title: Offspring (TV series)

text: Many countries in Europe aired the series, where in 2011 it was picked up by Sony Entertainment Television in Spain, under the title "Descubriendo a Nina", AXN White in Portugal, as "Descobrindo Nina", and by the TLC network for Norway, Netherlands in July, Russia, screening on Sundays, and Sweden, where it was aired on Thursdays at 9:00pm, while in 2012, it debuted on RTÉ One and is available on in Ireland in a late Sunday night time slot, 2013 on YLE TV2 in Finland Mondays at 10:05pm, and additionally, it appeared in the United Kingdom on Netflix in 2017.


title: Mongol (film)

text: Mongol (), also known as Mongol: The Rise of Genghis Khan in the United States and Mongol: The Rise to Power of Genghis Khan in the United Kingdom, is a 2007 period epic film directed by Sergei Bodrov, about the early life of Temüjin, who later came to be known as Genghis Khan. The storyline was conceived from a screenplay written by Bodrov and Arif Aliev. It was produced by Bodrov, Sergei Selyanov, and Anton Melnik and stars Tadanobu Asano, Sun Honglei, and Chuluuny Khulan in the main roles. "Mongol" explores abduction, kinship, and the repercussions of war.


title: Mongol (film)

text: The film was a co-production between companies in Russia, Germany and Kazakhstan. Filming took place mainly in the People's Republic of China, principally in Inner Mongolia (the Mongol autonomous region), and in Kazakhstan. Shooting began in September 2005, and was completed in November 2006. After an initial screening at the Russian Film Festival in Vyborg on 10 August 2007, "Mongol" was released in Russia on 20 September 2007. It saw a limited release in the United States on 6 June 2008 grossing $5.7 million in domestic ticket sales. It additionally earned nearly $21 million in sales through international release for a combined $26.5 million in gross revenue. The film was a minor financial success after its theatrical run, and was generally met with positive critical reviews. The film was nominated for the 2007 Academy Award for Best Foreign Language Film as a submission from Kazakhstan.


title: Mongol (film)

text: The film is intended to be the first part of a trilogy about Genghis Khan, and initial work on the second part began in 2008. The trilogy project was eventually put on the shelf, but in July 2013, during a visit to the annual Naadam Festival in Ulan Bator, Bodrov told the press that the production of the sequel had started, and that it may be shot in Mongolia, as had been the intention for "Mongol", before local protests, fearing that the film would not correctly portray the Mongolian people and their national hero, Genghis Khan, caused the shooting to move to Inner Mongolia and Kazakhstan.


title: Mongol (film)

text: In 1192, Temüjin, a prisoner in the Tangut kingdom, recounts his story through a series of flashbacks.


title: Mongol (film)

text: Embarking on an expedition 20 years earlier (1172), nine-year-old Temüjin is accompanied by his father Yesügei to select a girl as his future wife. He meets and chooses Börte, against his father's wishes. On their way home, Yesügei is poisoned by an enemy tribe; on his dying breath, he tells his son that he is now Khan. However, Targutai, Yesügei's lieutenant, proclaims himself as Khan and is about to kill his young rival. Prevented from doing so by the boy's mother, Targutai lets him go and vows to kill him as soon as he becomes an adult.


title: Mongol (film)

text: After falling through a frozen lake, Temüjin is rescued by Jamukha. The two quickly become friends and take an oath as blood brothers. Targutai later captures him, but he escapes under the cover of night and roams the countryside.


title: Mongol (film)

text: Years later (1186), Temüjin is once again apprehended by Targutai. He escapes a second time, finding Börte and presenting her to his family. Later that night, they are attacked by the Merkit tribe. While being chased on horseback, Temüjin is shot with an arrow but survives. Börte, however, is kidnapped and taken to the Merkit camp.


title: Mongol (film)

text: Temüjin goes to Jamukha—who is now his tribe's Khan—and seeks his help in rescuing his wife. Jamukha agrees, and after a year, they launch an attack on the Merkits and are successful. One night, while celebrating their victory, Temüjin demonstrates his generosity by allowing his troops to take an equal share of the plunder. Two of Jamukha's men see this as a stark contrast to their Khan's behavior and desert him the next morning by following their new master. Jamukha chases him down and demands that he give his men back, to which he refused. This act, aggravated by the inadvertent killing of his biological brother by one of Temüjin's men, leaves Jamukha (with Targutai as an ally) no choice but to declare war on him. Outnumbered, Temüjin's army is quickly defeated. Sparing his blood brother, Jamukha decides to sell him into slavery.


title: Mongol (film)

text: Temüjin is sold to a Tangut nobleman despite the dire warning given to him by a Buddhist monk acting as his adviser, who senses the great potential the warrior carries and his future role in subjugating the Tangut State. While he is imprisoned, the monk pleads with him to spare his monastery when he will destroy the kingdom sometime in the future. In exchange for delivering a bone fragment to Börte indicating that he is still alive, Temüjin agrees. The monk succeeds in delivering the bone and the message at the cost of his life. Börte infiltrates the Tangut border town disguised as a merchant's concubine and the two escape.


title: Mongol (film)

text: Temüjin pledges to unify all of the Mongol tribes and imposes three basic laws for them to abide to: never kill women and children, always honor your promises and repay your debts, and "never" betray your Khan. Subsequently, (1196), he gathers an army and engages Jamukha, who has an even larger force. During the battle, a thunderstorm arises on the steppe, terrifying Jamhukha's and Temujin's armies, who cower in fear. However Temujin does not cower, and when his army sees him riding unafraid they are inspired to also be fearless and charge Jamukha's helpless and cowering army, which surrenders immediately. Temüjin allows Jamukha to live and brings the latter's army under his banner. Targutai is killed by his own soldiers and his body is presented to the Khan as a way of appeasing him, but they are executed for disobeying the law.


title: Mongol (film)

text: A postscript indicates that by 1206, Temüjin was designated the Khan of all the Mongols—"Genghis Khan of the Great Steppe". He would later go on to invade and conquer the Tangut kingdom by 1227, fulfilling the monk's prophecy, but spared the monastery, honoring his debt to the monk.


title: Mongol (film)

text: The premise of "Mongol" is the story of Genghis Khan, the Mongol leader who founded the Mongol Empire, which ruled expansive areas of Eurasia. The film depicts the early life of Temüjin, not as an evil war-mongering brute, but rather an inspiring visionary leader. Director Bodrov noted that "Russians lived under Mongolian rule for around 200 years" and that "Genghis Khan was portrayed as a monster". During the 1990s, Bodrov read a book by Russian historian Lev Gumilev entitled "The Legend of the Black Arrow", which offered a more disciplined view of the Mongol leader and influenced Bodrov to create a film project about the warrior.


title: Mongol (film)

text: Bodrov spent several years researching the aspects of his story, discovering that Temüjin was an orphan, a slave and a combatant whom everyone tried to kill. He found difficulty in preparing the screenplay for the film due to the fact that no contemporary Mongol biography existed. The only Mongol history from the era is "The Secret History of Mongols", written for the Mongol royal family some time after Genghis Khan's death in AD 1227. Author Gumilev had used the work as a historical reference and a work of significant literature. Casting for the film took place worldwide, including Mongolia, China, Russia, and in Los Angeles. Speaking on the choice of Tadanobu Asano to portray Temüjin, Bodrov commented that although it might have seemed odd to cast a Japanese actor in the role, he explained that the Mongol ruler was seen by many Japanese as one of their own. Bodrov said, "The Japanese had a very famous ancient warrior who disappeared , and they think he went to Mongolia and became Genghis Khan. He's a national hero, Genghis Khan. Mongolians can claim he's Mongolian, but the Japanese, they think they know who he is." Bodrov felt casting actor Sun Honglei as Jamukha was a perfect mix of "gravity and humor" for the role. Describing the character interaction between Asano and Honglei, he noted "They're completely different people, Temüjin and Jamukha, but they have a strong relationship, strong feelings between them." Aside from the Chinese and Japanese actors for those roles, the rest of the cast were Mongolian. It marked the first time a tale of Genghis Khan would be acted by Asians, this in contrast to such Hollywood and European attempts like the 1956 movie flop "The Conqueror" and the 1965 film "Genghis Khan" with Omar Sharif.


title: Mongol (film)

text: The film was initially intended to be shot in Mongolia, but the plans caused much protest in the country, as many Mongolians feared that it would not correctly portray their people and their national hero. As a consequence, shooting was moved to the Chinese autonomous region Inner Mongolia and to Kazakhstan.


title: Mongol (film)

text: Filming began in 2005, lasting 25 weeks and taking place in China, Mongolia, and Kazakhstan. Production designer Dashi Namdakov helped to recreate the pastoral lifestyle of the nomadic tribesmen. Namdakov is originally from a Russian region which borders Mongolia and is home to many ethnic Mongols. Bodrov remarked, "Dashi has the Mongol culture in his bones and knows how to approach this material." To help create some of the horse-mounted stunt sequences, Bodrov called upon seasoned stuntmen from Kazakhstan and Kyrgyzstan, whom he was familiar with from the production of "Nomad". Describing some of the stunt work, Bodrov claimed: "Not a single horse was hurt on this film. There's a line in the movie, when young Jamukha tells Temüjin, 'For Mongol, horse is more important than woman.' And that's how it is with the Kazakh and Kyrgyz stunt people. They took very good care of the horses and were very conscientious." Bodrov collaborated on the film with editors Zach Staenberg and Valdís Óskarsdóttir.


title: Mongol (film)

text: "Mongol" was first released in Russia and Ukraine on 20 September 2007. The film then premiered in cinemas in Turkey on 14 March 2008. Between April and December 2008, "Mongol" was released in various countries throughout the Middle East, Europe and Africa. France, Algeria, Monaco, Morocco and Tunisia shared a release date of 9 April 2008. In the United States and the United Kingdom, the film was released on 6 June 2008. In 2009, certain Asian Pacific countries such as Singapore and Malaysia saw release dates for the film. Within Latin America, Argentina saw a release for the film on 11 March, while Colombia began screenings on 9 April. The film grossed $20,821,749 in non-US box office totals.


title: Mongol (film)

text: In the United States, the film premiered in cinemas on 6 June 2008. During its opening weekend, the film opened in 22nd place grossing $135,326 in business showing at five locations. The film's revenue dropped by 17% in its second week of release, earning $112,212. For that particular weekend, the film fell to 25th place screening in five theaters. During the film's final release week in theaters, "Mongol" opened in a distant 80th place with $11,503 in revenue. The film went on to top out domestically at $5,705,761 in total ticket sales through a 14-week theatrical run. Internationally, the film took in an additional $20,821,749 in box office business for a combined worldwide total of $26,527,510. For 2008 as a whole, the film would cumulatively rank at a box office performance position of 167.


title: Mongol (film)

text: Following its cinematic release in theaters, the Region 1 Code widescreen edition of the film was released on DVD in the United States on 14 October 2008. Special features for the DVD include scene selections, subtitles in English and Spanish, and subtitles in English for the hearing-impaired.


title: Mongol (film)

text: The widescreen high-definition Blu-ray Disc version of the film was also released on 14 October 2008. Special features include; scene selections and subtitles in English and Spanish. A supplemental viewing option for the film in the media format of video on demand is currently available too.


title: Mongol (film)

text: Among mainstream critics in the U.S., the film received mostly positive reviews. Rotten Tomatoes reported that 87% of 104 sampled critics gave the film a positive review, with an average score of 7.10 out of 10. The site's critics' consensus reads: "The sweeping "Mongol" mixes romance, family drama, and enough flesh-ripping battle scenes to make sense of Ghenghis Khan's legendary stature." At Metacritic, which assigns a weighted average out of 100 to critics' reviews, the film received a score of 74 based on 27 reviews, indicating "Generally favorable reviews". However, the film was criticized in Mongolia for factual errors and historical inaccuracies.


title: Mongol (film)

text: Claudia Puig of "USA Today" said the film "has a visceral energy with powerful battle sequences and also scenes of striking and serene physical beauty." Noting a flaw, she did comment that "Mongol" might have included "one battle too many." Although overall, she concluded the film was "an exotic saga that compels, moves and envelops us with its grand and captivating story."


title: Mongol (film)

text: Jonathan Kiefer, writing in the "Sacramento News & Review", said "At once sweeping and intimately confidential, with durably magnetic performances by Japan's Asano Tadanobu as the adored warlord and China's Honglei Sun as Jamukha, his blood brother and eventual enemy, "Mongol", a 2007 Best Foreign Language Film Oscar nominee, has to be by far the best action epic of 12th- and 13th-century Asian nomads you'll see". He emphatically believed Bodrov's film was "both ancient and authentic." He added that it was "commendably unhurried, and the scope swells up in a way that feels organic to a character-driven story".


title: Mongol (film)

text: Walter Addiego, writing for the "San Francisco Chronicle," said that the film offers "everything you would want from an imposing historical drama: furious battles between mass armies, unquenchable love between husband and wife, blood brothers who become deadly enemies, and many episodes of betrayal and treachery". Concerning cinematography, he believed the film included "plenty of haunting landscapes, gorgeously photographed by Sergei Trofimov on location in China, Kazakhstan and Mongolia, along with the sort of warfare scenes that define epics".


title: Mongol (film)

text: Writing for "The Boston Globe", Wesley Morris said that "Mongol" "actually works as an old-fashioned production - one with breathtaking mohawks, a scary yoking, one daring escape, hottish sex, ice, snow, braying sheep, blood oaths, dehydrating dunes, throat singing, a nighttime urination, kidnapping, charged reunions, and relatively authentic entertainment values."


title: Mongol (film)

text: Writing for the "Chicago Sun-Times", film critic Roger Ebert called the film a "visual spectacle, it is all but overwhelming, putting to shame some of the recent historical epics from Hollywood." Summing up, Ebert wrote "The nuances of an ancient and ingeniously developed culture are passed over, and it cannot be denied that "Mongol" is relentlessly entertaining as an action picture."


title: Mongol (film)

text: A. O. Scott of "The New York Times" stated that "Mongol" was a "big, ponderous epic, its beautifully composed landscape shots punctuated by thundering hooves and bloody, slow-motion battle sequences." Scott approved of how the film encompassed "rich ethnographic detail and enough dramatic intrigue to sustain a viewer's interest through the slower stretches."


title: Mongol (film)

text: Similarly, Joe Morgenstern wrote in "The Wall Street Journal" that the film consisted of battle scenes which were as "notable for their clarity as their intensity; we can follow the strategies, get a sense of who's losing and who's winning. The physical production is sumptuous." Morgenstern affirmed that "Mongol" was "an austere epic that turns the stuff of pulp adventure into a persuasive take on ancient history."


title: Mongol (film)

text: Lisa Schwarzbaum, writing for "Entertainment Weekly," lauded the visual qualities of the film, remarking how "Mongol" "contrasts images of sweeping landscape and propulsive battle with potent scenes of emotional intimacy", while also referring to its "quite grand, quite exotic, David Lean-style epic" resemblance.


title: Mongol (film)

text: Kyle Smith of the "New York Post" commented that the film combined the "intelligence of an action movie with the excitement of an art-house release" making "Mongol" "as dry as summer in the Gobi Desert." Smith did compliment director Bodrov on staging a "couple of splattery yet artful battle scenes", but concluded that the film "really isn't worth leaving your yurt for."


title: Mongol (film)

text: Author Tom Hoskyns of "The Independent" described the film as being "very thin plot-wise." Hoskyns commended the "desolate landscapes and seasonal variations", but he was not excited about the repetitious nature of the story showing the "hero getting repeatedly captured and escaping."


title: Mongol (film)

text: Joshua Rothkopf of "Time Out" said that "Mongol" was a "Russian-produced dud." He said that it included "ridiculous dialogue and Neanderthal motivations" as well as bearing "little relation to the raw, immediate work of his countrymates—like Andrei Tarkovsky, whose epic "Andrei Rublev" really gives you a sense of the dirt and desperation."


title: Mongol (film)

text: The film was nominated and won several awards in 2007–09. Various critics included the film on their lists of the top 10 best films of 2008. Mike Russell of "The Oregonian" named it the fifth-best film of 2008, Lawrence Toppman of "The Charlotte Observer" named it the eighth-best film of 2008, and V.A. Musetto of the "New York Post" also named it the eighth-best film of 2008.


title: Mongol (film)

text: "The Great Khan" () is the provisional title for the second installment of Bodrov's planned trilogy on the life of Temüjin, Genghis Khan. The Mongolian pop singer, Amarkhuu Borkhuu, was offered a role, but declined. The trilogy project was eventually put on the shelf, but in July 2013, during a visit to the annual Naadam Festival in Ulan Bator, Bodrov told the press that the production of the sequel had started again. The sequel is now called "Mongol II: The Legend" and started its shooting in 2019.


title: Mongol (film)

text: The soundtrack for "Mongol", was released in the United States by the Varèse Sarabande music label on 29 July 2008. The score for the film was composed by Tuomas Kantelinen, with additional music orchestrated by the Mongolian folk rock band Altan Urag.


title: Counter-insurgency aircraft

text: Counter-insurgency aircraft or COIN aircraft are a specialized variety of military light attack aircraft, designed for counter-insurgency operations, armed reconnaissance, air escort of ground forces, and ground support against "low-intensity engagements"; usually irregular groups of insurgents armed with aircraft artillery and/or portable rockets.


title: Counter-insurgency aircraft

text: For an aircraft—whether fixed-wing or rotary—to effectively carry out all these roles, it should have specification characteristics such as low loitering speed, long endurance, simplicity in maintenance, and the capability to perform short or vertical take-offs and landings from makeshift and roughly constructed runways.


title: Counter-insurgency aircraft

text: The first use of counter-insurgency aircraft was in the 1920s and 1930s during some of the colonial wars, in nations like Ethiopia and Iraq. The benefits offered by even a single aircraft in tasks such as reconnaissance or strafing small groups of individuals proved immeasurable. As the British found in Iraq in the 1920s and from some encounters within the frontiers of Pashtunistan, aircraft stripped away many of the advantages that traditional insurgents had held. It also offered a way of inflicting direct and cost-effective retaliation on the communities that supported the guerrilla.


title: Counter-insurgency aircraft

text: No special plane was developed. Regular military aircraft were used. It was not unusual for many air forces to field dual role planes: bomber and transport.


title: Counter-insurgency aircraft

text: By the late 1950s, French air operations in the Algerian War was decidedly counter-insurgent in nature, with helicopters such as the Piasecki H-21 being used not only to carry infantry, but also machine guns and rocket launchers on an "ad hoc" basis, to reach FLN guerilla positions on otherwise inaccessible mountain ridges and peaks.


title: Counter-insurgency aircraft

text: In the early 1960s it was clear enough for US planners a plane would be needed for guerrilla wars in Asia or Africa. As a consequence U.S. Army tested armed versions of the YAT-37D Dragonfly, A4D-1 Skyhawk and G.91. The tests were good but the Army was prohibited from operating fixed-wing aircraft in combat.


title: Counter-insurgency aircraft

text: As late as the Vietnam War, counter-insurgency missions were flown by existing aeroplanes and helicopters, sometimes hastily adapted for the role, notable examples being the North American T-28 Trojan and Douglas A-1 Skyraider. Eventually, as the US budget allowed it, dedicated specialized counter-insurgency aircraft began to be produced for Vietnam war. Other countries adapted existing training planes to COIN and light attack. Examples including:


title: Counter-insurgency aircraft

text: A new approach of COIN were the gunships created by the US. A gunship is an aircraft having laterally-mounted heavy armaments (i.e. firing to the side) to attack ground or sea targets. These gunships were configured to circle the target instead of performing strafing runs. Such aircraft have their armament on one side harmonized to fire at the apex of an imaginary cone formed by the aircraft and the ground when performing a pylon turn (banking turn).


title: Counter-insurgency aircraft

text: In the Vietnam War, the old Douglas C-47 Skytrain transport was successfully modified by the United States Air Force with side-firing Miniguns for circling attacks. It was the later and larger Lockheed AC-130 that became a notable gunship in US military aviation. These heavily armed aircraft used a variety of weapon systems, including 7.62 mm GAU-2/A Miniguns, 20 mm (0.787 in) M61 Vulcan six-barrel rotary cannons, 25 mm (0.984 in) GAU-12/U Equalizer five-barreled rotary cannons, 30 mm Mk44 Bushmaster II chain guns, 40 mm (1.58 in) L/60 Bofors autocannons, and 105 mm (4.13 in) M102 howitzers. The Douglas AC-47 Spooky, the Fairchild AC-119, and the AC-130 Spectre/Spooky, were vulnerable, and meant to operate only after achieving air superiority. Smaller gunship designs such as the Fairchild AU-23 Peacemaker and the Helio AU-24 Stallion were also designed by the United States during the Vietnam War. These aircraft were meant to be cheap and easy to fly and maintain, and were to be given to friendly governments in Southeast Asia to assist with counter-insurgency operations, eventually seeing service with the Khmer National Air Force, Royal Thai Air Force, and Republic of Vietnam Air Force as well as limited use by the United States Air Force.


title: Fandral

text: Fandral the Dashing is a fictional character appearing in American comic books published by Marvel Comics. He is a charter member of the Warriors Three, a trio of Asgardian adventurers consisting of Fandral, Hogun the Grim, and Volstagg the Valiant. They are members of the supporting cast in Marvel's Thor comics and usually provide comic relief and side-adventures.


title: Fandral

text: In the Marvel Cinematic Universe, Fandral was portrayed by Josh Dallas in "Thor" (2011) and by Zachary Levi in "" (2013) and "" (2017).


title: Fandral

text: Fandral first appeared in "Journey into Mystery" #119 (August, 1965), and was created by Stan Lee and Jack Kirby.


title: Fandral

text: Fandral is a warrior of Asgard and an adventurer. He is an irrepressible swashbuckler and romantic. His bravery and optimism often puts the group in highly disadvantageous positions; as perennially pointed out by the gloomy Hogun. Fandral considers himself the consummate ladies' man and is often depicted with a bevy of young ladies. His actual success with these ladies is intermittent at best, but as such provides numerous opportunities for humorous results. Despite these flaws, he possesses an excessively noble spirit and will do the right thing without thought to his personal safety or prosperity.


title: Fandral

text: Fandral has been involved in a great many adventures and quests, as a member of the Warriors Three, as an ally of Thor, and on his own. Fandral joined in a quest for the power that had cracked the Oversword of Asgard. He helped quell a mutiny led by Loki, despite Loki having been the one to hire Fandral onto the Oversword quest in the first place. He helped repel an attack of the Flying Trolls of Thryheim. He helped defeat the forces of Harokin. Fandral and the other Asgardians participated in the ceremonies that honored Harokin; the warlord's multiple battles had broken down his body and he was dying. The Asgardians respected the man's courage in battle and strove to see him off as a warrior. He battled the dragon Fafnir. Thor, Fandral, Volstagg and Hogun encountered and ultimately defeated Mogul of the Mystic Mountain. This was important to Hogun, as Mogul had slain the man's family. He helped defend Asgard from the Destroyer. He encountered the Hulk.


title: Fandral

text: Fandral helped defend Asgard against Mangog. He encountered the Silver Surfer. He battled the Thermal Man. He helped defend Asgard against Surtur. He helped Thor escape Mephisto. He became entranced by Infinity and was forced to battle Thor, and then battled Balder, Sif, and other Asgardians. He battled Loki. He was sent on a quest by Odin, but returned to help defend Asgard against Mangog again. He battled Ego-Prime, was exiled to Earth, but then abducted by Mephisto, and ultimately freed by Thor. He helped Thor battle Mercurio. With Thor and company, he set out on a quest to find the missing Odin. He battled Sssthgar's slavers, Mercurio, and Xorr. He defeated doppelgangers created by the wizard Igron.


title: Fandral

text: Fandral later battled Zarrko the Tomorrow Man. He defeated diamond exchange robbers in New York. He helped depose the usurpers Mangog and Igron. He set out on a quest to find Odin, who was missing again. He battled Spoor, the Grey Gargoyle, and the Soul-Survivors. He defeated the Executioner and the Enchantress. He battled the Destroyer and Loki. He helped defend Asgard against Ragnarok. He battled the dragon Fafnir. He encountered the Young Gods. He encountered Dazzler, who had been abducted to Asgard.


title: Fandral

text: Fandral later helped retake Asgard from the forces of Tyr. He rescued the god Bragi. He battled the forces of Surtur on Earth. He went to Chicago to settle the affairs of Thor's alter ego, Dr. Don Blake. He encountered Power Pack in New York. He encountered Sunspot of the New Mutants. When encountering the troubles Volstagg's two adopted mortal children, Kevin and Mick were having, he assures them the other Warriors will be there for them and all of Hogun's children. "The foster sons of Volstagg the Enormous are no less than then children of ALL the Warriors Three."


title: Fandral

text: Later Fandral was overcome by a mystery plague. He defeated a griffin-like creature. He helped defend Asgard against the forces of Seth.


title: Fandral

text: Fandral once set off on a mission to repair mischief done by Loki, and to rescue Mord, a groomsman vital to the security of Asgard. During this, on the Isle of Freya, the Norse Goddess of Love, he learns that his womanizing ways have deeply hurt many women, driving even the latest to near suicide. He is overcome by great shame and declares to Freya, 'for the nonce, I have forsworn philandering'.


title: Fandral

text: Fandral later went on a quest with Thor to seek Ulagg. He helped the Avengers battle Blastaar. He was rescued from Flying Trolls by the New Mutants. Fandral also battled Ymir.


title: Fandral

text: Fandral relates a tale concerning a journey to Earth and his subsequent marriage to a woman named Marian.


title: Fandral

text: Once, Thor and the Warriors Three are sent on a quest as penance for accidentally killing an enemy giant during a time of peace: they have to collect sacred items all around the world with the special rule of Thor not being allowed to use his uru hammer Mjolnir in combat. Although the Giants prove to be untrustworthy and not ready to accept the quartet's victory after they've accomplished the tasks, through the use of each warrior's unique capabilities, the adventure eventually comes to a good end.


title: Fandral

text: Fandral seemingly perishes early on in the final battle of Ragnarok. The Warriors Three come under arrow attack from the flying ship Naglfar and Volstagg is the only one of the trio to survive. Others who have perished in the same battle, such as Heimdall, have been found alive and well on Earth. Fandral was eventually discovered by Thor in Africa under the human name of Trevor Newley, an Englishman, and restored him to his Asgardian form.


title: Fandral

text: Fandral is seen as one of the many defenders of Asgard when it is attacked by Earth's criminal forces. Fandral and several friends spend time in San Francisco as mortals, pursued by undead cannibals. They are saved by the superhero team called 'The New Mutants'.


title: Fandral

text: When a younger version of Loki is suspected of betraying his people to the forces of Surtur, Volstagg suggests placing the trickster under arrest. Thor protests, leading directly to him battling the Warriors Three in a non-fatal hand-to-hand battle. Soon after, with the leadership of the now-Asgardia people in disarray, Fandral accepts the temporary king-ship of Volstagg.


title: Fandral

text: When Thor vanishes and Mjolnir chooses a female wielder, Hogun and Fandral quest throughout the known galaxy for the Odinson. This is especially important as Odin himself has become irrational. Volstagg chooses to stay behind, having taken on many duties, including the care of Thor's lady love Jane Foster, who has become ill.


title: Fandral

text: Fandral is a member of the race of superhumans known as Asgardians. Like all Asgardians, he possesses superhuman strength, speed, agility, stamina, and durability.


title: Fandral

text: Fandral is a master swordsman, and excellent overall battlefield warrior. He is highly proficient in the use of all edged weapons, and his superhuman dexterity, speed, and agility are all significantly greater than the average Asgardian male. Thor himself refers to Fandral as "the best of us with the blade". Like all Asgardians, Fandral's bone, skin and muscle are roughly 3 times denser than a typical human, giving him an extremely high resistance to injury and superhuman strength.


title: Fandral

text: In the alternate reality of the 1999 miniseries "Earth X", the Asgardians were actually aliens that were manipulated by the Celestials into believing they were the Gods of Norse myth. When the lie was revealed, "Fandral" and the other Asgardians briefly resumed their alien form, but later returned to their Asgardian forms.


title: Fandral

text: In a 2007-story in the "Marvel Zombies" alternate universe, many heroes attend Nick Fury's briefing on how to deal with the zombie plague, including Fandral.


title: Fandral

text: In 2010 the Warriors Three appear briefly in the "Marvel Adventures" universe in a supporting capacity.


title: Fandral

text: Also in 2010, a young Thor meets the Warriors Three in "Thor: The Mighty Avenger". In this context, Thor is not quite sure of his past or his purpose in life. Fandral and the others, though loyal to their friend, must keep secrets from him.


title: Fandral

text: Fandral and the Warriors Three appear in the Ultimate Marvel universe, first having a supporting role in "". He is later killed, along with all the other Asgardians, in "". Fandral is not named by any character directly in the occasions he has appeared, and concept art of the character in the paperback collection of "Ultimate Comics: Thor" names him "Falstaff".


title: Fandral

text: In the "What If" story, "What If the X-Men Stayed in Asgard?", Fandral falls in love with Rogue, one of the X-Men remaining in Asgard, after she discovers that her absorption power does not affect Asgardians. When the two marry, Fandral retires and his place among the Warriors Three is taken up by Nightcrawler.


title: Tigrayans

text: Tigrayans () are a Semitic-speaking ethnic group indigenous to the Tigray Region of northern Ethiopia. They speak the Tigrinya language, an Afroasiatic language belonging to the Ethiopian Semitic branch.


title: Tigrayans

text: The daily life of Tigrayans is highly influenced by religious concepts. For example, the Christian Orthodox fasting periods are strictly observed, especially in Tigray; but also traditional local beliefs such as in spirits, are widespread. In Tigray the language of the church remains exclusively Ge’ez. Tigrayan society is marked by a strong ideal of communitarianism and, especially in the rural sphere, by egalitarian principles. This does not exclude an important role of gerontocratic rules and in some regions such as the wider Adwa area, formerly the prevalence of feudal lords, who, however, still had to respect the local land rights.


title: Tigrayans

text: The majority of Tigrayans trace their origin to early Semitic-speaking peoples whose presence in the region dates back to at least 2000 BC, based on linguistic evidence (and known from the 9th century BC from inscriptions).A variant of the term Tigray, first appears in a 10th-century gloss to Cosmas Indicopleustes "Indicopleustes", i.e. after the Aksumite period; according to this source one of the groups of the region were the "Tigrētai" and the "Agazē" (i.e. the Agʿazi) the latter being the Aksumites. The toponym Tigray is probably originally ethnic, the "Tigrētai" then meant "the tribes near Adulis". These are believed to be the ancient people from whom the present-day Tigray, the Eritrean tribes Tigre and Tigrinya are descended from. There is no indication that the term Tigray could be explained through Ge'ez gäzärä ("subdue"), with the meaning "the submitted" (in supposed contrast to the "free" Agaziyan linked with the rulers of Aksum).


title: Tigrayans

text: A Portuguese map from the 1660 shows Medri Bahri consisting of the three highland provinces of Eritrea and distinct from Ethiopia. That 16th century also marked the arrival of the Ottomans, who began making inroads in the Red Sea area. Bruce noted "They next passed the Mareb, which is the boundary between Tigre and the Baharnagash".


title: Tigrayans

text: By the beginning of the 19th century Henry Salt (Egyptologist), who travelled in the interior of Ethiopia, divided the Ethiopian region, like James Bruce into three distinct and independent states. These three great divisions (based arbitrarily on Language) are Tigre, Amhara, and the province of Shoa. Henry considered Tigre as the more powerful state of the three; a circumstance arising from the natural strength of the country, the warlike disposition of its inhabitants, and its vicinity to the sea coast; an advantage that allowed it to secure a monopoly on all the muskets imported into the country. He divided the Tigre kingdom into several provinces as the centre where it was considered the seat of the state being referred as Tigre proper a region around Adwa. The other Provinces of this kingdom includes Enderta, Agame, Wojjerat, Tembien, and Shire.


title: Tigrayans

text: Tigrayans constitute approximately 6.1% of the population of Ethiopia and are largely small holding farmers inhabiting small communal villages. The Tigrayans constitute the fourth largest ethnic group in the country after the Oromo, Amhara and Somali. They are mainly Christian and members of the Ethiopian Orthodox Tewahedo Church (approximately 96%), with a small minority of Muslims, Catholics and Protestants. The predominantly Tigrayan populated urban centers in Ethiopia are found within the Tigray Region in towns including Mekelle, Adwa, Axum, Adigrat, and Shire. Huge populations of Tigrayans are also found in other large Ethiopian cities such as the capital Addis Ababa and Gondar.


title: Tigrayans

text: The Tigrayans are, despite a general impression of homogeneity, composed of numerous subgroups with their own socio-cultural traditions. Among these there are the Agame of eastern Tigray, mentioned in the Monumentum Adulitanum in the 3rd century; the cattle herders in Humera; the egalitarian Wajjarat of south-eastern Tigray. There are also some immigrant Tigrayans in the neighbouring country of Eritrea as well as abroad in the United States, Canada, Australia, and Europe.


title: Tigrayans

text: The decline of the Tigrayan population in Ethiopia was caused by the 1958 famine in Tigray, when over 100,000 people died. Later on, the Mengistu Haile Mariam-led brutal military dictatorship (Derg) used the 1983–1985 famine in Ethiopia as government policy (by restricting food supplies) for counter-insurgency strategy (against Tigray People's Liberation Front guerrilla-soldiers), and for "social transformation" in non-insurgent areas (against people of Tigray province, Welo province and such). Due to organized government policies that deliberately multiplied the effects of the famine, around 1.2 million people died in Ethiopia from this famine. The majority were from Tigray province and other parts of northern Ethiopia.


title: Tigrayans

text: Tigrayans speak Tigrinya as a mother tongue. It belongs to the Ethiopian Semitic subgroup of the Afroasiatic family. In Ethiopia, Tigrinya is the third most spoken language. Several Tigrinya dialects, which differ phonetically, lexically, and grammatically from place to place, are more broadly classified as Hamasien (Eritrean) or Tigray (Ethiopian) dialects. No dialect appears to be accepted as a standard.


title: Tigrayans

text: Tigrinya is closely related to Amharic and Tigre (in Eritrea commonly called Tigrayit), another East African Semitic language spoken by the Tigre as well as many Beja of Eritrea and Sudan. Tigrinya and Tigre, though more closely related to each other linguistically than either is to Amharic, are however not mutually intelligible. Tigrinya has traditionally been written using the same Ge'ez alphabet ("fidel") as Amharic and Tigre. It has also met with the linguistic difficulty of the Ge'ez script being a syllabic system which does not distinguish long vowels from short ones. While this works well for writing Tigrinya or Amharic, which do not rely on vowel length in words, it does complicate writing Tigre, where vowel length sometimes distinguishes one word and its meaning from another. The Ge'ez script evolved from the Epigraphic South Arabian script, whose first inscriptions are from the 8th century BC in Eritrea, Ethiopia and Yemen.


title: Tigrayans

text: The daily life of Tigrayans are highly influenced by religion. Before the coming of Christianity, most Tigrayans followed a pagan religion with a number of deities, including the sun god Utu, and the moon god Almaqah. Some tribes however practiced Judaism. The most prominent polytheistic kingdoms was D’mt and early Aksum.


title: Tigrayans

text: Christianity has been the predominant religion of Tigrayans since antiquity. Tigrayan Christians are mostly Oriental Orthodox with a Catholic and Pentay minority.


title: Tigrayans

text: Tigrayan Muslims are virtually all Sunni, though a minority of Ahbash followers also exists. Today, the Muslim community is concentrated mainly in urban areas. Many Jeberti in Eritrea claim that they are a separate ethnic group from the Tigrinya people in the area and consider their native languages to be both Arabic and Tigrinya, and are thus treated as a separate ethno-religious community.


title: Tigrayans

text: Tigrayans sometimes described as “individualistic”, due to elements of competition, jealousy and local conflicts. This, however, rather reflects a strong tendency to defend one's own community and local rights against—then widespread—interferences, be it from more powerful individuals or the state. Tigrayans communities are marked by numerous social institutions with a strong networking of character, where relations are based on mutual rights and bonds. Economic and other support is mediated by these institutions. In the urban context, the modern local government have taken over the functions of traditional associations. In most rural areas, however, traditional social organizations are fully in function. All members of such an extended family are linked by strong mutual obligations. Villages are usually perceived as genealogical communities, consisting of several lineages.A remarkable heritage of Tigrayans are their customary laws. In Tigray, customary law is also still partially practiced to some degree even in political self-organization and penal cases. It is also of great importance for conflict resolution.


title: Tigrayans

text: Tigrayans food characteristically consists of vegetable and often very spicy meat dishes, usually in the form of "tsebhi" (), a thick stew, served atop "injera", a large sourdough flatbread. As the vast majority of Tigrayans belong to the Ethiopian Orthodox Church (and the minority Muslims), pork is not consumed because of religious beliefs. Meat and dairy products are not consumed on Wednesdays and Fridays, and also during the seven compulsory fasts. Because of this reason, many vegan meals are present. Eating around a shared food basket, "mäsob" () is a custom in the Tigray region and is usually done so with families and guests. The food is eaten using no cutlery, using only the fingers ("of the right hand") and sourdough flatbread to grab the contents on the bread.


title: Tigrayans

text: T'ihlo (, "ṭïḥlo") is a dish originating from the historical Agame and Akkele Guzai provinces. The dish is unique to these parts of both countries, but is now slowly spreading throughout the entire region. T'ihlo is made using moistened roasted barley flour that is kneaded to a certain consistency. The dough is then broken into small ball shapes and is laid out around a bowl of spicy meat stew. A two-pronged wooden fork is used to spear the ball and dip it into the stew. The dish is usually served with "mes," a type of honey wine.


title: Tigrayans

text: Kumar, H R S et al. (2020), showed that Tigray samples from Northern Ethiopia had (~50%) of a genetic component shared with Europeans and Middle Eastern Populations.


title: Magnetization

text: In classical electromagnetism, magnetization is the vector field that expresses the density of permanent or induced magnetic dipole moments in a magnetic material. Movement within this field is described by direction and is either Axial or Diametric. The origin of the magnetic moments responsible for magnetization can be either microscopic electric currents resulting from the motion of electrons in atoms, or the spin of the electrons or the nuclei. Net magnetization results from the response of a material to an external magnetic field. Paramagnetic materials have a weak induced magnetization in a magnetic field, which disappears when the magnetic field is removed. Ferromagnetic and ferrimagnetic materials have strong magnetization in a magnetic field, and can be "magnetized" to have magnetization in the absence of an external field, becoming a permanent magnet. Magnetization is not necessarily uniform within a material, but may vary between different points. Magnetization also describes how a material responds to an applied magnetic field as well as the way the material changes the magnetic field, and can be used to calculate the forces that result from those interactions. It can be compared to electric polarization, which is the measure of the corresponding response of a material to an electric field in electrostatics. Physicists and engineers usually define magnetization as the quantity of magnetic moment per unit volume.


title: Magnetization

text: Where formula_2 is the elementary magnetic moment and "formula_3" is the volume element; in other words, the M-field is the distribution of magnetic moments in the region or manifold concerned. This is better illustrated through the following relation:


title: Magnetization

text: where m is an ordinary magnetic moment and the triple integral denotes integration over a volume. This makes the M-field completely analogous to the electric polarisation field, or P-field, used to determine the electric dipole moment p generated by a similar region or manifold with such a polarization:


title: Magnetization

text: Those definitions of P and M as a "moments per unit volume" are widely adopted, though in some cases they can lead to ambiguities and paradoxes.


title: Magnetization

text: The behavior of magnetic fields (B, H), electric fields (E, D), charge density ("ρ"), and current density (J) is described by Maxwell's equations. The role of the magnetization is described below.


title: Magnetization

text: which is convenient for various calculations. The vacuum permeability μ is, by definition, V·s/(A·m) (in SI units).


title: Magnetization

text: A relation between M and H exists in many materials. In diamagnets and paramagnets, the relation is usually linear:


title: Magnetization

text: where "χ" is called the volume magnetic susceptibility, and μ is called the magnetic permeability of the material. The magnetic potential energy per unit volume (i.e. magnetic energy density) of the paramagnet (or diamagnet) in the magnetic field is:


title: Magnetization

text: the negative gradient of which is the magnetic force on the paramagnet (or diamagnet) per unit volume (i.e. force density).


title: Magnetization

text: In diamagnets (formula_11) and paramagnets (formula_12), usually formula_13, and therefore formula_14.


title: Magnetization

text: In ferromagnets there is no one-to-one correspondence between M and H because of magnetic hysteresis.


title: Magnetization

text: Alternatively to the magnetization, one can define the magnetic polarization, (often the symbol is used, not to be confused with current density).


title: Magnetization

text: Whereas magnetization is measured typically in amperes/meter, the magnetic polarization is measured in teslas.


title: Magnetization

text: The magnetization M makes a contribution to the current density J, known as the "magnetization current."


title: Magnetization

text: where J is the electric current density of free charges (also called the "free current"), the second term is the contribution from the magnetization, and the last term is related to the electric polarization P.


title: Magnetization

text: In the absence of free electric currents and time-dependent effects, Maxwell's equations describing the magnetic quantities reduce to


title: Magnetization

text: In this sense −∇⋅M plays the role of a fictitious "magnetic charge density" analogous to the electric charge density "ρ"; (see also demagnetizing field).


title: Magnetization

text: The time-dependent behavior of magnetization becomes important when considering nanoscale and nanosecond timescale magnetization. Rather than simply aligning with an applied field, the individual magnetic moments in a material begin to precess around the applied field and come into alignment through relaxation as energy is transferred into the lattice.


title: Magnetization

text: Magnetization reversal, also known as switching, refers to the process that leads to a 180° (arc) re-orientation of the magnetization vector with respect to its initial direction, from one stable orientation to the opposite one. Technologically, this is one of the most important processes in magnetism that is linked to the magnetic data storage process such as used in modern hard disk drives. As it is known today, there are only a few possible ways to reverse the magnetization of a metallic magnet:


title: Magnetization

text: Demagnetization is the reduction or elimination of magnetization. One way to do this is to heat the object above its Curie temperature, where thermal fluctuations have enough energy to overcome exchange interactions, the source of ferromagnetic order, and destroy that order. Another way is to pull it out of an electric coil with alternating current running through it, giving rise to fields that oppose the magnetization.


title: Magnetization

text: One application of demagnetization is to eliminate unwanted magnetic fields. For example, magnetic fields can interfere with electronic devices such as cell phones or computers, and with machining by making cuttings cling to their parent.


title: Big Bad Wolf

text: The Big Bad Wolf is a fictional wolf appearing in several cautionary tales that include some of "Grimms' Fairy Tales." Versions of this character have appeared in numerous works, and it has become a generic archetype of a menacing predatory antagonist.


title: Big Bad Wolf

text: "Little Red Riding Hood", "The Three Little Pigs", "The Wolf and the Seven Young Kids", "The Boy Who Cried Wolf" and the Russian tale "Peter and the Wolf", reflect the theme of the ravening wolf and of the creature released unharmed from its belly, but the general theme of restoration is very old.


title: Big Bad Wolf

text: The dialogue between the wolf and Little Red Riding Hood has its analogies to the Norse "Þrymskviða" from the "Elder Edda"; the giant Þrymr had stolen Mjölner, Thor's hammer, and demanded Freyja as his bride for its return. Instead, the gods dressed Thor as a bride and sent him. When the giants note Thor's unladylike eyes, eating, and drinking, Loki explains them as Freyja not having slept, or eaten, or drunk, out of longing for the wedding.


title: Big Bad Wolf

text: 19th-century Folklorists and cultural anthropologists such as P. Saintyves and Edward Burnett Tylor saw Little Red Riding Hood in terms of solar myths and other naturally occurring cycles, stating that the wolf represents the night swallowing the sun, and the variations in which Little Red Riding Hood is cut out of the wolf's belly represent the dawn. In this interpretation, there is a connection between the wolf of this tale and Skoll or Fenrir, the wolf in Norse mythology that will swallow the sun at Ragnarök.


title: Big Bad Wolf

text: Ethologist Dr. Valerius Geist of the University of Calgary, Alberta wrote that the fable was likely based on genuine risk of wolf attacks at the time. He argues that wolves were in fact dangerous predators, and fables served as a valid warning not to enter forests where wolves were known to live, and to be on the look out for such. Both wolves and wilderness were treated as enemies of humanity in that region and time.


title: Big Bad Wolf

text: The Big Bad Wolf, also known as Zeke Midas Wolf or Br'er Wolf, is a fictional character from Walt Disney's cartoon short "Three Little Pigs", directed by Burt Gillett and first released on May 27, 1933. The Wolf's voice was provided by Billy Bletcher. As in the folktale, he was a cunning and threatening menace. The short also introduced the Wolf's theme song, "Who's Afraid of the Big Bad Wolf?", written by Frank Churchill.


title: Big Bad Wolf

text: The Wolf is shown as wearing a top hat, red pants, green suspenders and white gloves. However, he doesn't wear a shirt or shoes. The Wolf has a taste for disguising himself, but both the audience and the Practical Pig can easily see through the Wolf's disguises. With each successive short, the Wolf exhibits a fondness for dressing in drag and, even "seduces" Fiddler and Fifer Pigs, who become increasingly clueless as to his disguises with each installment, with such disguises as "Goldilocks the Fairy Queen", Little Bo Peep and a mermaid.


title: Big Bad Wolf

text: In an interview with Melvyn Bragg in the early 1980s, the British actor Laurence Olivier said that Disney's Big Bad Wolf was supposedly based on a widely detested American theatre director and producer called Jed Harris. When Olivier produced a film version of Shakespeare's "Richard III", he based some of his mannerisms on Harris, and his physical appearance on the wolf.


title: Big Bad Wolf

text: The short was so popular that Walt Disney produced several sequels, which also featured the Wolf as the villain. The first of them was named after him: "The Big Bad Wolf", also directed by Burt Gillett and first released on April 14, 1934. In the next of the sequels, "Three Little Wolves" (1936), he was accompanied by three just-as-carnivorous sons. (These three sons were later reduced to just one who, in contrast to his father, was full of goodness and charm and a friend of the Three Little Pigs.) The fourth cartoon featuring the Three Little Pigs and the Wolf, "The Practical Pig", was released in 1939. During World War II, a final, propaganda cartoon followed, produced by The National Film Board of Canada: "The Thrifty Pig" (1941).


title: Big Bad Wolf

text: At the end of each short, the Wolf is dealt with by the resourceful thinking and hard work of Practical Pig. In the original short, he falls into a boiling pot prepared by the pigs. In "The Big Bad Wolf", Practical pours popcorn and hot coals down his pants. In the final two shorts, Practical invents an anti-Wolf contraption to deal with the Wolf, who is shown to be powerless against the marvels of modern technology. The "Wolf Pacifier" in "Three Little Wolves" entraps him, chases him with a buzz-saw, hits his head with rolling pins, kicks him in the butt with boots, punches his face with boxing gloves, and finally tars and feathers him before firing him out of a cannon, all accomplished automatically and in time to a version of "Who's Afraid of the Big Bad Wolf?". In "The Practical Pig", the wolf falls into Practical Pig's trap and is subjected to the Lie Detector, which washes his mouth out with soap, whacks his hands with rulers, or pulls down his pants and spanks him when he tells a lie. The machine's punishment grows harsher and harsher the more he lies, until it is finally spinning him around, smacking his head and scrubbing his bottom. When he finally tells the truth, he is shot away by a rocket stuck up his shirt.


title: Big Bad Wolf

text: The Big Bad Wolf also made appearances in other Disney cartoons. In "Toby Tortoise Returns", Practical and the Wolf made cameo appearances during the boxing match between Toby Tortoise and Max Hare. The Wolf also appeared in "Mickey's Polo Team", as part of a game of Polo between four of Disney's animated characters (one of whom was the Wolf) and four animated caricatures of noted film actors.


title: Big Bad Wolf

text: He also appeared in "Mickey's Christmas Carol", dressed as a streetcorner Santa Claus at the beginning of the featurette.


title: Big Bad Wolf

text: The Wolf made a couple of brief cameo appearances in "Who Framed Roger Rabbit", first hiding behind a lamppost in Toontown, and later at the end of the film when all the toons are gathered, wearing a sheep costume and mask which he instantly stripped off to reveal his true wolfish features. He was voiced by Tony Pope in this one (who was perhaps well known for providing the voice of the original Furby).


title: Big Bad Wolf

text: In 1936 Disney's Big Bad Wolf came to Sunday newspaper comics, which were reformatted and reprinted in the monthly "Walt Disney's Comics and Stories" in 1941. They were popular enough there that a demand for new Big Bad Wolf comics arose. From 1945, the original WDC&S series "Li'l Bad Wolf" nominally starred Big Bad Wolf's good little cub, but "Pop" repeatedly stole the spotlight. Carl Buettner, Gil Turner and Jack Bradbury were among the noted creators to work on the series in its early years, with Buettner giving Big Bad Wolf his proper name of Zeke (1946) and Turner supplying his middle name of Midas (1949).


title: Big Bad Wolf

text: In the comics, Big Bad Wolf generally wants his son to become a bad guy like himself; but, unlike the three little wolves who appeared in the shorts, the gentle Li'l Bad Wolf does not live up to his father's expectations. Indeed, Li'l Bad is friends with the Pigs, Thumper, and other forest characters whom the comics portray as Zeke's intended prey. A running gag in the comics typically comes when in trying to catch the Pigs, Zeke runs afoul of Br'er Bear, who ends up pounding "Br'er Wolf" for one offense or another. Another gag is that Br'er/Zeke Wolf never succeeds at anything such as camping or stealing farm products; once he actually caught a duck for dinner but it ended up tasting awful and later he ended up with a whole pack of ducks-which turn out to be mud hens! Another time even when he twice caught chickens {once by accident} he still loses as usual! In Disney's comics his appearance is a little different than original: he usually wears an all-blue clothing but white gloves; and his son follows the same pattern of his father clothes, but he uses red instead of blue.


title: Big Bad Wolf

text: Li'l Bad Wolf (or just Li'l Wolf as referred to by his friends) is Zeke "Big Bad" Wolf's son. In spite of his name, Li'l Bad Wolf wants to be a good little wolf; badness is really the domain of his father. Zeke wants his son to be just as bad as he is, but the kindhearted (or, at worst, naive) Li'l Wolf, despite wanting to please his father, cannot bring himself to do others harm. Even worse for Zeke, Li'l Wolf's best friends are the Three Little Pigs themselves, and he constantly saves them from his father's appetite. Despite disappointing his father, Zeke Wolf was shown to be very fond of his son, and Li'l Wolf of his father.


title: Big Bad Wolf

text: Li'l Wolf debuted in his own self-titled series, beginning in the comic book "Walt Disney's Comics and Stories" #52 (1945). The first story was written by Dorothy Strebe and illustrated by Carl Buettner. The feature ran regularly through 1957, when it temporarily moved to the back pages of "Mickey Mouse". Li'l Wolf returned to "Comics and Stories" in 1961, after which he continued to appear there frequently through 2008. Li'l Wolf has in fact starred in more issues of "Comics and Stories" than any other character except for Mickey Mouse and Donald Duck.


title: Big Bad Wolf

text: Apart from "Comics and Stories" and "Mickey Mouse", Li'l Wolf has also appeared in many different Disney anthology comic books, including a number of giant-size specials and a series of one-page text stories in "Donald Duck".


title: Big Bad Wolf

text: Li'l Bad Wolf's only comic strip appearance was in the "Disney Christmas Story" for 1963, "Three Little Pigs Christmas Story". This sequence was drawn by Floyd Gottfredson, who reinstated Li'l Wolf's sharp teeth.


title: Big Bad Wolf

text: From 2003 to 2008, reflecting a trend initiated in European Disney comics, Zeke Wolf increasingly often featured as the title character in new stories himself, although Li'l Wolf continued to play a minor role.


title: Big Bad Wolf

text: Li'l Wolf's first animated appearance was in the "Raw Toonage" short "The Porker's Court". However, he later appeared, in a more traditional role, in a self-titled short on "Disney's House of Mouse". The voice for the animated Li'l Wolf in "House of Mouse" was provided by Sam Gifaldi. Li'l Wolf is not to be confused with the Three Little Wolves, Big Bad Wolf's three mischievous sons who appeared in the cartoon shorts "The Three Little Wolves" and "The Practical Pig", although he closely resembles them.


title: Big Bad Wolf

text: Along with other Disney characters, the Big Bad Wolf appears in the animated opening of the television series "The Mickey Mouse Club".


title: Big Bad Wolf

text: In the series "Bonkers", the Big Bad Wolf appears in the episode "The 29th Page" at a prison line-up along with other Disney criminals, and in "CasaBonkers" where Katya tosses him out of his car so she can go after Bonkers.


title: Big Bad Wolf

text: The Big Bad Wolf has been a recurring character in "Disney's House of Mouse", where he is voiced by Jim Cummings. His first appearance on this show featured him as a jazz artist called "Big Bad Wolf Daddy" (a parody of Big Bad Voodoo Daddy), performing a swing version of his song with the Pigs as his backup band (they are under a contract that states he will eat them if they do not play for him). In this episode, his tendency to destroy houses by exhaling is shown to be an allergy-like reaction to the sight of a door. Later appearances on "House of Mouse", however, returned the Wolf to his more traditional role; one episode even featured a newly made short starring the character, based on the aforementioned Li'l Bad Wolf comic stories. Apart from the series appearances, Big Bad Wolf was one of the villains in the direct-to-video film "Mickey's House of Villains".


title: Big Bad Wolf

text: In the TV short series "Mickey Mouse", the Big Bad Wolf appears in the episode "Sock Burglar", as one of the villains suspected of stealing the town's socks, and in "The Perfect Dream" as a rogue biker. In the spinoff series "The Wonderful World of Mickey Mouse", he is a central character in the episode "The Big Good Wolf", where Mickey tries to reform him, but while characters are found that can help him be good, he ends up devouring them one by one, until Mickey manages to rescue them from his stomach.


title: Big Bad Wolf

text: As a walkaround costumed character, Big Bad Wolf appears at the Walt Disney Parks and Resorts for meet-and-greets, parades and shows.


title: Big Bad Wolf

text: In the video game "Magical Tetris Challenge", Big Bad Wolf is one of Pete's henchmen, along with a Weasel and is the boss you fight before Pete, the final boss. His levels theme seems to be a disco remix, with him wearing a purple top hat with a matching tailcoat, white dress shirt, red bow tie, purple trousers and brown Oxfords.


title: Big Bad Wolf

text: The Big Bad Wolf also appeared in "The Kingdom Keepers" series, in the fourth book, "Power Play", where he appeared non anthropomorphized. In the book, he attempted to eat Pluto and the main characters, Finn and Amanda. He ends up falling into the Rivers of America.


title: Big Bad Wolf

text: Created by animation director Tex Avery, this variation of the Big Bad Wolf's cartoons included many sexual overtones, violence, and very rapid gags, and never became as successful as the Disney incarnation.


title: Big Bad Wolf

text: After debuting in "Blitz Wolf" (1942)—as Adolf Wolf, the Three Pigs' Hitler-like foe—the Avery Wolf returned as a Hollywood swinger in "Red Hot Riding Hood" (1943), memorably aroused by Red's song and dance performance. Further girl-chasing roles came to the Wolf in "Wild and Wolfy", "Swing Shift Cinderella" and "Little Rural Riding Hood"; simultaneously, the Wolf was used as foe against Avery's Droopy, a role he would keep into the 1950s. He would later reprise the role in the "Droopy and Dripple" segments of Hanna-Barbera's "Tom & Jerry Kids" (1990).


title: Big Bad Wolf

text: The Avery Wolf was voiced by Bill Thompson ("Blitz Wolf"), Frank Graham ("Dumb-Hounded, Red Hot Riding Hood, The Shooting of Dan McGoo, Swing Shift Cinderella, Northwest Hounded Police"), Kent Rogers ("Red Hot Riding Hood" and "One Ham's Family"), Patrick McGeehan ("The Screwy Truant" and "Wild and Woolfy"), Tex Avery ("Wild and Woolfy"), Daws Butler ("Little Rural Riding Hood", "Caballero Droopy"), Frank Welker ("The Tom and Jerry Comedy Show", "Tom & Jerry Kids", "Droopy Master Detective"), Lou Scheimer ("The Tom and Jerry Comedy Show"), Will Ryan ("Thanks a Latte"), Dave Redl ("Web Premiere Toons"), John DiMaggio ("") and Stephen Stanton ("The Tom and Jerry Show").


title: Big Bad Wolf

text: The Avery Wolf's actual name has varied over time. It was seldom given in the 1940s, but a 1945 studio announcement called him Wally Wolf. In modern-day appearances, the Wolf's name is often given as Slick Wolf or McWolf.


title: Big Bad Wolf

text: The Avery Wolf was referenced in the film "The Mask" (1994), when Stanley/The Mask (performed by Jim Carrey) briefly transforms into him while watching Tina Carlyle perform in a Red Hot Riding Hood-like performance, howling and whistling at her and then banging his head with a mallet. The Mask also changes into his wolf-like form on occasion in the , particularly in the animated crossover featuring "".


title: Big Bad Wolf

text: A similar wolf appeared in the Merrie Melodies short "Bacall to Arms", as a theater patron whose lustful mannerisms echoed that of Avery's character. The director had left Warner Brothers' employ five years before after a dispute, so it's not certain if this was supposed to be an homage, or if Avery originally had plans to use the wolf on a project that weren't realized at the time of his suspension.


title: Big Bad Wolf

text: In the Soviet animated series "Nu Pogodi", the wolf, commonly translated into English as "Volk" (), is portrayed as a hooligan who eagerly turns to vandalism, abuses minors, breaks laws and is a heavy smoker. His adventures revolve around constant failures to capture a Hare. On the other hand, many of Wolf's attempts to catch Hare are often characterized by uncanny abilities on his part (including figure skating, ballet and waltzing) which demonstrate his more refined side. Wolf can also play the guitar very well and ride the powerful rocker motorbike, making his character more sophisticated than a normal hooligan.


title: Big Bad Wolf

text: In the first episode, while climbing a high building to catch Hare, Wolf whistles the popular mountaineer song, "Song of a Friend" (the signature song of Vladimir Vysotsky). In spite of these talents, most of Wolf's schemes eventually fail or turn against him. The character was originally voiced by Anatoli Papanov.


title: Big Bad Wolf

text: In the book "Revolting Rhymes", the Big Bad Wolves from "Little Red Riding Hood" and "Three Little Pigs" appear. In the book's version of "Little Red Riding Hood," the Big Bad Wolf devours grandma like the story and an unfooled Little Red Riding Hood uses her concealed pistol to shoot him dead. She managed to make a wolfskin coat from him. In the book's version of "Three Little Pigs," the Big Bad Wolf devoured the two pigs after blowing down the house. The third pig enlists Little Red Riding Hood to deal with this wolf and she does so in the same way as she did the other wolf.


title: Big Bad Wolf

text: In the film adaption, a Wolf (voiced by Dominic West) serves as a storyteller to Little Red Riding Hood's children after incapacitating their intended babysitter Mrs. Hunt. He has two nephews named Rolf (voiced by Rob Brydon) and Rex (voiced by David Walliams). Rolf was the one who ate Little Red Riding Hood's grandmother following a falling out with his uncle and is killed by Little Red Riding Hood who later skinned him for a wolf-skin coat. Rex eats the Banker Pig's brothers and is killed by Little Red Riding Hood when he tries to use dynamite on his bank. Once Little Red Riding Hood's children are asleep after the story, the Wolf decides not to exact revenge for his dead nephews and leaves the house wishing Little Red Riding Hood a good night. After exiting the bus, the Wolf sheds Mrs. Hunt's clothes and runs into the woods.


title: Big Bad Wolf

text: The film "Happily N'Ever After" featured three Big Bad Wolves. The Fat Wolf (voiced by Jon Polito) is the alpha of the Big Bad Wolves and based on the Big Bad Wolf from "The Wolf and the Seven Young Goats." The Tough Wolf (voiced by Tom Kenny) is the second-in-command, is based on the Big Bad Wolf from "Three Little Pigs," and is often competing with the Fat Wolf. The Crazy Wolf, based on the Big Bad Wolf from "Little Red Riding Hood," doesn't speak and is the runt of the litter.


title: Big Bad Wolf

text: Several recent interpretations of the Big Bad Wolf show him as being a character with relatively good intentions, mostly considered "Bad" due to a misunderstanding or prejudice. Arguably, this practice started with the 1989 children's book "The True Story of the 3 Little Pigs!" However, the best-known "good" adaptations are from films, where it is mostly used for a comedic effect.


title: Big Bad Wolf

text: The story as told by Alexander T. Wolf from The Three Little Pigs suggests that wolves may not necessarily have to be "Big" and "Bad", but are perhaps misunderstood because what they eat happens to be cute. It should be inferred, however, that the following story given by Alexander T. Wolf is merely a fiction made up to conceal his guilt. Alexander T. Wolf, portrayed as rather civil, had a cold. He was baking a cake for his grandmother's birthday and the wolf had to travel to the little pigs' houses to borrow a cup of sugar. Each time the pigs turned him away, Alexander T. Wolf's cold caused him to huff and puff and sneeze a great sneeze whereupon the wolf would accidentally destroy the pig's house. Finding the inhabitant deceased, the Alexander T. Wolf decided to eat the body so as not to let good meat go to waste, since the pig was dead anyway. The final pig's house was not blown down and Alexander T. Wolf went into an excessive sneezing fit while the pig allegedly insulted his grandmother. The authorities came and dragged a furious and flustered wolf away and locked him up in prison. It is from prison where Alexander T. Wolf is now telling his (not entirely convincing) story as the news reports have found out about the two dead pigs he ate and jazzed up their story. Now labeled the "Big Bad Wolf," Alexander T. Wolf stated that he was framed. The story ended with a white-bearded Alexander T. Wolf quoting "But maybe you can loan me a cup of sugar."


title: Big Bad Wolf

text: The "Looney Tunes" series used the Big Bad Wolf as a stock character in several of its shorts, widely varying in its portrayal depending on the short's storyline. In the 1957 short "Three Little Bops", the wolf (voiced by Stan Freberg) plays a trumpet rather badly while instrument playing pigs engage in club hopping using clubs made of straw, sticks, and bricks. There is also a version appearing mostly in Bugs Bunny cartoons, voiced by Mel Blanc, who appeared in "The Windblown Hare", "Little Red Riding Rabbit", and many more. This was a more humorous wolf, being slightly stupid, but really prone to anger. In "Pigs in a Polka", the wolf is portrayed as a master of disguise, dressing as a gypsy and a beggar to fool the Three Little Pigs. A typical gag in these stories would have a sign poke into the foreground, stating, "IT'S THE BIG, BAD WOLF." Whereupon the wolf would angrily shove it away, saying, "Oh, all right, knock it off! They know who I am!"


title: Big Bad Wolf

text: The only theatrical short subject cartoon series produced by Hanna Barbera after they left MGM and formed their own studio, "Loopy de Loop" is cast as a tuque-topped, kind-hearted wolf who speaks with a bad French Canadian accent, and whose kind-hearted attempts to assist almost always ended up by being rejected by those he sought to help-or something slightly worse.


title: Big Bad Wolf

text: The Weinstein Company's computer-animated films "Hoodwinked!" and "Hoodwinked Too! Hood vs. Evil" features the Wolf as a misunderstood Fletch-type investigator voiced by Patrick Warburton. The Wolf, whose full name is Wolf W. Wolf, works undercover assignments. His assistant and cameraman is a hyperactive squirrel named Twitchy and he writes a column for "The Once Upon a Times". His reason for stalking Red Puckett is not to eat her, but rather to get information from her about a mysterious thief striking this part of the woods.


title: Big Bad Wolf

text: The popular computer-animated "Shrek" film series reversed many conventional roles found in fairy tales, including depicting the Big Bad Wolf (voiced by Aron Warner) from Little Red Riding Hood as a friendly misunderstood cross-dresser (apparently still wearing her grandmother's clothes) and on good terms with the three little pigs. This depiction and Pinocchio's expansive nose in "Shrek 2", raised the ire of some groups who objected to the film's sexual content, in what is billed as a children's film.


title: Big Bad Wolf

text: In the fighting game Shrek SuperSlam, released 2005, Big Bad Wolf is a playable character and appears as "Huff n Puff Wolf".


title: Big Bad Wolf

text: The Big Bad Wolf has become a regularly recurring puppet character on "Sesame Street", appearing usually in purple fur (although he originally had blue shaggy fur, as he was a variant of Herry Monster). Besides the purple and blue variants, there were also green and white versions of the Big Bad Wolf. He is generally performed by Jerry Nelson (particularly the blue version) and occasionally performed by Tyler Bunch, Kevin Clash, Joey Mazzarino, Martin P. Robinson, David Rudman, and Matt Vogel.


title: Big Bad Wolf

text: In episode 3001, the music number "Bad Wolf" showed the Big Bad Wolf (performed by David Rudman) with his family which consists of his mother Big Glad Wolf (performed by Louise Gold), his father Well-Clad Wolf (performed by Jerry Nelson), his brother Big Rad Wolf (performed by Joey Mazzarino), his sister Big Sad Wolf (performed by Camille Bonora), his aunt Big Grad Wolf (performed by Fran Brill), and his uncle Big Mad Wolf (performed by Martin P. Robinson).


title: Big Bad Wolf

text: In episode 4035, the Big Bad Wolf is shown to have a brother named Leonard Wolf (performed by Jerry Nelson), who tells Elmo and Rosita that not all wolves are the same.


title: Big Bad Wolf

text: In episode 4219, the Big Bad Wolf works in the hair-drying salon after telling Elmo and Telly Monster that he is no longer in the pig-chasing business.


title: Big Bad Wolf

text: In episode 4266, the Big Bad Wolf huffs and puffs Slimey the Worm when he is unable to catch the Three Little Pigs not realizing the harm he is doing to Slimey. When he does realize this thanks to Alan, Big Bird. Mr. Snuffleupagus, and Oscar the Grouch, the Big Bad Wolf apologizes to Slimey and starts a hobby of bubble blowing.


title: Big Bad Wolf

text: The puppet for the purple variant of the Big Bad Wolf appeared in "The Furchester Hotel" as different characters.


title: Big Bad Wolf

text: The comic book series "Fables" by Bill Willingham features a reformed Big Bad Wolf as a major character, commonly referred to as "Bigby". In order to pass for human, (the other animal fables want nothing to do with him), he has been infected with lycanthropy, making him, in essence, a werewolf. He acts as sheriff for the Fable community, going by the name of Bigby Wolf. He is often portrayed as a typical film-noir-style trenchcoat-wearing detective. In the context of the series, he earned the name "Big Bad" after his (much larger) siblings sarcastically noted his drive to be ferocious, particularly after his father, the incarnation of the North Wind, left his mother due to a wind's nature of having to move, else the wind would never reach other lands. Due to his unique parentage, his infamous "huff 'n puff" is a form of wind control that has been shown to be powerful enough to smash trees down, blow out an army of flaming animated puppetmen, and Bigby once conjectured that even a brick house would most likely be blown to bits by it. Bigby Wolf serves as the main protagonist and player character of the 2013 video game adaptation of "Fables", "The Wolf Among Us". He is shown to have four forms—fully human, still mostly human but with wolf eyes, fangs, claws, and higher strength, a humanoid wolf of still greater strength, and a towering four-legged wolf possessing immense power and speed.


title: Big Bad Wolf

text: In the 2000 eight-hour film (broadcast as a mini-series) "The 10th Kingdom", Scott Cohen plays a character called Wolf, which is based on the Big Bad Wolf and there is some speculation to whether he may even be the Big Bad Wolf's descendant (mainly owed to the fact that most other characters in the mini-series are descendants of many well-known fairy tale characters). Wolf recognizes he has a sort of obsessive-compulsive disorder towards eating lamb meat, rabbit meat, or little-girl meat, which he tries to overcome when he falls in love with Virginia, the main character. (Note that her married name would be Virginia Wolf.)


title: Big Bad Wolf

text: A 2010 hardcover graphic novel published by Top Shelf Comics by J.D. Arnold and Rich Koslowski, sets the wolf as a sympathetic victim of class warfare in the rural south. Pigs and wolves serve as allegorical races in the story, with the wolves as disenfranchised farmers and the pigs as wealthy elitists. When the blues-playing wolf suffers numerous crimes at the hands of pigs, he swears revenge and rampages through the southern underworld. The hardcover is available with a CD of its songs as sung by BB Wolf.


title: Big Bad Wolf

text: "Dust City", a 2010 novel by Robert Paul Weston, circles around Henry Whelp, the son of the Big Bad Wolf. In it, Henry's father was framed by a league of those who transport fairy dust. Henry must discover the truth and help to release his father.


title: Big Bad Wolf

text: "Holka Polka", a children's play features the character in a different light, as someone who is afraid of little girls and can't scare them and isn't menacing at all.


title: Big Bad Wolf

text: The Big Bad Wolf appears in the Disney Junior preschool series "Goldie & Bear" voiced by Jim Cummings (who also voiced other Disney version of the character). In the show he is called Big Bad Wolf or Big Bad (his real name is Aloysius). He is a troublemaker that likes scaring people, stealing, and being rude. However, he is also depicted as having a conscience and at times being a nice guy.


title: Kauaʻi ʻōʻō

text: The Kauaʻi ʻōʻō or ʻōʻōʻāʻā (Moho braccatus) was the last member of the ʻōʻō ("Moho") genus within the Mohoidae family of birds from the islands of Hawaiʻi. The entire family is now extinct. It was previously regarded as a member of the Australo-Pacific honeyeaters (family Meliphagidae).


title: Kauaʻi ʻōʻō

text: The bird was endemic to the island of Kauaʻi. It was common in the subtropical forests of the island until the early twentieth century, when its decline began. It was last seen in 1985, and last heard in 1987. The causes of its extinction include the introduction of predators (such as the Polynesian rat, small Indian mongoose, and the domestic pig), mosquito-borne diseases, and habitat destruction.


title: Kauaʻi ʻōʻō

text: It was the last surviving member of the Mohoidae, which had originated over 15-20 million years prior during the Miocene, with the Kauaʻi ʻōʻō's extinction marking the only extinction of an entire avian family in modern times ("modern" meaning post-1500 AD).


title: Kauaʻi ʻōʻō

text: The native Hawaiians named the bird "ʻōʻō ʻāʻā", from the Hawaiian word "ʻōʻō", an onomatopoeic descriptor from the sound of their call, and "ʻāʻā", meaning dwarf.


title: Kauaʻi ʻōʻō

text: This bird was among the smallest of the Hawaiian ʻōʻōs, if not the smallest species, at just over in length. The head, wings, and tail were black. The rest of the upperparts were slaty brown, becoming rufous on the rump and flanks. The throat and breast was black with white barring, which was particularly prominent in females. The central tail feathers were long, and there was a small tuft of gray feathers under the base of the wing. While the beak and legs were black, the leg feathers were a rich golden yellow. It was the only ʻōʻō known to have eyes with yellow irises. Like other honeyeaters it had a sharp, slightly curved bill for sampling nectar. Its favored nectar sources were "Lobelia" species and the ʻohiʻa lehua tree. This species was additionally observed foraging in lapalapa trees. It also ate small invertebrates and fruit. The Kauaʻi ʻōʻō was very vocal, making hollow, erratic, flute-like calls. Both the males and females were known to sing.


title: Kauaʻi ʻōʻō

text: The bird was a cavity nester in the thickly forested canyons of Kauaʻi. All of its relatives have also become extinct, such as the Hawaiʻi ʻōʻō, Bishop's ʻōʻō, and Oʻahu ʻōʻō. Relatively little is known about these extinct birds. The species became extinct from a large range of problems, including mosquito-transmitted diseases (which caused the species to retreat to higher ground, ultimately retreating to high-altitude montane forests in the Alakaʻi Wilderness Preserve), introduction of mammalian predators, and deforestation. Higher elevation forests lack tree cavities, so few, if any, nests could be made. As of the early 1960s, the bird had an estimated population of about 34 living individuals. In the 1970s, the only known footage of the bird was filmed by John L. Sincock on Super 8 film and several song recordings were made as well (with Harold Douglas Pratt, Jr. being one of the people involved in recording the songs). In 1981, a pair was found.


title: Kauaʻi ʻōʻō

text: The final blow were two hurricanes, Iwa and Iniki, coming within ten years of each other. They destroyed many of the old trees with cavities, and prohibited tree growth when the second one arrived, causing the species to disappear. As a result, the last female bird disappeared (likely killed by Hurricane Iwa). The male bird was last sighted in 1985, and the last sound recording was made in 1987 by David Boynton. After failed expeditions in 1989 and Hurricane Iniki in 1992, the species was declared extinct by the IUCN in 2000. It is still believed by some that the species may survive undetected, as the species had already been proclaimed extinct twice: once in the 1940s (later rediscovered in 1960) and again from the late 1960s to the early 1970s, being rediscovered by the wildlife biologist John Sincock. However, it has a loud and distinctive call, and intensive surveys that occurred from 1989 to 2000 have failed to find any since 1987.


title: Born in the U.S.A. (song)

text: "Born in the U.S.A." is a song written and performed by Bruce Springsteen, and released in 1984 on the album of the same name. One of Springsteen's best-known singles, it was ranked 275th on "Rolling Stone"'s list of "The 500 Greatest Songs of All Time", and in 2001, the RIAA's Songs of the Century placed the song 59th (out of 365), remaining a favorite in classic rock. The song addresses the economic hardships of Vietnam veterans upon their return home, juxtaposed ironically against patriotic glorification of the nation's fighting forces.


title: Born in the U.S.A. (song)

text: This song was written in 1981 as the title song for a film that Paul Schrader was contemplating making and that Springsteen was considering starring in ("Light of Day" starring Michael J. Fox). Springsteen thanks Schrader in the liner notes of the album "Born in the U.S.A."


title: Born in the U.S.A. (song)

text: Casual home demos were made later that year, following the completion of The River Tour. A more formal solo acoustic guitar demo was made on January 3, 1982, at Springsteen's home in Colts Neck, New Jersey during the long session that constituted most of the "Nebraska" album released later that year. Acoustic versions of several other songs that eventually appeared on the "Born in the U.S.A." album were also on this demo, including "Child Bride" (an early version of "Working on the Highway") and "Downbound Train". However, Springsteen's manager/producer Jon Landau and others felt that the song did not have the right melody or music to match the lyrics, and also did not fit in well with the rest of the nascent "Nebraska" material. As a result, the song was shelved. (This version surfaced in the late 1990s on the "Tracks" and "18 Tracks" outtake collections.)


title: Born in the U.S.A. (song)

text: Full E Street Band versions were recorded during the "Electric Nebraska" sessions, with the "Born in the U.S.A." album take 4 completed on April 27, 1982, at the Power Station. Much of the arrangement was made up on the spot, including Roy Bittan's opening synthesizer riff and what producer Chuck Plotkin nicknamed Max Weinberg's "exploding drums". The famous snare drum sound on this record, notable for its gated reverb, was obtained by engineer Toby Scott running the top snare microphone through a broken reverb plate with a fixed four-second decay and into a Kepex noise gate. This is the version that appeared on the "Born in the U.S.A." album, a full two years later. The studio recording also originally ended with a lengthy jam session, which was later edited for the song's commercial release.


title: Born in the U.S.A. (song)

text: "Born in the U.S.A." has been called one of the most misunderstood songs in history, citing NPR, the BBC and others. It has been treated as a flag-waving paean to America by politicians like Ronald Reagan and Pat Buchanan, reacting to the dominant tone of the song's chorus, without seeming to acknowledge the bitter critique of American policy and society present in the lyrics as a whole. The song presents a Vietnam veteran as a tragic figure alienated upon his return from the war.


title: Born in the U.S.A. (song)

text: Two scholars writing in the journal "American Quarterly" explored the song as a lament for embattled American working-class identity. They wrote that "the anthemic chorus contrasted with the verses' desperate narrative," a tension which informs an understanding of the song's overall meaning: the nationalist chorus continuously overwhelms the desperation and sacrifice relayed in the verses. They offer the interpretation that the imagery of the Vietnam War could be read as metaphor for "the social and economic siege of American blue-collar communities" at large, and that lyrics discussing economic devastation are symbolic for the effect of blind nationalism upon the working class. The song as a whole, they write, laments the destabilization of the economics and politics protecting the "industrial working class" in the 1970s and early 1980s, leaving only "a deafening but hollow national pride." The article quotes Springsteen saying that the working-class man was facing "a spiritual crisis, in which man is left lost. It's like he has nothing left to tie him into society anymore. He's isolated from the government. Isolated from his job. Isolated from his family ... to the point where nothing makes sense."


title: Born in the U.S.A. (song)

text: In late August 1984, the "Born in the U.S.A." album was selling very well, its songs were frequently aired on radio stations, and the associated tour was drawing considerable press. Springsteen shows at the Capital Centre outside of Washington, D.C. thus attracted even more media attention, in particular from "CBS Evening News" correspondent Bernard Goldberg, who saw Springsteen as a modern-day Horatio Alger story. Conservative columnist George Will, after attending a show, published a piece on September 13, 1984, titled "A Yankee Doodle Springsteen", in which he praised Springsteen as an exemplar of classic American values. He wrote: "I have not got a clue about Springsteen's politics, if any, but flags get waved at his concerts while he sings songs about hard times. He is no whiner, and the recitation of closed factories and other problems always seems punctuated by a grand, cheerful affirmation: 'Born in the U.S.A.!'" The 1984 presidential campaign was in full stride at the time, and Will had connections to President Ronald Reagan's re-election organization. Will thought that Springsteen might endorse Reagan (not knowing that Springsteen did not support him), and got the notion pushed up to high-level Reagan advisor Michael Deaver. His staffers made inquiries to Springsteen's management, which were politely rebuffed.


title: Born in the U.S.A. (song)

text: Nevertheless, at a campaign stop in Hammonton, New Jersey, on September 19, 1984, Reagan added the following to his speech:


title: Born in the U.S.A. (song)

text: The press immediately expressed skepticism that Reagan knew anything about Springsteen, and asked what his favorite Springsteen song was; "Born to Run" was the response from staffers. Johnny Carson then joked on "The Tonight Show", "If you believe that, I've got a couple of tickets to the Mondale–Ferraro inaugural ball I'd like to sell you."


title: Born in the U.S.A. (song)

text: During a September 21 concert in Pittsburgh, Springsteen responded negatively by introducing his song "Johnny 99", a song about an unemployed auto worker who turns to murder, "The President was mentioning my name the other day, and I kinda got to wondering what his favorite album musta been. I don't think it was the "Nebraska" album. I don't think he's been listening to this one."


title: Born in the U.S.A. (song)

text: A few days after that, presidential challenger Walter Mondale said, "Bruce Springsteen may have been born to run but he wasn't born yesterday", and then claimed to have been endorsed by Springsteen. Springsteen manager Jon Landau denied any such endorsement, and the Mondale campaign issued a correction.


title: Born in the U.S.A. (song)

text: In 2000, "Reason" editor and libertarian journalist Brian Doherty, noting that political song lyrics are often either misunderstood or not understood at all by fans, wrote, "But who's to say Reagan wasn't right to insist the song was an upper? When I hear those notes and that drumbeat, and the Boss' best arena-stentorian, shout-groan vocals come over the speakers, I feel like I'm hearing the national anthem."


title: Born in the U.S.A. (song)

text: "Born in the U.S.A." was heard at rallies for President Donald Trump and outside the hospital where he was being treated for COVID-19 in October 2020. On this topic, Josh Terry of Vice wrote: "That 'Born in the U.S.A.' has been used for decades in political rallies for right-wing causes for four decades is confusing. Springsteen himself has gone on record calling the President 'a flagrant, toxic narcissist,' a 'moron,' and a 'threat to our democracy.' But more than the Boss' own views, the song is the furthest thing from a nationalist anthem."


title: Born in the U.S.A. (song)

text: "Born in the U.S.A." peaked at No. 9 on the "Billboard" Hot 100 singles charts in January 1985. It was the third of a record-tying seven Top 10 hit singles to be released from the "Born in the U.S.A." album. In addition it made the top 10 of Billboard's Rock Tracks chart, indicating solid play on album-oriented rock stations. The physical single was certified Gold by the RIAA on July 23, 1999, and additionally it has sold over a million digital copies in the U.S. by July 2016 after becoming available for downloads. The song was also a hit in the UK, reaching No. 5 on the UK Singles Chart.


title: Born in the U.S.A. (song)

text: Beyond the 1984 presidential campaign, "Born in the U.S.A." was widely misinterpreted as purely nationalistic by those who heard the anthemic chorus but not the bitter verses. For example, "Cash Box" called it a "straight-ahead anthem that celebrates America’s traditional values and the common man."


title: Born in the U.S.A. (song)

text: The music video for "Born in the U.S.A." was directed by noted filmmaker John Sayles. It consisted of video concert footage of Springsteen and the E Street Band performing the song, poorly synchronized with audio from the studio recording. This footage was intermixed with compelling mid-1980s scenes of working-class America, emphasizing images that had some connection with the song, including Vietnam veterans, Amerasian children, assembly lines, oil refineries, cemeteries, and the like, finishing with a recreation of the album's cover, with a grizzled Springsteen posing in front of an American flag.


title: Born in the U.S.A. (song)

text: On Springsteen's 1984–1985 Born in the U.S.A. Tour, "Born in the U.S.A." almost always opened the concerts, in a dramatic, crowd-rousing fashion. One such version is included on the "Live/1975–85" album.


title: Born in the U.S.A. (song)

text: On the 1988 Tunnel of Love Express Tour, "Born in the U.S.A." generally closed the first set, and on the 1992–1993 "Other Band" Tour, it appeared frequently at the end of the second set. These were both full band versions, although the latter stressed guitar parts more than the familiar synthesizer line.


title: Born in the U.S.A. (song)

text: Beginning with the 1995–1997 solo acoustic Ghost of Tom Joad Tour and associated promotional media appearances, Springsteen radically recast "Born in the U.S.A." once again, playing an acoustic guitar version that was unlike both the original "Nebraska" and full band performances. This was a stinging, snarling rendition that only included the title phrase twice. This was both in connection with the Tom Joad Tour's wan moods as well as Springsteen's attempt to make clear the song's original and only purpose; in his introduction to the song in this shows he said he still wasn't convinced the song had been misinterpreted, but now as the songwriter he was "going to get the last say." Fan reaction was divided, with some greatly liking the new arrangement and others thinking the song's musical ironies had been lost.


title: Born in the U.S.A. (song)

text: During the 1999–2000 Reunion Tour, "Born in the U.S.A." was not always played, and when it was, it was the stinging solo acoustic version, now on 12-string slide guitar. Such a performance is included on the DVD and CD "". Not until 2002's The Rising Tour and 2004's political Vote for Change tour did the full band "Born in the U.S.A." make a regular comeback; only in the U.S., foreign audiences still got the acoustic one, but a foreign example of "Born in the U.S.A." is heard on "Live in Barcelona", in which the full band version is heard.


title: Born in the U.S.A. (song)

text: But then towards the end of Springsteen's solo Devils & Dust Tour in 2005, the most challenging "Born in the U.S.A." yet was unveiled, when he performed it using an amplified "stomping board" and an ultra-distorting vocal "bullet microphone", two devices designed to render any song utterly incomprehensible to all but the sharpest of ears. This slot was normally reserved for the dourest of "Nebraska" material, and "Born in the U.S.A."'s appearance in it solidified the impression that its origins in those sessions had not been an accident after all.


title: Born in the U.S.A. (song)

text: During the Magic and Working on a Dream Tours, the song was played just 15 times, even though other songs from the album, such as "Dancing in the Dark", "Bobby Jean", and "Glory Days" continued to be regulars. It was famously used as an opener on the radio broadcast July 4, 2008, show in Gothenburg, Sweden.


title: Born in the U.S.A. (song)

text: The song has appeared on recordings ranging from instrumental bluegrass collections to children's music albums (sung by groups of children). Even the London Symphony Orchestra has performed their take on the song.


title: Born in the U.S.A. (song)

text: In 1985, Patti LaBelle covered the song on her live album. Jazz-funk bassist Stanley Clarke recorded the song for his 1985 release, "Find Out!". The "Allmusic" describes this version as "a black man's parody of white arena rock, with Springsteen's bitter lyric ground out rap-style by Clarke." Eric Rigler has recorded an instrumental bagpipe version of the song that has appeared on various Springsteen tribute albums since 2001. Swedish-Argentinian singer-songwriter José González performed a solo acoustic version for a time, choosing not to sing the song's title refrain. Singer-songwriter Richard Shindell covered the song in concerts, performing solo and playing bouzouki. Shindell recorded the song for his album "South of Delia". This Morning presenter Matt Johnson performed the song as Bruce Springsteen on week 6 of the ITV show 'Your Face Sounds Familiar'. At the 2013 MusiCares Person of the Year ceremony, the song was covered by Neil Young & Crazy Horse with the help of Nils Lofgren; this is ironic for two reasons: one, Neil Young was born in Canada and Lofgren was a member of both Crazy Horse and the E Street Band.


title: Born in the U.S.A. (song)

text: There are a number of "Born in the U.S.A." parodies. For example, Cheech and Chong's 1985 comic-political "Born in East L.A." and "Mad" featured a parody written by Frank Jacobs in its July 1985 issue, called "Porn in the U.S.A.". A group of "Sesame Street" characters (billed as "Bruce Stringbean and the S. Street Band") performed a version of the song called "Barn in the U.S.A." for the album "Born to Add". In "Canadian Bacon", a Michael Moore film about a Cold War scenario between Canada and the United States, a group of Americans are travelling across Canada while singing along to "Born in the U.S.A.". In an apparent nod to the widespread misunderstanding of the lyrics, the characters are only capable of singing the chorus of the song and trail off during the verse. With Springsteen's permission, rap group 2 Live Crew released "Banned in the U.S.A.", a parody of "Born in the U.S.A." released to draw attention to 2 Live Crew's First Amendment troubles.


title: Bloomberg News

text: Bloomberg News (originally Bloomberg Business News) is an international news agency headquartered in New York City and a division of Bloomberg L.P. Content produced by Bloomberg News is disseminated through Bloomberg Terminals, Bloomberg Television, Bloomberg Radio, "Bloomberg Businessweek", "Bloomberg Markets", Bloomberg.com, and Bloomberg's mobile platforms. Since 2015, John Micklethwait has served as editor-in-chief.


title: Bloomberg News

text: Bloomberg News was founded by Michael Bloomberg and Matthew Winkler in 1990 to deliver financial news reporting to Bloomberg Terminal subscribers.


title: Bloomberg News

text: The agency was established in 1990 with a team of six people. Winkler was first editor-in-chief. In 2010, Bloomberg News included more than 2,300 editors and reporters in 72 countries and 146 news bureaus worldwide.


title: Bloomberg News

text: Bloomberg Business News was created to expand the services offered through the terminals. According to Matthew Winkler, then a writer for "The Wall Street Journal", Michael Bloomberg telephoned him in November 1989 and asked, "What would it take to get into the news business?"