodies recovered from the water with post-mortem cookiecutter shark bites.


title: Cookiecutter shark

text: During the 1970s, several U.S. Navy submarines were forced back to base to repair damage caused by cookiecutter shark bites to the neoprene boots of their AN/BQR-19 sonar domes, which caused the sound-transmitting oil inside to leak and impaired navigation. An unknown enemy weapon was initially feared, before this shark was identified as the culprit, and the problem was solved by installing fiberglass covers around the domes. In the 1980s, some 30 U.S. Navy submarines were damaged by cookiecutter shark bites, mostly to the rubber-sheathed electric cable leading to the sounding probe used to ensure safety when surfacing in shipping zones. Again, the solution was to apply a fiberglass coating. Oceanographic equipment and telecommunications cables have also been damaged by this species.


title: Cookiecutter shark

text: The harm inflicted by cookiecutter sharks on fishing nets and economically important species may have a minor negative effect on commercial fisheries. The shark itself is too small to be of value, and is only infrequently taken, as bycatch, on pelagic longlines and in midwater trawls and plankton nets. The lack of significant population threats, coupled with a worldwide distribution, has led the IUCN to assess the cookiecutter shark as of least concern. In June 2018 the New Zealand Department of Conservation classified the cookiecutter shark as "Not Threatened" with the qualifier "Secure Overseas" under the New Zealand Threat Classification System.


title: Tobago

text: Tobago () is an island and ward within the Republic of Trinidad and Tobago. It is located northeast of the larger island of Trinidad and about off the northeastern coast of Venezuela. It also lies to the southeast of Grenada. The official bird of Tobago is the cocrico.


title: Tobago

text: Tobago was named "Belaforme" by Christopher Columbus "because from a distance it seemed beautiful". The Spanish friar Antonio Vázquez de Espinosa wrote that the Kalina (mainland Caribs) called the island "Urupina" because of its resemblance to a big snail, while the Kalinago (Island Caribs) called it "Aloubaéra", supposedly because it resembled the "alloüebéra", a giant snake which was supposed to live in a cave on the island of Dominica. The earliest known record of the use of the name "Tabaco" to refer to the island is a Spanish royal order issued in 1511. That name was inspired by the resemblance of the shape of the island to the fat cigars smoked by the Taíno inhabitants of the Greater Antilles.


title: Tobago

text: Tobago was settled by indigenous people belonging to the Ortoiroid cultural tradition some time between 3500 and 1000 BCE. In the first century of the Common Era, Saladoid people settled in Tobago. They brought with them pottery-making and agricultural traditions, and are likely to have introduced crops which included cassava, sweet potatoes, Indian yam, tannia and corn. Saladoid cultural traditions were later modified by the introduction of the Barrancoid culture, either by trade or a combination of trade and settlement. After 650 CE, the Saladoid culture was replaced by the Troumassoid tradition in Tobago. Troumassoid traditions were once thought to represent the settlement of the Island Caribs in the Lesser Antilles and Tobago, but this is now associated with the Cayo ceramic tradition. No archaeological sites exclusively associated with the Cayo tradition are known from Tobago.


title: Tobago

text: Tobago's location made it an important point of connection between the Kalinago of the Lesser Antilles and their Kalina allies and trading partners in the Guianas and Venezuela. In the 1630s Tobago was inhabited by the Kalina, while the neighbouring island of Grenada was shared by the Kalina and Kalinago.


title: Tobago

text: Columbus sighted Tobago on 14 August 1498, during his fourth voyage, but he did not land. The Spanish settlers in Hispaniola were authorised to conduct slave raids against the island in a royal order issued in 1511. These raids, which continued until at least the 1620s, decimated the island's population.