title: Plutus

text: In Canto VII of Dante's "Inferno", Plutus is a demon of wealth who guards the fourth circle of Hell, "The Hoarders and the Wasters". Dante likely included Plutus to symbolize the evil of hoarding wealth. He is known for saying the famous phrase, "Pape Satàn, pape Satàn aleppe."


title: Plutus

text: Like many other figures in Greek and Roman mythology, Plutus' name is related to several English words. These include:


title: The Hunting Party (album)

text: The Hunting Party is the sixth studio album by American rock band Linkin Park. The album, produced by band members Mike Shinoda and Brad Delson, was released by Warner Bros. Records and Machine Shop on June 13, 2014. It is the first album since "Meteora" (2003) not to be produced with Rick Rubin, who produced the band's previous three studio albums.


title: The Hunting Party (album)

text: Stylistically, "The Hunting Party" is a departure from the electronic rock and experimental sound of the band's previous two studio albums, "A Thousand Suns" (2010) and "Living Things" (2012) and marks a return to the band’s nu metal sound. The album, described by Shinoda as simply "a rock record", serves as a statement by the band against contemporary mainstream and active rock bands, accused by him as "trying to be other bands and playing it safe". Packaged by an artwork by Brandon Parvini based on an original drawing by James Jean, the album took under a year to record and produce, with material being improvisationally written by the band. The album also features guest appearances from Helmet's Page Hamilton, System of a Down's Daron Malakian, Rage Against the Machine's Tom Morello, and Rakim, marking the first time Linkin Park has collaborated with other artists on a studio album.


title: The Hunting Party (album)

text: The album was promoted by the band and Warner Bros, with multiple promotional teasers and interviews produced and published in the lead-up to the album's release and listening parties of the album being held worldwide on multiple dates. The band embarked on the Carnivores Tour, a double-headline tour with Thirty Seconds to Mars, as well as The Hunting Party Tour, in support of the album. Five singles from "The Hunting Party" have been released; "Guilty All the Same" in March 2014, "Until It's Gone" in May 2014, and "Wastelands", "Rebellion" and "Final Masquerade" in June 2014.


title: The Hunting Party (album)

text: The album received generally positive reviews from critics, who praised its return to the heavier rock sound of their older albums. It debuted at number three on the US "Billboard" 200, and has placed at number four on "Revolver"s list of "The 20 Best Albums of 2014". The album was certified Platinum in United States for the sales of one million copies.


title: The Hunting Party (album)

text: In 2010 and 2012 respectively, Linkin Park released their fourth and fifth studio albums "A Thousand Suns" and "Living Things". The albums, both produced by Rick Rubin and Mike Shinoda, marked a shift in the band's musical direction from a nu metal-oriented sound, recognized with "Hybrid Theory" (2000) and "Meteora" (2003), to a more experimental and "cutting edge" sound. The electronica-influenced albums were commercially successful.


title: The Hunting Party (album)

text: Production on the band's sixth studio album began as a result of a series of events in which Shinoda decided to drop the electronic and experimental sound of the band's previous two studio albums. Shinoda had originally recorded and produced demos, which continued the sound of "A Thousand Suns" and "Living Things", for the band's sixth studio album during the band's Living Things World Tour in 2013. He presented the demos to his bandmates, which received positive reception from the rest of the band, and to Rubin, who was also positive towards the demos, though describing them to Shinoda as more "poppy" than he expected. However, Shinoda, after listening to the demos again after the end of the tour, felt a strong negativity towards his material, especially after Rubin's statements. In a Warner Music interview, Shinoda stated that "I don't even believe in this music. This is a mistake; I don't like what I'm making. I kind of went backwards into the process and scrapped all of it and started new stuff."


title: The Hunting Party (album)

text: Following "A Thousand Suns" and "Living Things", albums which were created with leaving behind a sound that was "not new and not cool anymore" in mind, the band's sixth studio album was approached as a return to the band's early sound, with the electronic sounds of their previous two studio albums being dropped in favor of the band's traditional rock instrumentation. Using "Hybrid Theory" as a template, the band composed and recorded it in context of modern times, in 2014 rather than 2000. Guitarist Brad Delson jokingly stated that the album was an "alternative "Hybrid Theory"" and "maybe its prequel", with the album being inspired by artists the band listened to before they started their musical career. Shinoda told "Rolling Stone" about the ideas surrounding "The Hunting Party": "We're not 18-year-old kids making a loud record – we're 37-year-old adults making a loud record. And what makes a 37-year-old angry is different than what made us angry back in the day."


title: The Hunting Party (album)

text: The band took a different method in writing new material for "The Hunting Party" as opposed to their previous albums. While for all their previous albums they used the traditional method of writing, demoing and rerecording in the studio, songs were instead written and composed in the studio itself, with no material being written or composed beforehand. Delson spoke about the methods used on the album in an interview with "Premier Guitar", saying that "Something unintentional might be the coolest sound I make all day, and knowing how to allow those mistakes to happen and to shape them potentially makes for some great music."


title: The Hunting Party (album)

text: The album has been described as alternative metal, nu metal, hard rock, rap rock and rap metal by professional reviewers. Shinoda described the album's sound as a 1990s style of rock record: "It's a Rock record; "it's loud and it's Rock, but not in the sense of what you've heard before, which is more like '90s hardcore-punk–thrash". He described the "weak" status of modern rock in the music industry as an inspiration in recording a heavier rock album; to try to bring the sound of the 1990s back to the forefront. Shinoda criticized the modern state of alternative radio, stating "There’s so much stuff that sounds like HAIM or CHVRCHES or Vampire Weekend that I’m full. The thing I’m hungry for is not that. I turn on the rock station in L.A. and it sounds like Disney commercial music." This led to a response from CHVRCHES, with their lead singer Lauren Mayberry calling Shinoda's comment "a pointless dig." Bennington agreed with Shinoda's comments, as he said, "The bands I was listening to when I was growing up were all doing really innovative shit—Jane’s Addiction, Alice in Chains, Nirvana... Bands like the Refreshments and the Rembrandts, that music fucking angers me to this day. And the same thing is happening now, where there’s all this stuff that feels like the soundtrack to 'Friends' or 'The Wizards of Waverly Place.'"


title: The Hunting Party (album)

text: In an interview with MusicRadar, Delson stated that the album would feature more guitar solos. He further stated that "this is from someone who was quoted early on as saying I hated them. Not that I hated them as a listener; I just don’t want to play any; I shirked guitar solos. Early on, I felt as though the songs we were making aesthetically didn't want them. This new batch of songs, to me, always want solos. I feel like every song has one."


title: The Hunting Party (album)

text: "The Hunting Party" was recorded at the Larrabee Sound Studios, located in Hollywood, Los Angeles. During the recording for the band's sixth studio album, the band would spend five or six days a week at the Larrabee Studios working on the record. "The Hunting Party" was also recorded in part at EastWest Studios, also located in Hollywood. There, drummer Rob Bourdon and Shinoda would record drums and percussion for the album. The band would also record other material for the album at EastWest on occasion.


title: The Hunting Party (album)

text: In an interview with "Rolling Stone", Shinoda said that the album was difficult for drummer Rob Bourdon, where he had to push himself to meet the music speed and style. He commented that "It's probably the hardest stuff he's ever played on one of our albums. He had to physically work his way up to it. He had to go running, lift weights, work with a trainer", eventually Bourdon feels that he had become a better drummer at the end of each day after recording. Shinoda later told "Q" magazine that Bourdon had to seek help from a chiropractor after he had broken his back recording material for the new album. Shinoda told "Q" that "Rob was killing himself. He played 10 hours a day for seven days straight and blew his back."


title: The Hunting Party (album)

text: Orange, Bogner and ENGL brand amplifiers were used on the record by Delson, providing a "core sound" described by engineer Ethan Mates as "a small collection of core tones to be used in a sonically consistent way throughout the record". Chandler brand amps were also used for overdubs and "higher parts". Delson spoke about his studio setup for "The Hunting Party", stating that "It's great to have a setup where I can run combinations of heads and cabs simultaneously to get the most appropriate tone, or do something more straightforward like record just one cabinet with two mikes".


title: The Hunting Party (album)

text: Lead singer Chester Bennington arrived late in the recording process of the album, having been chosen to replace Scott Weiland in the band Stone Temple Pilots, and then proceeded to record "High Rise" and tour with the band for most of 2013. When he eventually joined the band in the studio, he was surprised to find the band had reverted to their heavier rock-centric sound. Bennington stated in an interview with "Kerrang!": "Mike wrote tons while I was touring with Stone Temple Pilots last year. When I got home, there was a lot for me to catch up with, and he was playing me things and I was like, 'Dude, this is fucking awesome!' I was really surprised how heavy it was".


title: The Hunting Party (album)

text: The album features four guest artists; Rakim from the hip hop duo Eric B. & Rakim on "Guilty All the Same", Page Hamilton from the American alternative metal band Helmet on "All for Nothing", Daron Malakian from System of a Down for the song "Rebellion" and Tom Morello of Rage Against the Machine fame on the song "Drawbar". Bennington commented on the collaborations, stating that "We really felt like if we need to be inspired and move in another direction. I think when we got Page in, Mike had written this chorus and sang it, and his voice had this tone, and it was unlike anything I'd heard from him before. And I was like, "Dude this is crazy, this sounds like a Helmet song! It's cool!" And we were like, "Dude, why don't we see if we can get like Page in here?" You know? And if that's why the song says it's feeling like it should be, then why don't we just go straight to the source".


title: The Hunting Party (album)

text: The album cover for "The Hunting Party" features a 3D modeled artwork by Brandon Parvini, who had previously designed the artworks for "Living Things" and the band's singles during the album's release cycle. The artwork was based on an original drawing, entitled "Archer", by visual artist James Jean that was created for the album. It is one of many artworks by Jean to be used in the packaging of the album, which also features, in deluxe editions of the album, a lithograph, T-shirt and a 36-page art book by him. Jean's traditional style, notably different to the artwork created for "The Hunting Party" had been previously described by Dana Jennings of "The New York Times" as "suffused with a dreamy romanticism and lyricism worthy of Maxfield Parrish, even as Mr. Jean subverts those and other isms."


title: The Hunting Party (album)

text: Linkin Park had professed that they have been fans of James Jean's art for a while, describing discussions between the band and Jean as having "started naturally". Joe Hahn served as a creative director for the artwork of "The Hunting Party", instructing Jean to "create a universe inhabited by powerful characters and defined by strange landscapes", with a general concept of having a unique "character" for each track on the album. Delson also contributed ideas of "internal and external struggles", metaphorically depicted on a battlefield, where images such as "flesh tearing and transforming into different forms and brittle shards of crystal erupting from organic matter" would recur. Shinoda explained: "We try to approach our art—packaging, merchandise, tour visuals, videos, anything—in a holistic way. All the parts are interconnected, and by creating great imagery that can be used in multiple contexts, we can immerse the fans in a universe that is consistent and unique to each release. It's always a work in progress, but I feel like we've learned a lot and continue to make it better each time."


title: The Hunting Party (album)

text: James Jean was invited by Shinoda and Delson to listen to the band's rough material created early on during the recording sessions for "The Hunting Party". He acknowledged the band's change of musical direction from "A Thousand Suns" and "Living Things", and was inspired by the material to create artworks that were "charged with [the band's] intensity as well as their rationale for that change". However, Joe Hahn banned Jean from listening to any more material after Jean had performed some of the songs from memory on his piano. Jean originally sketched each individual artwork for "The Hunting Party" in a personal sketchbook, where it felt more intimate and less precious to Jean. The minimality of the images was intentional, as the artworks would eventually be made into 3D-modelled artworks where lighting and texture would be added to each character. 20 artworks were made in the space of a month by Jean for Brandon Parvini and his team to transform into 3D-modelled artworks, with Parvini choosing exactly which artworks would be modelled for "The Hunting Party".


title: The Hunting Party (album)

text: The title of the album, "The Hunting Party", is a contextual metaphor. The album, a return to the band's original harder rock-centric sounds, represents the band's desire to not only create something different from other rock bands, but to also bring back the "energy and soul" of rock itself, and that Linkin Park are the party that will hunt for that energy and soul. Shinoda elaborated on the title of the album in an interview with Kerrang! explaining: "We got so sick of other bands trying to be other bands and playing it safe the whole time, so the album name comes from a theory about culture becoming too passive, everyone just standing around waiting for opportunities to come to them instead of going out and getting theirs. I'm aware there are always going to be heavier bands than us, but "The Hunting Party" is Linkin Park going out and getting it for ourselves." The inspiration for the title came from a news article Shinoda read online about a Japanese writer's concerns about today's growing society. The writer described the young men of today as "herbivores", and explained how they are essentially grazing, waiting for an opportunity to come to them, rather than hunting for it.


title: The Hunting Party (album)

text: On March 6, 2014, the band premiered "Guilty All the Same", which features Rakim, from the album through Shazam. The track was later released by Warner Bros. on March 7, 2014, as the lead single promoting the then-unannounced sixth studio album by the band. A music video for "Guilty All the Same" also premiered on YouTube on March 25, 2014. The music video, a continuation of the band's collaboration with Xbox, was made entirely with the in-game engine of Team Dakota's 2014 sandbox video game "Project Spark". Additionally, the course made for the music video was made openly available by the band, giving players of "Project Spark" on Microsoft Windows and the Xbox One the opportunity of editing and remixing the course.


title: The Hunting Party (album)

text: While information about Linkin Park's sixth studio album had leaked beforehand, including the album's title and release date, "The Hunting Party" was officially unveiled by the band and Warner Bros. Records on April 9, 2014. The track listing of the album was additionally unveiled by Shinoda and Linkin Park's management team on April 27, 2014. "Until It's Gone" became the second track to be unveiled, and was released as the album's second single on May 6, 2014. Pre-orders for the album were also opened on the same day, with "Guilty all the Same" and "Until It's Gone" released early on the album's iTunes Store page. A music video for "Until It's Gone" was then released on June 11, 2014. "Wastelands" was released on the iTunes Store on June 1, 2014, and later as a single on June 2. On June 3, 2014, Bennington appeared on Zane Lowe's BBC Radio 1 to premiere the song, "Rebellion". An official lyric video was released alongside a release of the track on the iTunes Store the same day. It was later released as a single on June 4, and was released as the album's fourth retail single on October 13. On June 8, 2014, Linkin Park premiered the third single "Final Masquerade" on MTV.


title: The Hunting Party (album)

text: A listening session for the album took place on May 23, 2014, in Los Angeles. Further listening sessions for Linkin Park Underground members were announced for June 4, 2014 in various locations worldwide. The band, additionally, hosted the tenth and eleventh editions of the LPU summit, a convention for Underground members, during the album cycle. The tenth edition was held at the Darien Lake Performing Arts Center in Darien, New York on August 21, 2014, and the eleventh edition was held at the Cynthia Woods Mitchell Pavilion in The Woodlands, Texas on September 5, 2014.


title: The Hunting Party (album)

text: The band's first live performance of "The Hunting Party" album cycle was on May 24, 2014, at the KMFA Day music festival, in which they headlined. The band performed "Guilty All the Same", "Until It's Gone" and "Wastelands" for the first time. The band also performed as headliners at Rock in Rio Lisboa VI on May 30, 2014. During the performance, Shinoda tossed promotional singles containing the studio version of "Wastelands" out into the open audience, days before the song's official single release. Linkin Park are also set to embark on a double-headline tour of North America with Thirty Seconds to Mars in support of both "The Hunting Party" and Thirty Seconds to Mars' 2013 album "Love, Lust, Faith and Dreams". The tour, dubbed the Carnivores Tour, spanned 25 dates in August and September 2014, with American rock band AFI serving as opening act during the entire tour. The band held another tour named as "The Hunting Party Tour", which started on May 30, 2014. However, some of the shows on the tour were cancelled due to Bennington breaking his leg.


title: The Hunting Party (album)

text: Upon its release, "The Hunting Party" received generally positive reviews from music critics. At Metacritic, the album has received an aggregated score of 65/100, which indicates "generally favorable reviews", based on 15 reviews. Dave Simpson of "The Guardian" gave the album a positive review. Upon giving the album three stars, he praised the band's return to their original sound, stating that "Shinoda's desire to make a punk rock record and Bennington's more ethereal electropop segments don't always make comfortable bedfellows, but Rob Bourdon's terrific drumming means the energy never lets up". Despite labeling some tracks of the record like "Until It's Gone" as cliché, he commented positively on the music and writing of others such as "Drawbar" and "Rebellion". He further wrote, "Linkin Park certainly know their audience, and here delicately navigate the gulf between their own aspirations and a fanbase who will celebrate the band's loud return to rocking hard." Chris Schulz of "The New Zealand Herald" also gave the album a positive review, describing the record as "Loud, spontaneous and free", attributes that, he states, "aren't normally associated with Linkin Park, but "The Hunting Party" takes just seconds to prove the sixth release from the Californian precision-metal act is a different beast". He continues to compare the album with the band's recent discography, describing their previous three albums as having "sagged with overwrought ballads and pretentious soft-rock", while "The Hunting Party" "gets on with the task of rap-rocking like it's 1999 all over again."


title: The Hunting Party (album)

text: David Renshaw at "NME" opined that "It might not kill the Mumford and Butler clones, but "The Hunting Party" is an energetic effort at least." Renshaw also praises Daron Malakian's guest spot, but considers Tom Morello's contribution a disappointment. "AllMusic" reviewer Stephen Thomas Erlewine observes "Far from sounding as if they're grasping at straws, Linkin Park seem rejuvenated, proving there is value in the cliché of returning to roots." Dan Epstein from "Revolver" described the album as "...not only the hardest and heaviest thing they've ever released, but it's also their first album to pack the sort of guitar firepower that would actually appeal to your average headbanger." Epstein concludes by stating that it's proof that bands don't need to get softer in order to mature. At "Billboard", Kenneth Partridge states "...these Cali rap-rock commandos go rogue, flinging missiles in all directions. They attack record companies, politicians, rule makers, exes, and anyone else in sight, all the while rediscovering the savage fun of super-loud guitars." Neil McCormick from "The Daily Telegraph" stated "...it is sleek, exciting and committed enough to suggest there is life in the rock beast yet." Jordan Blum at PopMatters rated it a 5/10, describing it as a "solid album", but considers it "too repetitive, uninspired, and generic", compared to the three previous albums. "Rolling Stone" reviewer Jon Dolan states that "on Album Six they're back with a retro-neo-aggro sound that would've been too intense for modern-rock radio in 1999...these dudes can still bring it like backward-ball-cap warriors hopped up on Mountain Dew and Dad's fourth divorce."


title: The Hunting Party (album)

text: "The Hunting Party" was featured in a number of year end "best of" lists. The album also was nominated for the "2014 Rock Album of the Year" by "Loudwire", but lost to "Islander"'s "Violence & Destruction" by a close margin of 0.29% of votes. Whereas the band won the "Best Rock Band of 2014" and "Best Live Act of 2014". The song "Rebellion" from the album got a nomination for "2014 Rock Song of the Year" where it lost to Three Days Grace's "Painkiller".


title: The Hunting Party (album)

text: The album debuted at number three on the US "Billboard" 200 behind Lana Del Rey's "Ultraviolence" and Sam Smith's "In the Lonely Hour", with first-week sales of 110,000 copies in the United States. Although it was the first week of 2014 where three albums sold more than 100,000 copies in the United States, it became Linkin Park's lowest-peaking studio album and their first to not reach number one since "Hybrid Theory". In its second week, the album dropped to number nine on the chart, selling 29,000 copies. In its third week, the album sold 16,000 more copies, bringing its total album sales to 155,000 in the United States. As of December 2014, the album had sold 231,150 copies in the United States. Despite its slow sales, the album was certified Platinum in the US, in December 2017.


title: The Hunting Party (album)

text: The Hunting Party (Acapellas + Instrumentals) is the second instrumental and a cappella tracks album performed by Linkin Park, taken from "The Hunting Party". The album was released on iTunes and Amazon on August 12, 2014.


title: The Lord of the Rings Online

text: The Lord of the Rings Online is a massively multiplayer online role-playing game (MMORPG) for Microsoft Windows and OS X set in J. R. R. Tolkien's Middle-earth, taking place during the time period of "The Lord of the Rings". Originally developed by Turbine, the game launched in North America, Australia, Japan, and Europe in April 2007 as The Lord of the Rings Online: Shadows of Angmar. Players could create characters of four races and seven classes and adventure throughout the region of Eriador. In November 2008, "" expansion was released, adding the region of Moria and two new playable classes. It was followed by the "" in December 2009. In 2010 the game underwent a shift from its original subscription-based payment model to being free-to-play.


title: The Lord of the Rings Online

text: The game saw continued development, alternating between paid expansions and free updates, which added new content in the regions of , and Gondor. In late 2016 it was announced that the publishing of the game would transfer from Warner Bros. Interactive Entertainment to Daybreak Game Company, with development being taken over by Standing Stone Games, made up of former Turbine staff. The game development continued and in 2017 the "" expansion was released, bringing the main storyline to a close. The story then shifted to showing how various inhabitants of Middle-earth deal with the downfall of Sauron, with "" expansion released in 2019 and the "Fate of Gundabad" expansion released in 2021.


title: The Lord of the Rings Online

text: Sierra On-Line announced the development of a licensed Middle-earth MMORPG in 1998. Sierra had financial troubles in 1999 and replaced the staff working on the game. Sierra continued to confirm development of the MMORPG but did not release any development details. Vivendi Universal Games, the parent company of Sierra, secured eight-year rights to produce computer and video games based on "The Lord of the Rings" books in 2001. Vivendi announced an agreement with Turbine in 2003 to produce "Middle-earth Online" (at that time expected to be released in 2004). In March 2005, Turbine announced that it had bought the rights to make a MMORPG based on Tolkien's literature and that Turbine would publish "The Lord of the Rings Online" instead of Vivendi. In February 2006, it was announced that Midway Games would co-publish the game with Turbine. A closed beta was announced on September 8, 2006. An open beta began on March 30, 2007, and was open to all who pre-ordered the game's Founders Club edition. On April 6, 2007, the beta opened to the public.


title: The Lord of the Rings Online

text: In April 2007, Salon.com reported that the game had dropped a planned feature for in-game players marriage because of the controversy around the possibility of same-sex and inter-species weddings. One developer stated that the design rule was for weddings to be allowed if examples could be found in the book, as between elves and humans. The online magazine for gay gamers, GayGamer.net commented that, while Tolkien was a devout Christian, his stance on gay rights is not known as the topic was not a public issue at the time. Video game critic Ian Bogost compared it to the case of "The Sims" 2, which did allow same-sex marriage three years prior.


title: The Lord of the Rings Online

text: In January 2014 it was announced that the license for "The Lord of the Rings Online" had been renewed between Turbine and Middle-earth Enterprises to 2017. Executive producer Aaron Campbell transferred to other duties in 2015, and "Dungeons and Dragons Online" franchise director Athena Peters replaced him. Peters announced a new roadmap for the future of "Lord of the Rings Online", including improvements to the legendary item system, new fellowship quests, and various "quality of life" fixes. Also on the agenda for the summer of 2015 were server merges and new datacenters. On December 19, 2016, it was announced that Turbine would no longer develop the game, rather a new independent game studio was formed under the name Standing Stone Games; the staff would be the people that had been working on "The Lord of the Rings Online" and "Dungeons & Dragons Online" under Turbine before. The publishing of the game would transfer from Warner Brothers to Daybreak Game Company. While a reason was not given for the transition, it was assured that the game would continue with new development.


title: The Lord of the Rings Online

text: In North America, players who pre-ordered the game were offered a special founder's offer, a lifetime subscription for $199 or reduced cost of $9.99 per month. Standard monthly fee is $14.99 with three, six, twelve month, and lifetime discounts available. European players had a similar program from Codemasters. A holiday subscription was available in December 2007 and January 2008 for $9.99/month for a 3-month commitment. A special edition, which cost $10 more than the regular edition, included a full-color manual, an item called "Glass of Aglaral," a cloak of regeneration, which is visually different from the one in the regular edition, a "Making of" DVD, soundtrack, and a 10-day buddy key. The one year anniversary edition included a $9.99/month subscription or a $199.99 Lifetime subscription, which was again offered during the lead-up to the release of Mines of Moria. However the lifetime subscription option is no longer available and is unlikely to return.


title: The Lord of the Rings Online

text: On June 4, 2010, it was announced the game was to add a free-to-play option in the autumn, with an in-game store. Free-to-play was successfully launched in North America on September 10, 2010. After a delay in Europe, free-to-play went live on November 2, 2010. During the following six months the company reported tripled revenues from the title. On April 26, 2011, it was announced that Codemasters would relinquish control of the European service back to Turbine, and on June 1, the servers were transferred. After a transition period of a few days, they reopened under a unified "Lord of the Rings Online" global service. Finally, on June 6, 2012, "The Lord of the Rings Online" was made available for download on Steam. On November 1, 2012, a beta of the OS X version was released and a 64-bit client was added in June 2019. On April 20, 2022, the end of life for the 32-bit client was announced to be scheduled for January 1, 2023. At the same time as that announcement, to celebrate the game's 15th anniversary, all expansions and quest packs up to and including the game's Helm's Deep expansion were made permanently free to all players. In addition, all paying subscribers were given access to Standard Editions of the game's Mordor, Minas Morgul, and War of Three Peaks expansions for the duration of their subscription.


title: The Lord of the Rings Online

text: The game features a variety of original music, with most regions and instances containing a selection of specific themes, most of which were composed by either acclaimed video game composer Chance Thomas or in-house composers including Stephen Digregorio, Geoff Scott, Brad Spears, Egan Budd, Matt Harwood and Bill Champagne. According to Thomas, all references that were made to the music of the peoples of Middle-earth in the books were used to extrapolate as much information as possible about the instruments and styles that each race would have used to create their music. This information was then used as the base for creating the score. In the first two years of the game Thomas and DiGregorio each contributed roughly half of all music, which was released as soundtrack CD available with the Special Edition of 2007 ""Shadows of Angmar"" or pre-order of 2008 "" expansion, in addition to 61 songs that were made available for free in mp3 format using a download manager released by Turbine. Their collaboration continued on the "Mines of Moria" soundtrack, released as a CD with the Collector's Edition of the expansion.


title: The Lord of the Rings Online

text: Neither "" nor "" expansions received a dedicated soundtrack release, with no music added to the game between 2009 and 2012 made officially available until the "" expansion, for which Chance Thomas returned to work on LOTRO after years of absence, releasing a soundtrack available both on CD and as digital download. Music for the next year's "" expansion was entirely composed by Stephen DiGregorio and was released as an album on SoundCloud while music added between 2013 and 2017 was likewise not covered by any official releases. In 2017 Chance Thomas returned once more to contribute music to the game, releasing a soundtrack album for "" expansion in addition to a commemorative 10th Anniversary Soundtrack which covered a collection of his work for the game from all previous soundtracks. After Mordor all music so far has been composed by Bill Champagne, with full soundtracks for free updates and expansions alike released on the game's YouTube channel. The soundtrack for "Lord of the Rings Online" has received much praise for its quality and variety.


title: The Lord of the Rings Online

text: In keeping with Tolkien's heavy use of song and music in his books, "Lord of the Rings Online" has a player music sub-system akin to MIDI that has been the subject of a Harvard anthropological study. Characters on reaching level 5 can learn to play musical instruments, including Bagpipes, Clarinet, Cowbell, Drum, Harp, Horn, Lute, Pibgorn, and Theorbo. Using keyboard macros, instruments can be played in real time on three octaves and abc notation, with the music broadcast to nearby player characters. Players can also play pre-programmed pieces from user-created ".ABC" script files using the game's music notation, similar to MIDI files. Players often hold impromptu public performances, in solo or as bands at places such as The Prancing Pony Inn in Bree. Communities also regularly organize music events and mini-concerts such as "Weatherstock": Woodstock above the Weathertop.


title: The Lord of the Rings Online

text: GameDaily awarded the game 9/10, praising its rich, fantasy-themed universe, well-integrated trait and title system, and a story that remains true to the works of Tolkien. Yahoo! Video Games wrote a review with few negative mentions, awarding the game a score of 4/5, while "Computer and Video Games" called the game an essential purchase for "Lord of the Rings" fans, scoring the game a 9.2/10. Eurogamer scored the game a 9.0/10, calling it tough to resist. GameSpy gave it 4.5/5 stars, claiming the game "opened up Middle-Earth to the masses" but commented negatively on its weak PvP content, while GameTrailers awarded it 8.5/10, citing its interesting tweaks to the MMO genre. IGN ranked it a similar 8.6/10, praising it for its solid experience, though criticizing it for its lack of major improvements to the genre. "The New York Times" called the game "a major achievement of interactive storytelling, the first game truly worthy of the ‘"Lord of the Rings"' franchise and a must-play for just about anyone with an interest in Tolkien or the future of online entertainment." In a GameSpot review, the product was awarded an 8.3/10, praising its appealing polish and intriguing Monster Play feature. "GamePro"'s review gave it an overall 4.25/5, pointing out how engaging the epic quests are, as well as how faithful to the novels the game managed to stay.


title: The Lord of the Rings Online

text: GameSpy declared "The Lord of the Rings Online" 'Game of the Month' for May 2007. Midway announced that the game sold over 172,000 copies in North America during its second quarter.


title: The Lord of the Rings Online

text: In August 2007, Codemasters announced that "The Lord of the Rings Online" had received five Golden Joystick Awards nominations for the five applicable categories for the game, and in October 2007 that it had won the "PC Game of the Year" at these awards. It won the same award again in October 2008.


title: The Lord of the Rings Online

text: In 2007, GameSpy awarded "The Lord of the Rings Online" 6th place in the top ten PC games of the year. Turbine also won the GameSpy MMO of the Year award.


title: The Lord of the Rings Online

text: In 2010, RPGFan's Adam Tingle named "The Lord of the Rings Online" the best MMORPG of all time in a top-10 countdown while RPGLand gave its "Best Free-to-Play MMORPG" annual award. That year, the NPD Group reported that the game was "the third most played massively multiplayer role-playing game" with Turbine citing their free-to-play model as the reason for the growing subscriber base.


title: The Lord of the Rings Online

text: In January 2011, "PC Gamer" chose "The Lord of the Rings Online" as the MMO of the year. Praise was given for treating fans to two new Epic Books worth of quests, two added regions, expansion of in-game events, improved UI elements, and the revamp of the character creation and starter regions. Also noted was the success of the move to free-to-play, stating "Lord of the Rings Online" is "quickly redefining the way a successful subscriptionless MMO is run."


title: The Lord of the Rings Online

text: In both 2018 and 2019, gaming blog Massively (formerly known as Joystiq) rated "The Lord of the Rings Online" as Most Underrated MMORPG of the year for its expansions and updates, vast, diverse world, some excellent storytelling, and a friendly and dedicated community.


title: Kristen Anderson-Lopez

text: Kristen Anderson-Lopez (born March 21, 1972) is an American songwriter and lyricist known for co-writing the songs for the 2013 computer-animated musical film "Frozen" and its 2019 sequel "Frozen II" with her husband Robert Lopez. The couple won the Academy Award for Best Original Song for "Let It Go" from "Frozen" and "Remember Me" from "Coco" (2017) at the 86th and 90th awards respectively. She also won two Grammy Awards at the 57th Annual Grammy Awards.


title: Kristen Anderson-Lopez

text: Anderson-Lopez was raised in Croton-on-Hudson, New York (a suburb of New York City), until 1986; the Myers Park neighborhood of Charlotte, North Carolina, from 1986 to 1990; and Waxhaw, North Carolina (a suburb of Charlotte), from 1990 onward (which was her home during her college years). Her parents, Erin and John, still live in Waxhaw. According to her father, Anderson-Lopez first fell in love with the theater at the age of four, when he took her to see a U.S. Bicentennial musical tribute staged in their then-hometown of Croton-on-Hudson. After her family moved to North Carolina, she attended and graduated from Charlotte Country Day School. She went on to Williams College in western Massachusetts, where she double-majored in drama and psychology and graduated in 1994. After a theater internship in Florida, Anderson-Lopez spent several years working temporary jobs while pursuing her dream of becoming a Broadway theatre performer in New York City. In 1999, she entered the BMI Lehman Engel Musical Theatre Workshop and found her true calling as a lyricist, and also met her future husband Robert Lopez.


title: Kristen Anderson-Lopez

text: In October 2003, Anderson married Lopez, who would go on to become an EGOT-winning songwriter, composer and lyricist, including three Tony Awards for "Avenue Q" and "The Book of Mormon". They have two daughters; Katie and Annie, who both had voice parts in "Frozen".


title: Kristen Anderson-Lopez

text: In 2006, Anderson-Lopez and her husband wrote the songs for the Walt Disney World production of "Finding Nemo – The Musical".


title: Kristen Anderson-Lopez

text: Anderson-Lopez is the co-creator of the musical "In Transit", developed at the O'Neill Musical Theatre Conference. The musical ran Off-Broadway at the 59E59 Theatre, from September 21, 2010, to October 30, 2010. The production received the 2011 Drama Desk Award for Outstanding Ensemble, as well as a nomination for the 2011 Lucille Lortel Award, Outstanding Musical (among others) and the 2011 Outer Critics Circle Award for Outstanding New Off-Broadway Musical. It opened on Broadway at the Circle in the Square Theatre in November 2016, directed and choreographed by Kathleen Marshall.


title: Kristen Anderson-Lopez

text: She co-created the romantic stage musical "Up Here", which debuted in 2015, with her husband and Alex Timbers.


title: Kristen Anderson-Lopez

text: Her work for young audiences includes numerous short and full-length musical adaptations for Theatreworks USA ("Diary of a Worm", "Fancy Nancy", "Condensed Classics").


title: Kristen Anderson-Lopez

text: Anderson-Lopez worked with her husband on the Disney Theatrical Productions stage musical adaptation of "Frozen", with Jennifer Lee writing the book.


title: Kristen Anderson-Lopez

text: Anderson-Lopez's first collaborations with her husband involved writing several songs together for children's televisions shows, such as "Wonder Pets" on Nick Jr and "Bear in the Big Blue House" on the Disney Channel.


title: Kristen Anderson-Lopez

text: Anderson-Lopez, along with her husband Robert Lopez and Henry Jackman, wrote and produced music for the 2011 Disney film "Winnie the Pooh", for which they were nominated for an Annie Award for Best Music in a Feature Production. She also provided the voice of Kanga in the film.


title: Kristen Anderson-Lopez

text: Her work with her husband writing songs for the 2013 Disney film "Frozen", including "Let It Go", won her an Academy Award for Best Original Song at the 86th Academy Awards and two Grammy Awards at the 57th Annual Grammy Awards. Anderson-Lopez and her husband also wrote the music for the sequel, "Frozen II".


title: Kristen Anderson-Lopez

text: Kristen Anderson-Lopez and Robert Lopez again collaborated in writing songs and lyrics for the 2017 Pixar film "Coco", for which she won for an Annie Award for Music in a Feature Production. She also won an Academy Award for Best Original Song for the song "Remember Me" at the 90th Academy Awards.


title: Kristen Anderson-Lopez

text: Kristen Anderson-Lopez sings Elsa’s part in “I Seek the Truth”, an outtake song of the "Frozen II" soundtrack, along with Patti Murin singing Anna’s part. Murin had originated the role of Anna in the Broadway production of "Frozen".


title: Kristen Anderson-Lopez

text: Anderson-Lopez and her husband wrote and produced music for the 2021 series "WandaVision", set in the Marvel Cinematic Universe. The series features multiple title theme songs based on various classic American sitcoms, as well as the song "Agatha All Along".


title: Salic law

text: The Salic law ( or ; ), also called the was the ancient Frankish civil law code compiled around AD 500 by the first Frankish King, Clovis. The written text is in Latin and contains some of the earliest known instances of Old Dutch. It remained the basis of Frankish law throughout the early Medieval period, and influenced future European legal systems. The best-known tenet of the old law is the principle of exclusion of women from inheritance of thrones, fiefs, and other property. The Salic laws were arbitrated by a committee appointed and empowered by the King of the Franks. Dozens of manuscripts dating from the sixth to eighth centuries and three emendations as late as the ninth century have survived.


title: Salic law

text: Salic law provided written codification of both civil law, such as the statutes governing inheritance, and criminal law, such as the punishment for murder. Although it was originally intended as the law of the Franks, it has had a formative influence on the tradition of statute law that extended to modern history in much of Europe, especially in the German states and Austria-Hungary in Central Europe, the Low Countries in Western Europe, Balkan kingdoms in Southeastern Europe, and parts of Italy and Spain in Southern Europe. Its use of agnatic succession governed the succession of kings in kingdoms such as France and Italy.


title: Salic law

text: The original edition of the code was commissioned by the first king of all the Franks, Clovis I (c. 466–511), and published sometime between 507 and 511. He appointed four commissioners to research customary law that, until the publication of the Salic law, had been recorded only in the minds of designated elders, who would meet in council when their knowledge was required. Transmission was entirely oral. Salic law, therefore, reflects ancient usages and practices. To govern more effectively, having a written code was desirable for monarchs and their administrations.


title: Salic law

text: For the next 300 years, the code was copied by hand, and was amended as required to add newly enacted laws, revise laws that had been amended, and delete laws that had been repealed. In contrast with printing, hand copying is an individual act by an individual copyist with ideas and a style of his own. Each of the several dozen surviving manuscripts features a unique set of errors, corrections, content, and organization. The laws are called "titles", as each one has its own name, generally preceded by "de", "of", "concerning". Different sections of titles acquired individual names, which revealed something about their provenances. Some of these dozens of names have been adopted for specific reference, often given the same designation as the overall work, "lex".


title: Salic law

text: The recension of Hendrik Kern organizes all of the manuscripts into five families according to similarity and relative chronological sequence, judged by content and dateable material in the text. Family I is the oldest, containing four manuscripts dated to the eighth and ninth centuries, but containing 65 titles believed to be copies of originals published in the sixth century. In addition, they feature the "Malbergse Glossen", "Malberg Glosses", marginal glosses stating the native court word for some Latin words. These are named from native "malbergo", "language of the court". Kern's Family II, represented by two manuscripts, is the same as Family I, except that it contains "interpolations or numerous additions, which point to a later period".


title: Salic law

text: Family III is split into two divisions. The first, comprising three manuscripts, dated to the eighth–ninth centuries, presents an expanded text of 99 or 100 titles. The Malberg Glosses are retained. The second division, with four manuscripts, not only drops the glosses, but also "bears traces of attempts to make the language more concise". A statement gives the provenance: "in the 13th year of the reign of our most glorious king of the Franks, Pipin". Some of the internal documents were composed after the reign of Pepin the Short, but it is considered to be an emendation initiated by Pepin, so is termed the "Pipina Recensio".


title: Salic law

text: Family IV also has two divisions - the first comprised 33 manuscripts; the second, one manuscript. They are characterized by the internal assignment of Latin names to various sections of different provenances. Two of the sections are dated to 768 and 778, but the emendation is believed to be dated to 798, late in the reign of Charlemagne. This edition calls itself the "Lex Salica Emendata", or the "Lex Reformata", or the "Lex Emendata", and is clearly the result of a law code reform by Charlemagne.


title: Salic law

text: By that time, Charlemagne's Holy Roman Empire comprised most of Western Europe. He added laws of choice (free will) taken from the earlier law codes of Germanic peoples not originally part of Francia. These are numbered into the laws that were there, but they have their own, quasisectional title. All the Franks of Francia were subject to the same law code, which retained the overall title of "Lex Salica". These integrated sections borrowed from other Germanic codes are the "Lex Ribuariorum", later "Lex Ribuaria", laws adopted from the Ripuarian Franks, who, before Clovis, had been independent. The "Lex Alamannorum" took laws from the Alamanni, then subject to the Franks. Under the Franks, they were governed by Frankish law, not their own. The inclusion of some of their law as part of the Salic law must have served as a palliative. Charlemagne goes back even earlier to the "Lex Suauorum", the ancient code of the Suebi preceding the Alemanni.


title: Salic law

text: Glosses to the Salic law code (the "Malbergse glossen") contain several Old Dutch words and what is likely the earliest surviving full sentence in the language:


title: Salic law

text: <nowiki>*</nowiki> Old Dutch and Early Modern and earlier versions of English used the second-person singular pronouns, such as "thou" and "thee".


title: Salic law

text: <nowiki>**</nowiki> A "lito" was a form of serf in the feudal system, a half-free farmer, connected to the lord's land, but not owned by that lord. In contrast, a slave was fully owned by the lord.


title: Salic law

text: These laws and their interpretations give an insight into Frankish society. The criminal laws established damages to be paid and fines levied in recompense for injuries to persons and damage to goods, theft, and unprovoked insults. One-third of the fine paid court costs. Judicial interpretation was by a jury of peers.


title: Salic law

text: The civil law establishes that an individual person is legally unprotected if he or she does not belong to a family. The rights of family members were defined; for example, the equal division of land among all living male heirs, in contrast to primogeniture.


title: Salic law

text: One tenet of the civil law is agnatic succession, explicitly excluding females from the inheritance of a throne or fief. Indeed, "Salic law" has often been used simply as a synonym for agnatic succession, but the importance of Salic law extends beyond the rules of inheritance, as it is a direct ancestor of the systems of law in use in many parts of continental Europe today.


title: Salic law

text: Salic law regulates succession according to sex. "Agnatic succession" means succession to the throne or fief going to an agnate of the predecessor - for example, a brother, a son, or nearest male relative through the male line, including collateral agnate branches, for example very distant cousins. Chief forms are agnatic seniority and agnatic primogeniture. The latter, which has been the most usual, means succession going to the eldest son of the monarch; if the monarch had no sons, the throne would pass to the nearest male relative in the male line.


title: Salic law

text: The law merely prohibited women from inheriting ancestral "Salic land"; this prohibition did not apply to other property (such as personal property); and under Chilperic I sometime around the year 570, the law was actually amended to permit inheritance of land by a daughter if a man had no surviving sons. (This amendment, depending on how it is applied and interpreted, offers the basis for either Semi-Salic succession or male-preferred primogeniture, or both.)


title: Salic law

text: The wording of the law, as well as common usage in those days and centuries afterwards, seems to support an interpretation that inheritance is divided between brothers, and if it is intended to govern succession, it can be interpreted to mandate agnatic seniority, not direct primogeniture.


title: Salic law

text: In its use by continental hereditary monarchies since the 15th century, aiming at agnatic succession, the Salic law is regarded as excluding all females from the succession, and prohibiting the transfer of succession rights through any woman. At least two systems of hereditary succession are direct and full applications of the Salic Law: agnatic seniority and agnatic primogeniture.


title: Salic law

text: The so-called Semi-Salic version of succession order stipulates that firstly all-male descendance is applied, including all collateral male lines, but if all such lines are extinct, then the closest female agnate (such as a daughter) of the last male holder of the property inherits, and after her, her own male heirs according to the Salic order. In other words, the female closest to the last incumbent is "regarded as a male" for the purposes of inheritance and succession. This has the effect of following the closest extant blood line (at least in the first instance) and not involving any more distant relatives. The closest female relative might be a child of a relatively junior branch of the whole dynasty, but still inherits due to her position in the male line, due to the longevity of her own branch; any existing senior female lines come behind that of the closest female.


title: Salic law

text: From the Middle Ages, another system of succession, known as cognatic male primogeniture, actually fulfills apparent stipulations of the original Salic law; succession is allowed also through female lines, but excludes the females themselves in favour of their sons. For example, a grandfather, without sons, is succeeded by a son of his daughter, when the daughter in question is still alive. Or an uncle, with no children of his own, is succeeded by a son of his sister, when the sister in question is still alive. This fulfils the Salic condition of "no land comes to a woman, but the land comes to the male sex". This can be called a "quasi-Salic" system of succession and it should be classified as primogenitural, cognatic, and male.


title: Salic law

text: The Merovingian kings divided their realm equally among all living sons, leading to much conflict and fratricide among the rival heirs. The Carolingians did likewise, but they also possessed the imperial dignity, which was indivisible and passed to only one person at a time. Primogeniture, or the preference for the eldest line in the transmission of inheritance, eventually emerged in France, under the Capetian kings. The early Capetians had only one heir, the eldest son, whom they crowned during their lifetimes. Instead of an equal portion of the inheritance, the younger sons of the Capetian kings received an appanage, which is a feudal territory under the suzerainty of the king. Feudal law allowed the transmission of fiefs to daughters in default of sons, which was also the case for the early appanages. Whether feudal law also applied to the French throne, no one knew, until 1316.


title: Salic law

text: For a remarkably long period, from the inception of the Capetian dynasty in 987 until the death of Louis X in 1316, the eldest living son of the King of France succeeded to the throne upon his demise. No prior occasion existed to demonstrate whether or not females were excluded from the succession to the crown. Louis X died without a son, but left his wife pregnant. The king's brother, Philip, Count of Poitiers, became regent. Philip prepared for the contingencies with Odo IV, Duke of Burgundy, maternal uncle of Louis X's daughter and prospective heiress, Joan. If the unborn child were male, he would succeed to the French throne as king; if female, Philip would maintain the regency until the daughters of Louis X reach their majority. The opportunity remained for either daughter to succeed to the French throne.


title: Salic law

text: The unborn child proved to be male, John I, to the relief of the kingdom, but the infant lived for only a few days. Philip saw his chance and broke the agreement with the Duke of Burgundy by having himself anointed at Reims in January 1317 as Philip V of France. Agnes of France, daughter of Saint Louis, mother of the Duke of Burgundy, and maternal grandmother of the Princess Joan, considered it a usurpation and demanded an assembly of the peers, which Philip V accepted.


title: Salic law

text: An assembly of prelates, lords, the bourgeois of Paris, and doctors of the university, known as the Estates-General of 1317, gathered in February. Philip V asked them to write an argument justifying his right to the throne of France. These "general statements" agreed in declaring that "Women do not succeed in the kingdom of France", formalizing Philip's usurpation and the impossibility for a woman to ascend the throne of France, a principle in force until the end of the monarchy. The Salic law, at the time, was not yet invoked; the arguments put forward in favor of Philip V relied only on the degree of proximity of Philip V with St. Louis. Philip had the support of the nobility and had the resources for his ambitions.


title: Salic law

text: Philip won over the Duke of Burgundy by giving him his daughter, also named Joan, in marriage, with the counties of Artois and Burgundy as her eventual inheritance. On March 27, 1317, a treaty was signed at Laon between the Duke of Burgundy and Philip V, wherein Joan renounced her right to the throne of France.


title: Salic law

text: Philip, too, died without a son, and his brother Charles succeeded him as Charles IV unopposed. Charles, too, died without a son, but also left his wife pregnant. It was another succession crisis, the same as that in 1316; it was necessary both to prepare for a possible regency (and choose a regent) and prepare for a possible succession to the throne. At this point, it had been accepted that women could not claim the crown of France (without any written rule stipulating it yet).


title: Salic law

text: The widow of Charles IV gave birth to a daughter. Isabella of France, sister of Charles IV, claimed the throne for her son, Edward III of England. The French rejected the claim, noting that "Women cannot transmit a right which they do not possess", a corollary to the succession principle in 1316. The regent, Philip of Valois, became Philip VI of France in 1328. Philip became king without serious opposition, until his attempt to confiscate Gascony in 1337 made Edward III press his claim to the French throne.


title: Salic law

text: As far as can be ascertained, Salic law was not explicitly mentioned either in 1316 or 1328. It had been forgotten in the feudal era, and the assertion that the French crown can only be transmitted to and through males made it unique and exalted in the eyes of the French. Jurists later resurrected the long-defunct Salic law and reinterpreted it to justify the line of succession arrived at in the cases of 1316 and 1328 by forbidding not only inheritance by a woman, but also inheritance through a female line ("In terram Salicam mulieres ne succedant").


title: Salic law

text: In its origin, therefore, the agnatic principle was limited to the succession to the crown of France. Prior to the Valois succession, Capetian kings granted appanages to their younger sons and brothers, which could pass to male and female heirs. The appanages given to the Valois princes, though, in imitation of the succession law of the monarchy that gave them, limited their transmission to males. Another Capetian lineage, the Montfort of Brittany, claimed male succession in the Duchy of Brittany. In this they were supported by the King of England, while their rivals who claimed the traditional female succession in Brittany were supported by the King of France. The Montforts eventually won the duchy by warfare, but had to recognize the suzerainty of the King of France.


title: Salic law

text: This law was by no means intended to cover all matters of inheritance — for example, not the inheritance of movables — only to lands considered "Salic" — and debate remains as to the legal definition of this word, although it is generally accepted to refer to lands in the royal fisc. Only several hundred years later, under the direct Capetian kings of France and their English contemporaries who held lands in France, did Salic law become a rationale for enforcing or debating succession.


title: Salic law

text: Shakespeare claims that Charles VI rejected Henry V's claim to the French throne on the basis of Salic law's inheritance rules, leading to the Battle of Agincourt. In fact, the conflict between Salic law and English law was a justification for many overlapping claims between the French and English monarchs over the French throne.


title: Salic law

text: More than a century later, Philip II of Spain attempted to claim the French crown for his daughter Isabella Clara Eugenia, born of his third wife, Elisabeth of Valois. Philip's agents were instructed to "insinuate cleverly" that the Salic law was a "pure invention". Even if the "Salic law" did not really apply to the throne of France, though, the very principle of agnatic succession had become a cornerstone of the French royal succession; they had upheld it in the Hundred Years' War with the English, and it had produced their kings for more than two centuries. The eventual recognition of Henry IV, the first of the Bourbon kings, further solidified the agnatic principle in France.


title: Salic law

text: Although no reference was made to the Salic law, the imperial constitutions of the Bonapartist First French Empire and Second French Empire continued to exclude women from the succession to the throne. In the lands that Napoleon Bonaparte conquered, Salic law was adopted, including the Kingdom of Westphalia, the Kingdom of Holland, and under Napoleonic influence, the House of Bernadotte's Sweden.


title: Salic law

text: Several military conflicts in European history have stemmed from the application of, or disregard for, Salic law. The Carlist Wars occurred in Spain over the question of whether the heir to the throne should be a female or a male relative. The War of the Austrian Succession was triggered by the Pragmatic Sanction of 1713, in which Charles VI of Austria, who himself had inherited the Austrian patrimony over his nieces as a result of Salic law, attempted to ensure the inheritance directly to his own daughter Maria Theresa of Austria, which was an example of an operation of quasi-Salic law.


title: Salic law

text: In the modern Kingdom of Italy, under the House of Savoy, succession to the throne was regulated by Salic law.


title: Salic law

text: The British and the Hanoverian thrones separated after the death of King William IV of the United Kingdom and of Hanover in 1837 because Hanover practiced quasi-Salic law, unlike Britain. King William's niece, Victoria, ascended to the British throne, but the Hanover throne went to William's brother Ernest, Duke of Cumberland.


title: Salic law

text: Salic law was also an important issue in the Schleswig-Holstein Question and played a day-to-day role in the inheritance and marriage decisions of common princedoms of the German states, such as Saxe-Weimar, to cite a representative example. European nobility would have confronted Salic issues at every turn in the practice of diplomacy, particularly when they negotiated marriages, since the entire male line had to be extinguished for a land title to pass (by marriage) "to a female's husband". Women rulers were anathema in the German states well into the modern era.


title: Salic law

text: In a similar way, the thrones of the Kingdom of the Netherlands and the Grand Duchy of Luxembourg were separated in 1890, with the succession of Princess Wilhelmina as the first Queen regnant of the Netherlands. As a remnant of Salic law, the office of the reigning monarch of the Netherlands is always formally known as "King", though her title may be "Queen". Luxembourg passed to the House of Orange-Nassau's distantly related agnates, the House of Nassau-Weilburg, but that house also faced extinction in the male line less than two decades later. With no other male-line agnates in the remaining branches of the House of Nassau, Grand Duke William IV adopted a quasi-Salic law of succession to allow him to be succeeded by his daughters.


title: Your Woman

text: "Your Woman" is a song by British one-man band White Town. It was released in January 1997 as the lead single from the album "Women in Technology". It features a muted trumpet line taken from a 1932 recording of "My Woman" by Lew Stone and his Monseigneur Band. The song peaked at 1 on the UK Singles Chart. Outside the United Kingdom, the single reached No. 1 in Iceland, Israel and Spain, peaked within the top 10 on the charts of at least 12 countries, and reached No. 23 in the United States.


title: Your Woman

text: In the booklet of their 1999 album "69 Love Songs", The Magnetic Fields' frontman Stephin Merritt described "Your Woman" as one of his "favourite pop songs of the last few years." In 2010, the song was named the 158th best track of the 1990s by "Pitchfork".


title: Your Woman

text: Jyoti Prakash Mishra, White Town's sole member and the writer of "Your Woman", had garnered some notoriety within the United Kingdom's underground music scene in the years leading up to the song's mainstream release. In 1997, the song was heard by Mark Radcliffe (a BBC Radio 1 presenter at the time) who played it, helping Mishra gain much recognition in a short time.


title: Your Woman

text: Mishra has stated that the lyrics could stem from or be related to multiple situations. He says "When I wrote it, I was trying to write a pop song that had more than one perspective. Although it's written in the first person, the character behind that viewpoint isn't necessarily what the casual listener would expect".


title: Your Woman

text: Mishra wrote that the themes of the song include: "Being a member of an orthodox Trotskyist/Marxist movement. Being a straight guy in love with a lesbian. Being a gay guy in love with a straight man. Being a straight girl in love with a lying, two-timing, fake-arse Marxist. The hypocrisy that results when love and lust get mixed up with highbrow ideals." Mishra admitted that being signed to a major label (EMI) did not allow him to express creative control, and the loss of his anonymity due to the song's popularity drove him "mad".


title: Your Woman

text: The '>Abort, Retry, Fail?_' message that appeared on some inlay cards was explained by the artist: "Well, this cheerful message became a kind of shibboleth for me and sort-of characterizes what's been going on for me the last few years." The song was created using free MIDI sequencing software for the Atari ST and a cheap multitrack cassette tape recorder.


title: Your Woman

text: J'na Jefferson of "Billboard" summarized the song's production as a juxtaposition of the sampled track's ("My Woman" by Lew Stone), "despondent sound with upbeat, enduring energy", which Mishra said was inspired by the 1970s BBC drama-comedy series "Pennies From Heaven". He labeled it "alt-pop", adding that it combines the Bowlly sample with "George Clinton-style funk from the '70s, Depeche Mode-inspired '80s electro pop, and '90s boom-bap hip-hop."


title: Your Woman

text: The song's lyrics contain various perspectives about love and relationships, and is, according to Mishra, a "flip" of Lew Stone vocalist Al Bowlly's original "anti-woman" theme. Regarding the song's concept and the perspective of which it is sang from, Mishra said "When you love somebody, it's not logical, it's not rational, and you think, 'This is ridiculous, I can never be with you, I can never be the person you need, why am I even feeling these feelings?' So, I was trying to write from all these different sides… I wanted people to go, 'this is catchy,' and sing it, but then be like, 'What the hell?' at the same time".


title: Your Woman

text: Larry Flick from "Billboard" wrote that "the lines dividing electronic dance music and hip-hop are blurred on this instantly infectious ditty, actually, the real creative inspiration here appears to come from "Good Times" and other classic hits by Chic. It's evident in the jangly guitar licks and the bounce of the backbeat." He added that "those with no historical reference will probably find the distorted vocals and mind-numbing horn samples good fun." Stuart Millar from "The Guardian" described the song as "a blend of indie-pop, with an introduction from a trumpet piece taken from a 1920s record." A reviewer from "Music Week" rated it five out of five, picking it as Single of the Week. The reviewer noted that it has already won Radio One support "and it's easy to see why. With a vocal reverberating somewhere between The Buggles and Stephen Duffy, this instantly catchy pop synth dance track is simplicity at its irresistible best." Dave Fawbert from "ShortList" said, "It’s one of those classic, not-quite-sure-why-it-works-but-it-definitely-does tunes, so lo-fi that the song was actually on an Atari ST." Gina Morris from "Smash Hits" commented that "what's cool is that he recorded his debut single in his own room and then watched it go to number one."


title: Your Woman

text: The accompanying music video for "Your Woman" was produced in black and white silent film style. Most of the outdoor scenes were filmed in Derby.


title: Your Woman

text: In the video, there are numerous elements of acting, cinematography and editing that suggest an old fashioned film style. The exaggerated gestures of Chloé Treend, the hat wearing woman, helpless and fearful, and those of her quick tempered lover hint at the acting style from 1920s expressionist films. The ostensive metaphors, such as the use of hypnosis on the woman by the man or the recurring shots of crossroad signs bearing names of romantic relationship related attitudes, remind of the 1920s and 1930s efforts to express subjectivism in film.


title: Your Woman

text: The use of circular masks, as to emphasise focal points or for a mere elegant look, also belongs to the aforementioned period. At the point where the woman first enters the man's bedroom and in the final rope scene, match cuts are used in a manner resemblant of that from silent experimental films. Mishra can be seen for brief moments on television screens in the background.


title: Your Woman

text: There is also a scene where the woman closes the door on the man's arm, as she tries to escape from his advances. This is a direct reference to scene from Salvador Dalí and Luis Buñuel's surrealist film (1928).


title: Your Woman

text: In the booklet of their 1999 album "69 Love Songs", The Magnetic Fields' frontman Stephin Merritt described "Your Woman" as one of his "favourite pop songs of the last few years."


title: Your Woman

text: "Slant Magazine" listed it at No. 72 in their ranking of "The 100 Best Singles of the 1990s" in 2011, writing, "A one-hit wonder whose other material totally justifies that status, White Town stumbled into a moment of sheer brilliance on "Your Woman", a single that married a fucked-up horn sample to a funk rhythm section straight out of Prince's playbook. The sheer catchiness of the song's arrangement got some adventurous radio programmers on board, but it was the say-what-now gender politics of the song's lyrics that proved to be most compelling. Hearing Jyoti Mishra's plaintive tenor croon, "I guess what they say is true/I could never be the right kind of girl for you/I could never be your woman", remains one of the most subversive moments in '90s pop."


title: Your Woman

text: British singer songwriter Tyler James released a cover of the song. It was released as the third and final single from his debut studio album, "The Unlikely Lad" (2005). It was released as a digital download in the United Kingdom on 22 August 2005. The song peaked at No. 60 on the UK Singles Chart.


title: Your Woman

text: New Zealand musician Princess Chelsea released a cover of the song in 2009. It was released as her debut, non-album single through digital download.


title: Like Water for Chocolate (film)

text: Like Water for Chocolate (Spanish: "Como agua para chocolate") is a 1992 Mexican romantic drama film in the style of magical realism based on the novel, published in 1989 by first-time Mexican novelist Laura Esquivel. It earned ten Ariel Awards including the Best Picture and was nominated for a Golden Globe Award for Best Foreign Language Film. The film became the highest-grossing foreign-language film ever released in the United States at the time. The film was selected as the Mexican entry for the Best Foreign Language Film at the 65th Academy Awards, but was not accepted as a nominee.


title: Like Water for Chocolate (film)

text: A woman named Tita living in the early 1900s experiencing the struggles of love, family dynamics and family tradition.


title: Like Water for Chocolate (film)

text: A young lady is cutting onions, expressing the influences of emotions and cooking. She begins a story with the birth of a girl named Tita. Tita's mother Elena gives birth on the kitchen table, assisted by the house cook Nacha. Shortly after, Elena's husband dies of a heart attack when a stranger viciously tells him that his wife had an affair and one of his daughters isn't his. During the funeral Elena explains to Nacha that she can no longer have children and the family tradition dictates that Tita, being the youngest child, cannot marry but must take care of her mother until her death. Tita's sisters Rosaura and Gertrudis can marry off. Nacha takes charge of teaching Tita how to cook food in flavorful ways. Tita learns to infuse her emotions into food.


title: Like Water for Chocolate (film)

text: Years later, a young man named Pedro Muzquiz professes his love and desire to marry Tita who feels the same way about Pedro. On Tita's birthday, Pedro arrives with his father Don Pascual Muzquiz to ask for her hand. Elena explains why Tita will not marry and instead offers Rosaura. Rosaura is delighted, Tita is devastated, and Gertrudis and Chencha (a house maid) are disappointed. Nacha overhears Pedro tell his father that he is only marrying Rosaura to stay close to Tita. Nacha informs Tita of this news, but Tita is too upset to believe it. While cooking the wedding cake Tita cries into the batter. During the wedding reception Pedro tells Tita his true feelings. Suspicious that Tita and Pedro are having an affair, Elena threatens Tita to stay away from Pedro. As the guests eat the wedding cake, everyone is overcome with great sadness for lost lovers and begins to cry, followed by vomiting. Overcome with this sadness Elena rushes to her bedroom and tearfully looks at the photo of a well dressed mulatto man. It is implied that the rumours about Elena's affair are true. Tita finds Nacha dead on the floor holding a picture of her husband.


title: Like Water for Chocolate (film)

text: Sometime later Rosaura becomes pregnant. One day, Pedro brings Tita a bouquet of roses to celebrate Tita being the head cook. Elena commands Tita to throw them away but Tita uses them to create a rose sauce for a quail dinner. While eating the meal, everyone except Rosaura becomes filled with sensual gratification. Rosaura is instead sick and leaves the table. Gertrudis becomes hot, and so overheated that the shower house catches fire. She runs away naked, encountering the soldier Juan Alejandrez, fighting in the Mexican Revolution. Filled with a strong attraction to Juan, Gertrudis immediately jumps on his horse's back and leaves with him. Tita sees this but tells Elena that Gertrudis was kidnapped and the soldiers set the shower house on fire. Elena is informed by a family priest that Gertrudis was forced into prostitution. Tita secretly sends Gertrudis her things.


title: Like Water for Chocolate (film)

text: Rosaura gives birth to a sickly son named Roberto. Too sick to nurse Roberto, she must let Tita nurse him with Pedro monitoring. Still suspicious that Tita and Pedro are having an affair, Elena sends Rosaura, Pedro and Roberto to live in Texas. Months later, Chencha informs Elena and Tita that Roberto, unwilling to eat, has died. Tita is greatly saddened, but Elena tells her to show no emotion and to continue with the kitchen chores. This brings Tita to an angry outburst and Elena slapping her with a wooden spoon, resulting in a nose bleed. Tita runs into the dovecote and Elena has the ladder taken down.


title: Like Water for Chocolate (film)

text: For Tita, her rite of separation is the physical removal of her person from Elena’s oppressive domination and into the dovecote, where she inhabits a state of nothingness for a period of seven days. After a week of being in the dovecote, Tita is rescued by John Brown, a family doctor, who takes her to his home in Texas for treatment. Tita’s rite of transition occurs with this rescue by Dr. Brown, where she eats the healing soup he has made for her and learns of the tunnel of light that she later encounters at the end of the film. Chencha goes to visit Tita and is shocked that she has recovered. Tita tells Chencha to tell Elena that she is never coming back to the ranch. Doctor Brown, who has fallen in love with Tita, proposes marriage and Tita accepts.


title: Like Water for Chocolate (film)

text: Back at the ranch, a group of bandits invade the property, rape Chencha and kill Elena by pushing her off a cliff. Tita and Doctor Brown return to the ranch to prepare Elena's funeral. While dressing Elena's body, Tita discovers the locket and jewelry box containing the picture of Elena's lover. Tita’s rite of incorporation occurs when she returns back to the ranch with her new found freedom from Elena, where she discovers the locket her mother had been hiding, which contained pictures of another man. Pedro and Rosaura, now pregnant again, return for Elena's funeral, and Rosaura's water breaks. Rosaura has a difficult labor but gives birth to a healthy baby girl named Esperanza. However, Esperanza refuses to be fed by Rosaura, so Tita once again takes on the duties of nursing. Due to complications in childbirth, Rosaura is no longer able to bear children. To Tita and Pedro's dismay, Rosaura imposes the family tradition on Esperanza. Upon finding out about Tita's engagement to Doctor Brown, Pedro becomes jealous, and he sneaks into Tita's room to have sex with her.


title: Like Water for Chocolate (film)

text: During a large social dinner Gertrudis, now a military General, returns to the ranch with Juan Alejandrez, now her husband, along with their squad. Due to her guilt Tita begins to have illusions of Elena chastising her for sleeping with Pedro. Tita suspects that she is pregnant with Pedro's child, and tells Gertrudis her concerns. Gertrudis advises Tita to tell Pedro. Gertrudis reminds Tita that the love she and Pedro share is true and that Rosaura's feelings are irrelevant because she knew that Tita was in love with Pedro but married him anyway. Tita is once again confronted with an illusion of Elena berating her. This time Tita stands up to Elena, confronting her about her affair and then banishing her. While singing up to Tita's window with Juan, Pedro catches on fire. Tita treats Pedro's wounds until Doctor Brown shows up. Pedro, still jealous of Tita's engagement with Doctor Brown, wants her to break it off and threatens to tell Doctor Brown about their one-night stand and her pregnancy. Tita tells Pedro she's not pregnant; it was a false alarm. However, out of guilt, Tita tells Doctor Brown of her infidelity and apologizes for hurting him. Doctor Brown accepts her apology and states that he still wants to be with her, but he will accept whatever decision she makes of their relationship. Rosaura confronts Tita about her relationship with Pedro. Rosaura threatens to kick Tita off the ranch if she goes anywhere near her daughter Esperanza, and dictates that Esperanza will never marry per family tradition.


title: Like Water for Chocolate (film)

text: Many years later, Esperanza marries Doctor Brown's son. It is revealed through gossip that Tita stayed on the ranch to fight for Esperanza's right to marry and Pedro woke up to find Rosaura dead from an unknown gastro-intestinal illness, releasing Esperanza from the family tradition.


title: Like Water for Chocolate (film)

text: Pedro tells Tita that, with Esperanza married off, they can rekindle their romance. After the wedding they both go to the guest house to make love. While having sex, Pedro has a heart attack and dies. Devastated, Tita commits suicide by swallowing matches, causing her body to spontaneously combust and the room to catch on fire, which spreads throughout the entire property.


title: Like Water for Chocolate (film)

text: The young woman narrating the whole story reveals that she is the daughter of Esperanza. She reveals that when Esperanza returned home from her honeymoon to find the property burned to ashes, she discovered Tita's cook book, which she kept and passed down to her daughter.


title: Like Water for Chocolate (film)

text: Differing gender roles and values are central to the de la Garza family. The film complicates the roles that tradition expects Tita, Getrudis, and Rosaura to play. Tita, a maternal caretaker, breaks tradition; Gertrudis embodies the duality of the male and the female; and Rosaura, an upholder of the traditional female role, fails to fulfill it. Rosaura strives to be a traditional female matron. She marries her sister Tita's one true love Pedro and adopts the role of wife. Her primary duties are to cook, to clean, and to take care of her children. The problem is that she cannot cook, cannot clean, and cannot nurse her own baby. Next to bend her gender is Gertrudis, offspring of an illicit affair between Mama Elena and her paramour. We know from early on that Gertrudis does not fit the ladylike mold. She is a tomboy, openly disagreeing with her mother and her traditional values. She encourages Tita to court Pedro even though he is married to their sister. When Tita's emotions enter into the rose petal dish she serves the family for dinner, Gertrudis eats and becomes so aroused that her body begins to steam. She runs to the outhouse, her heat setting it on fire, and departs home on the back of a horse ridden by a soldier of the Mexican Revolution. When Gertrudis mysteriously returns one night, we learn that she is a soldier fighting in the Revolution. Married to the man on the horse, she now commands her husband's troops. Tita is her sisters’ opposite. She is a caretaker and family cook. Everyone loves her cooking and Tita miraculously serves as nursemaid to Rosaura's baby, since Rosaura is unable to produce milk. (When Pedro and Rosaura move away, the baby dies because Rosaura could not nurse it.) The differing gender roles give each character depth and significance, highlighting the opposites at work in each sister. In doing so the film displays strong women breaking barriers and redefining what it means to be a female.


title: Like Water for Chocolate (film)

text: Tradition is central to this movie. Tita, Gertrudis and the Mexican Revolution itself all fight against it. The movie's main conflict is a family tradition which forbids the youngest daughter from marrying so that she will be free to take care of her mother. This requirement sets up a battle between Tita and her mother, Mama Elena. Tita struggles to live her own life; Mama Elena fights to keep Tita at home. So fierce is Mama Elena's desire to uphold tradition that she orders her oldest daughter, Rosaura, to marry Pedro, Tita's one true love. Gertrudis, the middle child and offspring of an illicit affair between Mama Elena and her lover, runs away from home and joins the people fighting to end the dictatorship and corruption afflicting the common folk of Mexico. Tired of the tradition that only the wealthy landowners had wealth and power, the people revolted, fighting for the workers of the land. Gertrudis' battle against the government parallels the battle between Tita and Elena. Both fight for change. In the war Gertrudis becomes a leader of an all-male rebel group. The men both listen and respect her. Gertrudis challenges tradition and becomes a successful leader. Tita's challenge to tradition will also be successful and portends successful change for Mexico.


title: Like Water for Chocolate (film)

text: On the other hand, while tradition serves well to help pass down a family's customs or even cultural customs, often tradition can be viewed negatively and tear families and society apart because of how it can mistreat those in society who deviate from tradition. Mexican culture has in fact long expressed this coerced marriage rule in which women's opinions are left unconsidered, and as a result these traditions lead to the mistreatment of women. This mistreatment also happens in the de la Garza family where the family tradition prevents the main character, Tita, from marrying Pedro due to the rule that the youngest daughter must not marry. Thus, breaking this specific tradition is a main theme within the film. One way this is represented in the film is through the character of Mama Elena as her oppressive and tyrannical force to Tita. Her character displays how corruptive traditions such as forced marriage hinder others and tear groups apart, as Mama Elena does to Tita to prevent her from marrying Pedro. However, with the help of Tita's magical cooking that eventually breaks the family free from tradition, Tita and her sister, Gertrudis, not only break barriers and the gender roles in their society, but also help establish a tradition to start treating each other equally.


title: Like Water for Chocolate (film)

text: "Like Water for Chocolate" received critical acclaim from critics. On review aggregator website Rotten Tomatoes, the film holds an approval rating of 87%, based on 46 reviews, and an average rating of 7.56/10. On Metacritic, it has a score of 86 out of 100 based on 18 critics, indicating "universal acclaim".


title: Like Water for Chocolate (film)

text: The American release of this film is quite shorter than the original Mexican version. In the original release, you see the main character Tita return home to take care of her dying mother; in the American release, this complete sequence is removed and instead Tita only returns home for her mother's funeral.


title: Like Water for Chocolate (film)

text: The film became the highest-grossing foreign-language film ever released in the United States and Canada at the time with a gross of $21.6 million, surpassing the previous record of $20.2 million set by "I Am Curious (Yellow)" released in 1969.


title: Like Water for Chocolate (film)

text: The Ariel Awards are awarded annually by the Mexican Academy of Film Arts and Sciences in Mexico. "Como agua para chocolate" received ten awards out of 14 nominations.


title: Mentzer index

text: The Mentzer index, described in 1973 by William C. Mentzer, is the MCV divided by the RBC count. It is said to be helpful in differentiating iron deficiency anemia from beta thalassemia.


title: Mentzer index

text: The index is calculated from the results of a complete blood count. If the quotient of the mean corpuscular volume (MCV, in fL) divided by the red blood cell count (RBC, in Millions per microLiter) is less than 13, thalassemia is said to be more likely. If the result is greater than 13, then iron-deficiency anemia is said to be more likely.


title: Mentzer index

text: The principle involved is as follows: In iron deficiency, the marrow cannot produce as many RBCs and they are small (microcytic), so the RBC count and the MCV will both be low, and as a result, the index will be greater than 13. Conversely, in thalassemia, which is a disorder of globin synthesis, the number of RBCs produced is normal, but the cells are smaller and more fragile. Therefore, the RBC count is normal, but the MCV is low, so the index will be less than 13.


title: Yondu

text: Yondu Udonta, or simply Yondu (), is a fictional character appearing in American comic books published by Marvel Comics. The original version of the character is depicted as the last survivor of his species in the 31st century, and is a founding member of the original Guardians of the Galaxy team from the Marvel Multiverse alternate reality known as Earth-691. Yondu in Earth-691 is depicted as a blue-skinned male with a large red fin protruding from the back of his head and his back; he is a spiritual warrior who can control his killing arrows via sound waves, most commonly by whistling. Yondu joined Vance Astro and other survivors of the Badoon attack on the solar system in the 31st Century, who became known as the Guardians of the Galaxy. As part of the Guardians, Yondu traveled to present-day Earth and became an honorary member of the Avengers. The original Yondu never starred as a solo character in any Marvel Comic books, but was a core member of the team in the Guardians of the Galaxy comic that ran from 1990 to 1995.


title: Yondu

text: Michael Rooker portrayed Yondu as a space pirate leading one of the factions of "The Ravagers" in the Marvel Cinematic Universe films "Guardians of the Galaxy" (2014) and "Guardians of the Galaxy Vol. 2" (2017). After the release of the first film, Marvel Comics introduced this version of the character to the Earth-616 comic book continuity. Additionally, Rooker voiced Yondu in "The Guardians of the Galaxy Holiday Special" (2022) and alternate versions of Yondu in the Disney+ animated series "What If...?" (2021).


title: Yondu

text: Since his introduction, the present-day Yondu character has appeared in the "Guardians of the Galaxy" animated TV series and in several video games.


title: Yondu

text: The Earth-691 version of Yondu first appeared in "Marvel Super-Heroes" #18 (January 1969). According to Roy Thomas, all of the original Guardians of the Galaxy were created in a conference between Arnold Drake and Stan Lee, but it remains uncertain whether each individual character was created by Drake, Lee, or both. Writer Steve Gerber included the character when he revived the team in several Marvel titles: "Marvel Two-In-One" #4-5 (July-Sept. 1974), "Giant Size Defenders" #5, and "Defenders" #26-29 (July-Nov. 1975), and "Marvel Presents" #3-#12 (Feb. 1976-Aug. 1977).


title: Yondu

text: Yondu appeared along with the rest of the original Guardians of the Galaxy team in the 2014 series "Guardians 3000". Writer Dan Abnett described him as "the instinct" of the team.


title: Yondu

text: The Earth-616 version of Yondu first appeared in "Star-Lord" #2 and was created by Sam Humphries and Javier Garron.


title: Yondu

text: Yondu Udonta is a member of the Zatoan tribe, part of a race of Centaurians that are native to Centauri IV. He functions as a hunter. His homeworld was the first planet to be colonized by humans that was outside the solar system. Yondu is born in the late 30th century. Yondu's people had fled from contact with overwhelming Earth colonizers who had begun arriving in 2940 A.D.


title: Yondu

text: In 3006 A.D., Vance Astro, an astronaut from Earth, lands on Yondu's planet with an antiquated propulsion ship. Vance encounters Yondu during the latter's trial of manhood. Yondu attacks him, but is repelled by Vance's powers. Vance keeps this secret as Yondu's action was illegal. Yondu works with Vance when the Badoon, an alien race, overtakes the planet later that year. All the other Centaurians are believed to have been slaughtered. Vance and Yondu escape in his ship to fetch help but the Badoon capture them easily. The duo are taken to Earth which, by 3007 A.D., has also been conquered. When questioned, Vance pretends to be unfriendly with Yondu. They later escape and team up with Charlie-27 of the Jupiter colony and Martinex of the Pluto colony, forming the Guardians of the Galaxy to fight the Badoon.


title: Yondu

text: For the next seven years, the four survivors attack the Badoon's outposts in the solar system. In 3014 A.D., the Guardians team with the time-traveling Thing, Captain America, and Sharon Carter to retake New York City from the Badoon forces. In 3015 A.D., the Guardians time-travel to the 20th Century and return to 3015 A.D. with the Defenders and later meet Starhawk. After humanity defeats the Brotherhood of Badoon occupiers, the Sisterhood of Badoon arrive and remove the males from Earth.


title: Yondu

text: Yondu and the Guardians team with the time-traveling Thor, and battle Korvac and his Minions of Menace. Yondu travels to the present alongside his fellow Guardians, and assists the Avengers against Korvac. In 3017 A.D., Yondu and the Guardians go on a quest to find the lost shield of Captain America. They battle Taserface and the Stark, and defeat the Stark. Yondu's right hand is later destroyed by Interface, and replaced by Martinex with a bionic appendage. Yondu later leaves the team when it is revealed that a small enclave of his people have survived on Centauri IV. These Kikaahe ("cave dwellers") escaped death at the hands of the Badoon because the walls of the cavern where they lived contained the mineral trillite ("yaka") which blocks radio waves, thereby shielding them from sensors. Since his newfound people will not accept his bionic weapon-hand, Yondu allows the Guardians to use their advanced medical technology to restore his flesh-and-blood hand. During their farewells, Vance apologizes for what he had thought was unacceptable treatment of Yondu during their earlier adventurers.


title: Yondu

text: The Earth-616 version of Yondu has been identified by writer Sam Humphries as "the great, great, great, great, great, great, great grandfather of the Yondu in the original Guardians of the Galaxy and Guardians 3000." In this reality, Yondu is the leader of the Ravagers, a group of space pirates. Yondu finds Peter Quill when his ship malfunctions and strands him in space. After the Ravagers save Peter, he tries to steal their ship, managing to outsmart every member of the crew and capturing Yondu. After Yondu frees himself from his restraints and attacks Peter, he gives him a choice between letting himself be released into space without more trouble or execution. Peter instead asks to join his crew. Yondu is initially skeptical of this idea, but after he learns Peter, like him, is a homeless orphan, Yondu allows him to stay on the ship with the Ravagers as their cleaning boy. Peter uses the opportunity to learn everything he can from space. Later, Yondu makes him an official Ravager.


title: Yondu

text: As a member of the marsupial alien race of the planet Centauri IV, Yondu possesses an intuitive mystical "sixth sense" perception that permits him limited empathic relationships with other lifeforms. The higher the lifeform, the more limited is his empathic potential. Additionally, Yondu possesses an intuitive rapport with nature, particularly with his own world, but also with any world that still possesses natural wildlife. With this rapport, he can sense incongruous elements (foreign bodies or substances) or focus on specific elements within the whole (such as the location of a given plant). He is also sensitive to mystical beings and forces and is able to detect their presence and activities without effort. Yondu is able to replenish his own inner strength by going into a trance and communing with natural forces.


title: Yondu

text: Yondu is an above average physical specimen of his race. He has slightly more strength and endurance than the average human male. As a hunter, Yondu is an expert in the use of bow and arrow. His ability to whistle with a range of four octaves aids his archery (see Weapons, below). The native Centaurian language is a system of grunts, clicks, and whistles, but Yondu has managed to master the English language, although it is painful for him to speak for too long without resting his throat. He is an excellent hand-to-hand combatant, and a highly skilled hunter and tracker. He has extensive knowledge of the social and religious customs of the natives of Centauri IV.


title: Yondu

text: Yondu uses a single curve bow and a quiver of arrows composed of "yaka", a special sound-sensitive metal found only on Centauri IV. A yaka arrow can actually change its trajectory in response to certain high-octave whistle-sounds some Centaurians can produce. Yondu is so skillful at controlling his arrows, he can cause an arrow to return to his hand or weave its way through a crowd of people without touching them. Yondu's arrows are in length and are very flexible. He carries about 20 of them at one time. In "Secret Wars", Yondu utilizes his expertise in archery by shooting "drone-arrows" to give the Guardians an eye in the sky.


title: Yondu

text: Yondu's right hand is replaced for a time by a bionic device called a weapons concealment appendage, a metal cup replacing his right hand. Thus, he could no longer practice archery nor perform functions requiring him to grasp with his right hand. The device can release from within itself a number of weapons, including a mace, a hatchet, a scythe, a barbed spear, and others; when not in use the weapons are concealed within the appendage at a reduced size, until enlarged by Pym particles. Yondu's bionic weapon-hand is later replaced with a duplicate of his original hand.


title: Yondu

text: Yondu Udonta appears in media set in the Marvel Cinematic Universe, portrayed by Michael Rooker. This version is a cyborg armed with a self-propelled arrow that he can control through whistling and a head-mounted control fin. Additionally, he is the leader of a clan of space pirates called the Ravagers.


title: Basic research

text: Basic research, also called pure research or fundamental research, is a type of scientific research with the aim of improving scientific theories for better understanding and prediction of natural or other phenomena. In contrast, applied research uses scientific theories to develop technology or techniques which can be used to intervene and "alter" natural or other phenomena. Though often driven simply by curiosity, basic research often fuels the technological innovations of applied science. The two aims are often practiced simultaneously in coordinated research and development.


title: Basic research

text: In addition to innovations, basic research also serves to provide insight into nature around us and allows us to respect its innate value. The development of this respect is what drives conservation efforts. Through learning about the environment, conservation efforts can be strengthened using research as a basis. Technological innovations can unintentionally be created through this as well, as seen with examples such as kingfishers' beaks affecting the design for high speed bullet train in Japan.


title: Basic research

text: Basic research advances fundamental knowledge about the world. It focuses on creating and refuting or supporting theories that explain observed phenomena. Pure research is the source of most new scientific ideas and ways of thinking about the world. It can be exploratory, descriptive, or explanatory; however, explanatory research is the most common.