title: Bleed American

text: "The Middle" was released as a single on November 19, 2001. The UK 7" vinyl included a radio session version of "A Praise Chorus" as its B-side, while the European CD featured "No Sensitivity" and demos of "The Middle" and "My Sundown". Another CD version, which saw release in Europe and the US featured radio sessions versions of "If You Don't, Don't" and "Game of Pricks", as well as the music video for "The Middle". The video was directed by Paul Fedor, who based it on an episode of "The Brady Bunch". The video features the band at a party performing in a living room to a crowd of people in their underwear. The protagonist, played by Josh Keleher, arrives at the party fully clothed; he eventually undressed in a closet, helping a girl undress as well.


title: Bleed American

text: "Sweetness" was released as a single on June 3, 2002; the UK 7" vinyl version included a live version of "Clarity" as its B-side. Two CD versions were released in Europe: the first with live versions of "Blister" and "Your New Aesthetic", while the other included live versions of "If You Don't, Don't", "Lucky Denver Mint" and "Blister". The music video for "Sweetness" shows the band stationary as the world is altered around them; it was filmed in Los Angeles, with director Tim Hope. Lind said the video was "loosely based on a general journey of what a band goes through as they start and as they progress". "A Praise Chorus" was released as a promotional single in 2002.


title: Bleed American

text: In addition to the album's singles, two EPs were released to support "Bleed American". The first of these EPs, titled "Good to Go EP", was released on February 22, 2002, exclusively in Japan, and featured "Spangle", "The Most Beautiful Things", an acoustic version of "The Middle", a radio session version of "Game of Pricks", an early version of "Cautioners" and live versions of "A Praise Chorus" and "Softer". The second EP, titled "The Middle/A Praise Chorus Tour EP", was a tour EP released in Australia in January2003, consisting of "The Middle", "A Praise Chorus", "Firestarter", an acoustic version of "The Middle" and a live version of "Bleed American".


title: Bleed American

text: "Bleed American" was initially released on vinyl through Grand Royal Records; when that label folded, it was re-pressed through Adkins' own label Western Tread in 2003. In October2003, the band released the "Believe in What You Want" video album, which chronicled the making-of and release of "Bleed American". On April 28, 2008, a deluxe edition of the album was released with a bonus disc containing several B-sides, acoustic versions, live versions, demo versions and previously unreleased tracks. The original album and track title "Bleed American" were restored for this release. This edition was pressed on vinyl in 2011 as part of Record Store Day. Later that year, the band performed "Bleed American" and "Clarity" in their entireties for two UK shows.


title: Bleed American

text: Following two one-off US shows in February2001, Jimmy Eat World embarked on a two-week tour in Germany. In June2001, the band then went on a tour of Australia and Japan, the latter being a supporting slot for Eastern Youth. After they made their second appearance on Warped Tour, where they played the East Coast shows in July and August2001, they supported Blink-182 and Weezer. The band then appeared on "The Late Late Show with Craig Kilborn" (around which, the band played three shows in Los Angeles) and the "Late Show with David Letterman", and performed at Edgefest II in Canada. They supported Weezer on their Extended Midget Tour in the US to close out the year; Jimmy Eat World were augmented by touring musicians Brian McMahan (of the For Carnation) on sampler, keyboards and guitar and Haden on backing vocals. Alongside this, the band performed on "Late Night with Conan O'Brien". In January and February2002, the band were due to support Blink-182 on their tour of Europe; however, when that band postponed, Jimmy Eat World embarked on a headlining European tour instead.


title: Bleed American

text: After returning to the US, Jimmy Eat World played four shows in the southern states, before traveling to Japan, where they played until March2002. The band supported Blink-182 and Green Day on their co-headlining US Pop Disaster Tour in April and May2002, which coincided with appearances on "Saturday Night Live" and "The Tonight Show with Jay Leno". Following this, Jimmy Eat World supported Incubus on their headlining tour of Australia, before going on their own tour of the UK with support from the Promise Ring, and playing a series of US festivals and Canadian shows. Preceded by an appearance on the "Late Show with David Letterman", they embarked on a headlining US tour, with support from Desaparecidos, Recover and the Promise Ring. Following this, the band performed at the Reading and Leeds Festivals in the UK. In September and October, the band performed at This Ain't No Picnic festival and on two dates of the Plea for Peace/Take Action Tour, in addition to an appearance on "Last Call with Carson Daly".


title: Bleed American

text: "Bleed American" was met with generally favorable reviews from music critics. Several reviewers discussed the album's emo stylings. While noting that those who dislike "emo or 'poppier' music" would dislike the album, Aubin Paul of Punknews.org said that "the punker-than-thou kids should stick with "Static Prevails", but a catalog as impressive a J.E.W.'s can be appreciated by anyone without preconceptions." "Rolling Stone" reviewer Barry Walters added to this, stating that it "sports the tender turbulence that insular emo kids have been enjoying in private for years," with the album appealing to fans of Creed and Blink-182 as well as new wave music. The staff at "Entertainment Weekly" observed the album as a "fine balancing act" of "emo-edged" tracks and "wallop-packed rockers", though Joe Warminsky III of "The Morning Call" disregarded the emo elements, describing it instead as a genuine rock record.


title: Bleed American

text: Multiple reviewers, including those at Allmusic, "Drowned in Sound", and "USA Today", praised the songwriting quality and guitarwork; these included remarks on "catchy melodies", "bouncy rhythms" and "a tacklebox of hooks". "NME" writer Imran Ahmed said it was a "veritable pop-buzzsaw, rammed to its back teeth with infectious melodies and teen TV sentiment". Paul stated that unlike the band's prior albums, the second half of "Bleed American" was "quite strong, and really fleshes out the musical ideas from the record". Greenwald said in comparison to "Clarity", which "goes inward in search of salvation," "Bleed American" was "outgoing, boisterous, confident". "Blender", on the other hand, was less pleased as the album's mainstream potential was "undercut by guitars, which are neither as gleefully blaring as Weezer's nor as cleanly melodic as the Knack's."


title: Bleed American

text: Other reviewers were mixed on the album's mature stance. Steve Hochman of the "Los Angeles Times" commented that listeners "graduating from teen tastes could well turn to this album as a first step to adulthood", while Robert Christgau of "The Village Voice" stated "if this band can't be maturity's answer to 'N Sync, it can be patriotism's answer to Travis." Aaron Scott of "Slant Magazine" believed the maturity the band showed through the album was capable of attracting a wide-ranging audience. "Pitchfork" Ryan Schreiber gave a much more negative and sarcastic review of the album, concluding, "So do the best you can, listen to your favorite band, bury your head in the sand, before it all begins again. Hey, I just wrote a Jimmy Eat World song!"


title: Bleed American

text: Retrospective reviews of "Bleed American" continued to praise the album's songwriting quality. Thomas Nassiff of "AbsolutePunk" opined that the album contained "no bad songs", concluding: "Certainly one of the most memorable records of 2001, "Bleed American" might actually have the most lasting power of any album from that class." Mike Stagno of Sputnikmusic found "Bleed American" enjoyable, and noted its high replay value, particularly tracks such as "Sweetness" and "Get It Faster".


title: Bleed American

text: "Louder Than War" writer Sam Lambeth saw the album as a "hallmark of modern rock, a faultless record that may wear its heart on its sleeve, but elevates in its earnestness". Punknews.org staff member Brian Shultz reviewed the deluxe edition, and found the album's content to still be strong despite its age. On the other hand, "PopMatters" Charles A. Hohman found "little insight or revelation [on the deluxe edition]." A guest writer for "Tiny Mix Tapes" said the album's strongest points were the "stripped down" tracks.


title: Bleed American

text: "Bleed American" was a commercial success, helping Jimmy Eat World gain mainstream popularity. It sold 30,000copies in its first week of release. It peaked at number 54 on the "Billboard" 200 on August 11, 2001; the renamed version peaked at number 31 in July2002. Outside the US, the album peaked at number 20 in Germany, number 43 in New Zealand, number 54 in Australia, and number 62 in the UK.


title: Bleed American

text: "Bleed American" became a bestseller, and in its first four months on the US market, it sold 173,000copies, making the album Jimmy Eat World's most successful release. Lind said that these sales were "definitely a big deal to the band because it shows how the fanbase is growing. [If you're] doing anything creative, you want more and more people to enjoy what you do." It was certified gold in the US by the Recording Industry Association of America (RIAA) in March 2002, and it reached platinum status five months later. Alongside this, the album was certified platinum in Canada by the Canadian Recording Industry Association (CRIA), and Silver by the British Phonographic Industry (BPI) in the UK. As of September 2016, "Bleed American"' has sold over 1.6 million copies in the US.


title: Bleed American

text: "The Middle" reached number five on the US "Billboard" Hot 100. It also charted at number one on Alternative Songs, number two on Adult Pop Songs, number four on Pop Songs, number five on Radio Songs, number 39 on Mainstream Rock Songs and number 44 on Rock Digital Songs. Outside the US, it charted at number 26 in the UK, where it was certified platinum, number 28 in New Zealand, number 29 in Scotland, number 49 in Australia, number 92 in the Netherlands, and number 98 in France.


title: Bleed American

text: "Bleed American" peaked at number 16 on Alternative Songs. It also charted at number 59 in Scotland and number 60 in the UK. "Sweetness" peaked at number 75 on the "Billboard" Hot 100, number two on Alternative Songs, number 40 on Adult Pop Songs, and number 74 on Radio Songs. Outside the US, it charted at number 31 in Scotland and number 38 in the UK. "A Praise Chorus" peaked at number 16 Alternative Songs.


title: Bleed American

text: Greenwald said "Bleed American" being certified platinum was one factor in emo reaching mainstream media attention in mid-2002, alongside Vagrant Records having significant sales figures on its releases and Dashboard Confessional appearing on MTV Unplugged. In addition, Jimmy Eat World became the first emo act to have significant success at radio and on the charts. Greenwald mentioned that with "Bleed American" being their "poppiest, most universal album to date," the band "broke out of the indie/emo ghetto, but by doing so, they also defined its sound 'as' emo for hundreds of thousands of new listeners". My Chemical Romance worked with Trombino for a test session for "Three Cheers for Sweet Revenge" (2004) as the members loved "Bleed American". Five of the album's songs were covered by Australian acts for the tribute album "Sing It Back: A Tribute to Jimmy Eat World" (2015).


title: Bleed American

text: "Q" listed "Bleed American" as one of the best 50 albums of 2001, while "Consequence of Sound" ranked it at number nine on their list of the top 10 albums of the year. The album was included in "Rock Sound"s 101 Modern Classics list at number 48. In 2013, it was ranked at number 429 on "NME"s The 500 Greatest Albums of All Time list. The publication also listed the album as one of "20 Pop Punk Albums Which Will Make You Nostalgic", as well as one of "20 Emo Albums That Have Resolutely Stood The Test Of Time". The album was ranked at number 183 on "Spin"s "The 300 Best Albums of the Past 30 Years (1985–2014)" list. In 2017, "Rolling Stone" ranked it at number 25 on their list of the 50 Greatest Pop-Punk Albums. "Sweetness" appeared on a best-of emo songs list by "Vulture". "A Praise Chorus", "Bleed American", "The Middle" and "Sweetness" were ranked at numbers 85, 12, 9 and 3, respectively, on "Alternative Press" list of the best 100 singles from the 2000s.


title: Bleed American

text: All songs written by Jimmy Eat World, except "A Praise Chorus", which contains lyrics from various songs.


title: Triple DES

text: In cryptography, Triple DES (3DES or TDES), officially the Triple Data Encryption Algorithm (TDEA or Triple DEA), is a symmetric-key block cipher, which applies the DES cipher algorithm three times to each data block. The Data Encryption Standard's (DES) 56-bit key is no longer considered adequate in the face of modern cryptanalytic techniques and supercomputing power. A CVE released in 2016, "CVE-2016-2183" disclosed a major security vulnerability in DES and 3DES encryption algorithms. This CVE, combined with the inadequate key size of DES and 3DES, NIST has deprecated DES and 3DES for "new" applications in 2017, and for "all" applications by the end of 2023. It has been replaced with the more secure, more robust AES.


title: Triple DES

text: While the government and industry standards abbreviate the algorithm's name as TDES (Triple DES) and TDEA (Triple Data Encryption Algorithm), RFC 1851 referred to it as 3DES from the time it first promulgated the idea, and this namesake has since come into wide use by most vendors, users, and cryptographers.


title: Triple DES

text: In 1978, a triple encryption method using DES with two 56-bit keys was proposed by Walter Tuchman; in 1981 Merkle and Hellman proposed a more secure triple key version of 3DES with 112 bits of security.


title: Triple DES

text: The original DES cipher's key size of 56 bits was generally sufficient when that algorithm was designed, but the availability of increasing computational power made brute-force attacks feasible. Triple DES provides a relatively simple method of increasing the key size of DES to protect against such attacks, without the need to design a completely new block cipher algorithm.


title: Triple DES

text: A naive approach to increase strength of a block encryption algorithm with short key length (like DES) would be to use two keys formula_1 instead of one, and encrypt each block twice: formula_2. If the original key length is formula_3 bits, one would hope this scheme provides security equivalent to using key formula_4 bits long. Unfortunately, this approach is vulnerable to meet-in-the-middle attack: given a known plaintext pair formula_5, such that formula_6, one can recover the key pair formula_1 in formula_8 steps, instead of the formula_9 steps one would expect from an ideally secure algorithm with formula_4 bits of key.


title: Triple DES

text: Therefore, Triple DES uses a "key bundle" that comprises three DES keys, formula_11, formula_12 and formula_13, each of 56 bits (excluding parity bits). The encryption algorithm is:


title: Triple DES

text: That is, DES encrypt with formula_11, DES "decrypt" with formula_12, then DES encrypt with formula_13.


title: Triple DES

text: In each case the middle operation is the reverse of the first and last. This improves the strength of the algorithm when using keying option 2 and provides backward compatibility with DES with keying option 3.


title: Triple DES

text: Each DES key is 8 odd-parity bytes, with 56 bits of key and 8 bits of error-detection. A key bundle requires 24 bytes for option 1, 16 for option 2, or 8 for option 3.


title: Triple DES

text: NIST (and the current TCG specifications version 2.0 of approved algorithms for Trusted Platform Module) also disallows using any one of the 64 following 64-bit values in any keys (note that 32 of them are the binary complement of the 32 others; and that 32 of these keys are also the reverse permutation of bytes of the 32 others), listed here in hexadecimal (in each byte, the least significant bit is an odd-parity generated bit, it is discarded when forming the effective 56-bit keys):


title: Triple DES

text: With these restrictions on allowed keys, Triple DES has been reapproved with keying options 1 and 2 only. Generally the three keys are generated by taking 24 bytes from a strong random generator and only keying option 1 should be used (option 2 needs only 16 random bytes, but strong random generators are hard to assert and it's considered best practice to use only option 1).


title: Triple DES

text: As with all block ciphers, encryption and decryption of multiple blocks of data may be performed using a variety of modes of operation, which can generally be defined independently of the block cipher algorithm. However, ANS X9.52 specifies directly, and NIST SP 800-67 specifies via SP 800-38A that some modes shall only be used with certain constraints on them that do not necessarily apply to general specifications of those modes. For example, ANS X9.52 specifies that for cipher block chaining, the initialization vector shall be different each time, whereas ISO/IEC 10116 does not. FIPS PUB 46-3 and ISO/IEC 18033-3 define only the single block algorithm, and do not place any restrictions on the modes of operation for multiple blocks.


title: Triple DES

text: In general, Triple DES with three independent keys (keying option 1) has a key length of 168 bits (three 56-bit DES keys), but due to the meet-in-the-middle attack, the effective security it provides is only 112 bits. Keying option 2 reduces the effective key size to 112 bits (because the third key is the same as the first). However, this option is susceptible to certain chosen-plaintext or known-plaintext attacks, and thus it is designated by NIST to have only 80 bits of security. This can be considered insecure, and, as consequence Triple DES has been deprecated by NIST in 2017.


title: Triple DES

text: The short block size of 64 bits makes 3DES vulnerable to block collision attacks if it is used to encrypt large amounts of data with the same key. The Sweet32 attack shows how this can be exploited in TLS and OpenVPN. Practical Sweet32 attack on 3DES-based cipher-suites in TLS required formula_22 blocks (785 GB) for a full attack, but researchers were lucky to get a collision just after around formula_23 blocks, which took only 25 minutes.


title: Triple DES

text: OpenSSL does not include 3DES by default since version 1.1.0 (August 2016) and considers it a "weak cipher".


title: Triple DES

text: The electronic payment industry uses Triple DES and continues to develop and promulgate standards based upon it, such as EMV.


title: Triple DES

text: Earlier versions of Microsoft OneNote, Microsoft Outlook 2007 and Microsoft System Center Configuration Manager 2012 use Triple DES to password-protect user content and system data. However, in December 2018, Microsoft announced the retirement of 3DES throughout their Office 365 service.


title: Triple DES

text: Firefox and Mozilla Thunderbird use Triple DES in CBC mode to encrypt website authentication login credentials when using a master password.


title: Triple DES

text: Some implementations above may not include 3DES in the default build, in later or more recent versions.


title: Fuzzy Door Productions

text: Fuzzy Door Productions is an American film and television production company founded by Seth MacFarlane in 1998. The company's productions include animated series "Family Guy", "American Dad!", the "Family Guy" spinoff "The Cleveland Show", the live-action sitcom "The Winner", the science documentary series "" and the sci-fi comedy drama series "The Orville". More recently, it signed a deal with NBCUniversal. The company will move from its longtime home at the 20th Century Fox Studios lot in Century City to NBCUniversal's Universal City Studios in Universal City. Erica Huggins will continue to head Fuzzy Door as president. MacFarlane's two animated series "Family Guy" broadcast on Fox and "American Dad!" broadcast on TBS will continue to be produced on the Fox studios lot while his live action series "The Orville" which is scheduled to air its second extended season on Hulu will continue to be filmed at Universal City Studios and in Westlake, California.


title: Fuzzy Door Productions

text: The name of the company comes from the leopard-printed fake fur-covered door to the house MacFarlane lived in when he was attending Rhode Island School of Design as an undergraduate in animation. The house itself also went by the nickname the Fuzzy Door during MacFarlane's residence and was the location of many "Fuzzy Door" parties. The Fuzzy Door Productions logo was designed by Cory Brookes, a friend and housemate of Seth's at the Fuzzy Door residence. The logo was updated in 2019, featuring a more abstract design of the door and no longer featuring the fur-pattern design, instead colored in a plain white with blue background. In 2020, the new logo was enhanced, featuring the door animating open and the text irising in as it does so, over a background that's a darker shade of blue.


title: Baba Deep Singh

text: Baba Deep Singh (26 January 1682 – 13 November 1757) is revered among Sikhs as one of the most hallowed martyrs in Sikhism. He is remembered for his sacrifice and devotion to the teachings of the Sikh Gurus. Baba Deep Singh was the first head of Misl Shaheedan Tarna Dal – an order of the Khalsa military established by Nawab Kapur Singh, the then head of Sharomani Panth Akali Buddha Dal. The Damdami Taksal also state that he was the first head of their order.


title: Baba Deep Singh

text: Baba Deep Singh Ji was born on 26 January 1682 to his father Bhagta, and his mother Jioni. He lived in the village of Pahuwind in Amritsar district. He was born into a Sandhu Jat Sikh family.


title: Baba Deep Singh

text: He went to Anandpur Sahib on the day of Vaisakhi in 1700, where he was baptised into Khalsa by Guru Gobind Singh Ji, through the "Khande di Pahul" or Amrit Sanchar (ceremonial initiation into Khalsa). As a youth, he spent considerable time in close companionship of Guru Gobind Singh Ji, learning weaponry, riding and other martial skills. From Bhai Mani Singh, he learnt reading and writing Gurmukhi and the interpretation of the Gurus' words. After spending two years at Anandpur, he returned to his village in 1702, before he was summoned by Guru Gobind Singh Ji at Talwandi Sabo in 1705, where he helped Bhai Mani Singh in making copies of the scripture Guru Granth Sahib.


title: Baba Deep Singh

text: In 1709, Baba Deep Singh joined Banda Singh Bahadur during the Battle of Sadhaura and the Battle of Chappar Chiri. In 1733, Nawab Kapur Singh appointed him a leader of an armed squad ("jatha"). On the Vaisakhi of 1748, at the meeting of the Sarbat Khalsa in Amritsar, the 65 "jathas" of the Dal Khalsa were reorganized into twelve Misls. Baba Deep Singh was entrusted with the leadership of the Shaheed Misl.


title: Baba Deep Singh

text: In April 1757, Ahmad Shah Durrani raided Northern India for the fourth time. While he was on his way back to Kabul from Delhi with young men and women as captives, the Sikhs made a plan to relieve him of the valuables and free the captives. The squad of "Baba" Deep Singh was deployed near Kurukshetra. His squad freed a large number of prisoners and raided Durrani's considerable treasury. On his arrival in Lahore, Durrani, embittered by his loss, ordered the demolition of the Harmandir Sahib (the "Golden Gurudwara"). The shrine was blown up and the sacred pool filled with the entrails of slaughtered animals. Durrani assigned the Punjab region to his son, Prince Timur Shah, and left him a force of ten thousand men under General Jahan Khan.


title: Baba Deep Singh

text: Baba Deep Singh, 75 years old, felt that it was up to him to atone for the sin of having let the Afghans desecrate the shrine. He emerged from scholastic retirement and declared to a congregation at Damdama Sahib that he intended to rebuild the temple. Five hundred men came forward to go with him. Baba Deep Singh offered prayers before starting for Amritsar: "May my head fall at the Darbar Sahib." As he went from hamlet to hamlet, many villagers joined him. By the time "baba" Deep Singh reached Tarn Taran Sahib, ten miles from Amritsar, over five thousand Sikhs armed with hatchets, swords, and spears accompanied him.


title: Baba Deep Singh

text: Baba Deep Singh had vowed to avenge the desecration of the Golden Temple by the Afghan army. In 1757, he led an army to defend the Golden Temple. The Sikhs and the Afghans clashed in the Battle of Amritsar on 13 November 1757, and in the ensuing conflict Baba Deep Singh was decapitated.


title: Baba Deep Singh

text: There are two accounts of Baba Deep Singh's death. According to one popular version, Baba Deep Singh continued to fight after having been completely decapitated, slaying his enemies with his head in one hand and his sword in the other. In this version, only upon reaching the sacred city of Amritsar did he stop and finally die. According to the second version, he was mortally wounded with a blow to the neck, but not completely decapitated. After receiving this blow, a Sikh reminded Baba Deep Singh, "You had resolved to reach the periphery of the pool." On hearing the talk of the Sikh, he held his head with his left hand and removing the enemies from his way with the strokes of his Khanda "with his right hand, reached the periphery of Harmandir Sahib where he breathed his last. The Singhs celebrated the Bandhi-Sor Divas of 1757 A.D. in Harmandir Sahib".


title: Baba Deep Singh

text: The spot where Baba Deep Singh's head fell is marked in the Golden Temple complex, and Sikhs from around the world pay their respects there. Baba Deep Singh's Khanda (double-edged sword), which he used in his final battle, is still preserved at Akal Takht, first of the five centers of temporal Sikh authority.


title: Baba Deep Singh

text: "Anokhe Amar Shaheed Baba Deep Singh Ji", an Indian historical biographical film by Jaswinder Chahal was released in 2006.


title: Fritter

text: A fritter is a portion of meat, seafood, fruit, vegetables or other ingredients which have been battered or breaded, or just a portion of dough without further ingredients, that is deep-fried. Fritters are prepared in both sweet and savory varieties.


title: Fritter

text: The 1854 edition of "An American Dictionary of the English Language" by Noah Webster defines fritter as a transitive verb meaning "to cut meat into small pieces to be fried". Another definition from 1861 is given as "a pancake cont. chopped fruit, poultry, fish; also a small piece of meat fried".


title: Fritter

text: West African countries have many variations similar to fritters. The most common process includes the blending of peeled black-eyed peas with peppers and spices to leave a thick texture. A Yoruba version, akara, is a popular street snack and side dish in Nigerian culture.


title: Fritter

text: Fritters are extremely popular roadside snacks all over South Asia and are commonly referred to as "pakora" "(pakoda)" or "bhajji" "(bhajia)" in local parlance—the onion bhaji also enjoys a high popularity abroad and at home.


title: Fritter

text: In Brunei, fritters are known as and they are eaten as snacks. is also part of local street food and usually sold in street market-style food booth (locally known as ). They are usually made with fillings which are commonly made with banana, shrimp, yam, sweet potatoes and vegetables (usually sliced cabbages or carrots). Some local fruits, when they are in season, are also made into , most commonly durian, breadfruit (), ("Artocarpus integer") and ("Artocarpus odoratissimus").


title: Fritter

text: In Indonesia fritters come under the category of "gorengan" (, from "goreng" "to fry"), and many varieties are sold on travelling carts or by street vendors throughout Indonesia. Various kinds of ingredients are battered and deep-fried, such as bananas ("pisang goreng"), tempe "mendoan", "tahu goreng" (fried tofu), oncom, sweet potato, cassava chunk, cassava tapai, "cireng" (tapioca fritters), bakwan (flour with chopped vegetables), Tahu isi (filled tofu), and breadfruit. These are often eaten accompanied by fresh bird's eye chili. The variety known as bakwan commonly contains flour with chopped vegetables such as carrot and cabbage, whereas the fried patties called perkedel typically consist of mashed potatoes or ground corn ("perkedel jagung" or "bakwan jagung").


title: Fritter

text: In Malaysia, it is common for a type of fritter called "cucur" (such as yam, sweet potato and banana) to be fried by the roadside in a large wok and sold as snacks.


title: Fritter

text: In Burmese cuisine, fritters are called "a-kyaw" (), while assorted fritters are called "a-kyaw-sone" (). The most popular "a-kyaw" is the gourd fritter (ဘူးသီးကြော်). Diced onions, chickpea, potatoes, a variety of leafy vegetables, brown bean paste, Burmese tofu, chayote, banana and crackling are other popular fritter ingredients. Black beans are made into a paste with curry leaves to make bayagyaw—small fritters similar to falafel. Unlike pisang goreng, Burmese banana fritters are made only with overripe bananas with no sugar or honey added.


title: Fritter

text: The savory fritters are eaten mainly at breakfast or as a snack at tea. Gourd, chickpea and onion fritters are cut into small parts and eaten with Mohinga, Myanmar's national dish. These fritters are also eaten with Kao hnyin baung rice and with Burmese green sauce—called chin-saw-kar or a-chin-yay. Depending on the fritter hawker, the sauce is made from chili sauce diluted with vinegar, water, cilantro, finely diced tomatoes, garlic and onions.


title: Fritter

text: In the Philippines, egg fritters are called "tokneneng" (duck) or "kwek-kwek" (quail), and squid fritters are called "kalamares". These, along with shrimp fritters called "okoy", and banana fritters called "maruya" are also sold in travelling cart or street side vendors.


title: Fritter

text: Throughout China, fritters are sold at roadsides. They may contain pork, but are commonly vegetarian.


title: Fritter

text: In Japanese cuisine, tempura is vegetable or seafood dipped and fried in a light crispy batter and served as a common accompaniment to meals.


title: Fritter

text: In Korean cuisine, deep-fries are known as "twigim" (). "Twigim" are often battered and breaded, but there are varieties without breading, as well as varieties without breading and batter. Popular "twigim" dishes include "dak-twigim" (fried chicken), "gim-mari-twigim" (fried seaweed roll), "goguma-twigim" (fried sweet potato), "gul-twigim" (fried oyster), "ojingeo-twigim" (fried squid), and "saeu-twigim" (fried shrimp).


title: Fritter

text: Traditional vegetarian deep-fries associated with Korean temple cuisine include "twigak" and "bugak". "Twigak" are made from vegetables such as "dasima" (kelp) and bamboo shoot, without breading or batter. "Bugak" are made from vegetables such as "dasima", perilla leaves, and chili peppers, which are coated with glutinous rice paste and dried thoroughly.


title: Fritter

text: The Iranian variety is called Kuku which come in different versions like the ones with potatoes or the ones with herbs. This type of fritter resembles a crustless quiche.


title: Fritter

text: A Canadian apple fritter is a yeast-leavened deep-fried pastry. Dough that was left to rise is then rolled with apple filling and cinnamon. It is then broken up into pieces and reformed into a single unit mass. From there it is cut into portions, left to rise, or, fried immediately. It is topped or dipped in glaze icing and served hot or cold.


title: Fritter

text: In British fish and chip shops, the fish and chips can be accompanied by "fritters", which means a food item, such as a slice of potato, a pineapple ring, an apple ring or chunks, or mushy peas fried in batter. Hence: "potato fritter", "pineapple fritter", "apple fritter", "pea fritter", etc. At home and at school, fritters are also sometimes made with meat, especially Spam and corned beef.


title: Fritter

text: A fritter roll or roll and fritter is a potato fritter inside a bread roll, served with salt and vinegar.


title: Fritter

text: In the United States, fritters are a primary ingredient that is mixed with an egg and milk batter and either pan-fried or deep-fried; wheat flour, cornmeal, or a mix of the two may be used to bind the batter. Corn fritters are often made with whole canned corn and are generally deep-fried. Apple fritters are well known, although the contemporary American apple fritter is unlike the British one. Older versions of the apple fritter in the United States were prepared in the style of British ones, by slicing apples, dipping them in batter and frying them.


title: Nationwide Building Society

text: Nationwide Building Society is a British mutual financial institution, the seventh largest cooperative financial institution and the largest building society in the world with over 16 million members. Its headquarters are in Swindon, England.


title: Nationwide Building Society

text: Nationwide is made up of around 250 different building societies. Among the most significant mergers were those with the Anglia Building Society in 1987 and the Portman Building Society in 2007. It is now the second largest provider of household savings and mortgages in the UK and has a 10.3% market share of current accounts for the 2021/2022 financial year.


title: Nationwide Building Society

text: For the financial year 2021/2022, Nationwide had assets of around £272.4 billion compared to £483 billion for the entire building society sector, making it larger than the remaining 42 British building societies combined.


title: Nationwide Building Society

text: It is a member of the Building Societies Association, the Council of Mortgage Lenders and Co-operatives UK.


title: Nationwide Building Society

text: The Society's origins lie in the Co-operative Permanent Building Society, founded in 1884. Based at New Oxford House in the London Borough of Camden, it changed its name to Nationwide Building Society in 1970, reflecting an organisation that had coverage throughout the country, after a decision by the British Co-operative Union in August 1970. The new name was put to a member vote, with members voting 135,675 to 15,585 in favour.


title: Nationwide Building Society

text: In 1987, the Northampton-based Anglia Building Society merged with Nationwide. The new society was known as Nationwide Anglia Building Society at first, but the Anglia name was dropped in 1992.


title: Nationwide Building Society

text: In 1999, Nationwide, together with various UK tabloid newspapers and media, launched a campaign against controversial cash machine fees. The campaign reached a peak when Barclays Bank announced a plan to charge all customers of rival banks and financial providers, including those of Nationwide, £1 for every cash machine withdrawal made from a Barclays-owned cash machine. This prompted Nationwide to warn Barclays that it would take legal action against the bank if it did not back down. Nationwide claimed Barclays had broken the rules of the LINK network of cash machines, which the bank had joined earlier in the year. The following year, withdrawals from most cash machines owned by UK banks were made free for customers of all banks and building societies throughout the UK.


title: Nationwide Building Society

text: Nationwide completed a merger with Portman Building Society on 28 August 2007, creating a mutual body with assets of over £160 billion and around 13 million members. Portman's earliest component was the Provident Union Building Society founded in Ramsbury, Wiltshire in 1846.


title: Nationwide Building Society

text: In the financial crisis of 2007–2008, the Nationwide acted to safeguard the mutual sector, acquiring the ailing Cheshire and Derbyshire building societies in September 2008, followed by the Dunfermline Building Society on 30 March 2009.


title: Nationwide Building Society

text: On 24 March 2009, Nationwide opened a direct savings branch in Dublin, Ireland called Nationwide UK (Ireland), to distinguish it from the unconnected and now-defunct Irish Nationwide Building Society. However, Nationwide ceased all operations in the Irish Republic in 2017.


title: Nationwide Building Society

text: In 2012, the society announced that it would integrate the Cheshire, Derbyshire and Dunfermline building societies into Nationwide. The societies had operated under their own brands as divisions of the society. The rebranding of each business was phased, with the Dunfermline first to be merged in June 2014. The Cheshire and Derbyshire followed in October and November 2014 respectively.


title: Nationwide Building Society

text: On 22 May 2015, it was announced that the Society's Chief Executive, Graham Beale, intended to retire. On 16 November 2015, Nationwide announced that Joe Garner, CEO of Openreach, would succeed Graham as Nationwide CEO in Spring 2016. Joe Garner joined the Society as Chief Executive on 5 April 2016.


title: Nationwide Building Society

text: In May 2016, the society confirmed that it would be closing its subsidiary on the Isle of Man, Nationwide International, following a review of its business. The branch, based in Douglas, provided a range of offshore savings accounts in euros, pound sterling and US dollars. It held assets in excess of £2.76 billion as at 31 March 2008, increasing to £3.69 billion by 31 March 2009, making it one of the largest deposit takers in the Isle of Man. Nationwide confirmed it would close on 30 June 2017.


title: Nationwide Building Society

text: On 1 October 2016, Carillion began providing services for Nationwide's headquarters in Swindon, 'specifically aligned to Nationwide's sustainability strategy'. This contract was expected to be worth approximately £350 million, building on an existing partnership of nearly nine years. When Carillion went into liquidation in January 2018, Nationwide took on 250 staff previously employed by the contractor.


title: Nationwide Building Society

text: In April 2017, the society confirmed that it would be closing its subsidiary on the Republic of Ireland, Nationwide UK (Ireland), following a review of its business. Its branch at 13 Merrion Row, Dublin 2 closed on 31 May 2017. The remainder of the business closed at the end of the year.


title: Nationwide Building Society

text: In March 2022, Kevin Parry replaced David Roberts as chairman; and in June 2022, Debbie Crosbie, who had been CEO of TSB Bank, succeeded Joe Garner, as chief executive.


title: Nationwide Building Society

text: Nationwide is committed to staying mutual and is keen to emphasise that it has members rather than shareholders. However, it has had challenges against its mutual status in the past.


title: Nationwide Building Society

text: Nationwide was by far the largest British building society that did not convert to a bank in the wave of demutualisations that occurred from the late 1980s to the late 1990s.


title: Nationwide Building Society

text: In 1998, society members seeking a windfall, branded as carpetbaggers by the UK media, meant Nationwide members had to vote on whether to demutualise the society and float on the London Stock Exchange. The attempt failed, despite media reports of possible pay-outs to members of around £1,000 to £1,500 each, as Nationwide members voted by a narrow margin of 33,700 against converting the building society into a bank.


title: Nationwide Building Society

text: Society members again proposed a resolution in 2001 for another vote by Nationwide members to convert the society to a bank. The resolution was rejected by the Nationwide board on legal grounds.


title: Nationwide Building Society

text: In the wake of the financial crisis of 2007–08, executive pay practices came under increasing scrutiny at Nationwide as in the rest of the financial sector. The Building Society Members' Association began to campaign against acceptance of remuneration reports at AGMs in 2009, and with the CEO's compensation rising 45% to £2.25 million by 2012 the board's levels of pay attracted criticism in "The Guardian", and "The Huffington Post".


title: Nationwide Building Society

text: Nationwide has also had to pay out over £473 million of compensation to customers for the mis-selling of PPI.


title: Nationwide Building Society

text: Nationwide had to scrap its intentions to pursue a digital business current account in April 2020, due to the effects of the COVID-19 pandemic. The society has said the pandemic has driven down the medium-term interest rates, which the society believes has made the project unviable. Nationwide has committed to return the £50m grant from the Banking Competition Remedies scheme, which distributes funding that Royal Bank of Scotland was ordered to set aside as a condition of its 2009 bailout. The project is estimated to have cost members £70 million, but Nationwide have said that all staff working on the project will be redeployed elsewhere. It still provides some business savings accounts.


title: Nationwide Building Society

text: Nationwide Building Society provides financial services both directly, and through around 700 branches. Nationwide is a major provider of both mortgage loans and savings in the UK, as well as personal banking such as loans, credit cards, bank accounts and insurance products.


title: Nationwide Building Society

text: For the 2015/2016 Preliminary Results (April 2015–April 2016), underlying profits were up 9% to £1.337 billion, while statutory profits rose by 23% to £1.279 billion. Cost income ratio was 53.9%. Common Equity Tier 1 and leverage ratios improved to 23.2% and 4.2%. Gross and net lending were at £32.6 billion and £9.1 billion respectively. Nationwide helped 57,200 people buy their first home. Member deposits increased by £6.3 billion.


title: Nationwide Building Society

text: Nationwide's long term credit rating, as of February 2016, was A1 with Moody's, A with Standard & Poor's and A with Fitch Ratings.


title: Attention (Charlie Puth song)

text: "Attention" is a song recorded and produced by American singer-songwriter Charlie Puth for his second studio album "Voicenotes" (2018). It was written by Puth and Jacob Kasher. A midtempo pop rock track with elements of 1980s soft-soul and funk music, the song finds Puth singing about how he realizes his partner was "just want[ing] attention" from him instead of loving him. It was released digitally through Artist Partner Group and Atlantic Records on April 21, 2017, and later serviced to the radio on May 2, serving as the album's lead single. An accompanying music video was released on April 24, 2017, featuring Puth brooding at the club while scoping out his former partner, later returning home and finding the partner again at his apartment.


title: Attention (Charlie Puth song)

text: Upon its release, "Attention" received widely positive reviews from music critics for its "slick" and "groove-injected" production, further applauding the track as a more refined and mature and polished musical representation for Puth, comparing to his previous releases. Commercially, the song was an international success and became one of Puth's signature songs, reaching the top-ten in over twenty countries, including Australia, Belgium, Canada, Croatia, France, Germany, Hungary, Italy, Lebanon, Malaysia, New Zealand, the Philippines, Poland, Portugal, Romania, Slovakia, South Korea, Spain, Switzerland, the United Kingdom, and the United States, where it peaked at number five for three non-consecutive weeks. By this, the song became his highest and longest charting entry as a solo artist on the "Billboard" Hot 100 chart to date, as well as his third single to receive a 4× platinum certification from the Recording Industry Association of America (RIAA), for achieving over 4 million certified units in the States.


title: Attention (Charlie Puth song)

text: To promote the song, Puth had his first live performance for "Attention" on "The Voice" on May 10, 2017, followed by performances on several shows, such as "The Tonight Show Starring Jimmy Fallon, The Ellen DeGeneres Show," and "The Late Late Show with James Corden." He later performed the song on his third headlining concert tour, titled Voicenotes Tour, throughout 2018.


title: Attention (Charlie Puth song)

text: The original idea of "Attention" began to develop in 2016 when Puth started to record bits of the song while he was on tour in Japan. Puth premiered the song in an "immersive music exhibit" in Los Angeles called "The Attention Room" on April 19. The pop-up installation features an LED "infinity tunnel" and is designed to replicate the brain's reaction to receiving attention. Two days later, "Attention" was officially released as the lead single of Puth's second studio album.


title: Attention (Charlie Puth song)

text: "Attention" is a midtempo pop rock song that features elements of '80s soft-soul and funk. He also utilized the technique of Anti-Drop, where the chorus is minimalistic and hollow. Throughout the song, the singer realizes that his partner only wants to be around him for attention and other ulterior motives instead of loving him for who he is. It is performed in the key of E♭ minor with a tempo of 100 beats per minute. Puth's vocal span from E♭3 to B♭4.


title: Attention (Charlie Puth song)

text: Writing for "Idolator", Mike Wass suggested that "Attention" is a "Song of Summer contender". He added that Charlie "is still the boy next door, just a little more jaded and a lot more willing to speak his mind." Praising the song's production, he said that "That boldness also comes through on the production, which Charlie handled himself, chugging along with chunky bass and faint traces of disco." Lars Brandle of "Billboard" described it as "polished" and "groove-injected."


title: Attention (Charlie Puth song)

text: The official music video was released on April 24, 2017, on YouTube. It was filmed in Hollywood Hills and directed by Emil Nava. Cameras capture Puth brooding at the club while scoping out a blond girl, played by Samara Weaving. Throughout the song, he realizes that she only wants to be around him for attention and other ulterior motives instead of loving him for who he is. The music video has over 1.3 billion views on YouTube as of October 2021.


title: Attention (Charlie Puth song)

text: The song has been used on its first day of release in a popular Snapchat filter. Puth performed "Attention" live for the first time on "The Voice" on May 10, 2017. He also performed it on "The Tonight Show Starring Jimmy Fallon" on May 18, 2017. He later performed the song on "The Ellen DeGeneres Show" on the October 10, 2017 episode, then on "The Late Late Show with James Corden" on October 11, 2017.


title: Attention (Charlie Puth song)

text: "Attention" has peaked at number five on the "Billboard" Hot 100, making it Puth's third top ten single, his highest-charting as a lead artist, and his first top 5 hit on the chart since "See You Again". He also led the Radio Songs all-format airplay chart for four weeks.


title: Attention (Charlie Puth song)

text: On "Billboard's" Dance/Mix Show Airplay, "Attention" gave Puth his first number-one on this chart as a solo artist in its September 2, 2017 issue, eclipsing "See You Again," which peaked at number 3 on this chart in 2015.


title: Bad Moon Rising

text: "Bad Moon Rising" is a song written by John Fogerty and performed by Creedence Clearwater Revival. It was the lead single from their album "Green River" and was released in April 16, 1969 four months before the album. The song peaked at No. 2 on the Billboard Hot 100 chart on 28 June 1969 and reached No. 1 on the UK Singles Chart for three weeks in September of that year (see 1969 in music). It was CCR's second gold single.


title: Bad Moon Rising

text: The song has been recorded by at least 20 different artists, in styles ranging from folk to reggae to psychedelic rock.


title: Bad Moon Rising

text: It is one of five songs by the band that peaked at the No. 2 spot on the U.S. Billboard chart and didn't get to No. 1. It was blocked by "Love Theme from Romeo and Juliet" by Henry Mancini.


title: Bad Moon Rising

text: Fogerty reportedly wrote the song after watching the 1941 film "The Devil and Daniel Webster". Inspired by a scene in the film involving a hurricane, in which everybody's crops were destroyed except for the guy who made a deal with the devil, Fogerty claims the song is about "the apocalypse that was going to be visited upon us". He also said that when the band was learning the song he recognized the dichotomy between the apocalyptic words and the happy melody. He said "It wasn't until the band was learning the song that I realized the dichotomy. Here you've got this song with all these hurricanes and blowing and raging ruin and all that, but it's 'I see a bad moon rising.' It's a happy-sounding tune, right? It didn't bother me at the time."


title: Bad Moon Rising

text: "Billboard" described the single as being "loaded with rhythm and drive" and predicted that it "[couldn't] miss going


title: Bad Moon Rising

text: right to the top." "Cash Box" described it as a "blazing bayou-rock outing" that is "louder and bolder" than the group's previous single "Proud Mary." "Cash Box" ranked it as the No. 51 single of 1969.


title: Bad Moon Rising

text: "Ultimate Classic Rock" critic Cliff M. Junior rated "Bad Moon Rising" as Creedence Clearwater Revival's 5th greatest song, saying that "in a little more than two minutes, [Fogerty] unloads his mind and prompts you to think about what’s troubling you in your life."


title: Bad Moon Rising

text: Jerry Lee Lewis released a version of the song on his 1973 album, "The Session". Fogerty and Lewis recorded a version together that was released on Lewis's 2010 album, "Mean Old Man".


title: Bad Moon Rising

text: The song has been used in a number of films, including "An American Werewolf in London", "My Fellow Americans", "", "Howling III: The Marsupials", "Blade", "Sweet Home Alabama", "My Girl", "Man of the House", "Operation Avalanche", "Mr. Woodcock", "The Big Chill", "", "Army of the Dead" and "".


title: Bad Moon Rising

text: The song has also been used in many television programs, including "Supernatural", "Cold Case", "Northern Exposure", "The Following", "The Walking Dead", "Teen Wolf", "Chilling Adventures of Sabrina", and "Alvin and the Chipmunks" in which it is performed by the title characters. A remixed version of the song can be heard in the video game "Crackdown 2". The song was also used in the opening scene of video game "Mafia 3". It is also in Season 5 of Bull, episode 1.


title: Bad Moon Rising

text: The song was available as a playable song for "Guitar Hero 5" in the series of music rhythm video games as downloadable content.


title: Bad Moon Rising

text: The last line of the chorus, "there's a bad moon on the rise", is sometimes misheard as "there's a bathroom on the right". Fogerty occasionally sang the misheard lyric in concert.


title: Bad Moon Rising

text: The song has become notably popular in Argentina as a soccer chant, sung by fans at the stadium to support their teams during soccer matches. Different versions of the lyrics exist for different local teams, and even political parties. During the 2014 FIFA World Cup, a modified version, titled ""Brasil, decime qué se siente"" ("Brazil, Tell Me How It Feels") with Spanish lyrics that taunted Brazil, Argentina's traditional rival, became very popular in Argentina. It was adopted as the unofficial anthem for the Argentinian team and sung by fans and players alike. After Brazil lost 7–1 in the semi-final against Germany, the song was again adapted. The song has been adapted by fans of Manchester City football club with the title "Argentinian Blues" referencing the six Argentinian players in Manchester City's ranks.


title: Bad Moon Rising

text: Manchester United fans have adapted the song for three chants entitled "Stretford End Arising", "You Think That Your Moustache Is Trendy", and "Ole, Ole, Ander Herrera".


title: Bad Moon Rising

text: Heart of Midlothian fans have a version to honour the arrival of their inspirational German manager: "We've got a diamond Daniel Stendel".


title: Bad Moon Rising

text: This song was featured in John Landis’s 1981 film "An American Werewolf in London" as one of five songs used in the film that reference the moon, during a scene where David staves off boredom while waiting to transform into a werewolf.


title: Bad Moon Rising

text: A cover of "Bad Moon Rising" by Will Post and Elijah Noll was featured in the launch trailer for the game "".


title: Galoshes

text: Galoshes, also known as dickersons, gumshoes, rubbers, or overshoes, are a type of rubber boot that is slipped over shoes to keep them from getting muddy or wet. In the United States, the word "galoshes" may be used interchangeably with boot, especially a rubberized boot. In the United Kingdom, however, a galosh is an overshoe made of a weatherproof material to protect a more vulnerable shoe underneath and keep the foot warm and dry.


title: Galoshes

text: The word comes through French ("galoche") from Latin "galopia," in turn from Greek "καλοπόδιον", from "κᾶλον" (wood) + "πούς" (foot). By the 14th century it had been transferred to English style clogs; that is, those with a wooden sole, and fabric or leather upper. By 1572 the term also applied to "a Gallage or Patten"; that is, an overshoe with a shaped wooden base to raise the wearer's good shoes off the ground.


title: Galoshes

text: "Goloshes" appears to be the older spelling of "galoshes" used previously in Great Britain. The spelling perhaps changed around 1920 to the present-day spelling.


title: Galoshes

text: The transition from a traditional wooden sole to one of vulcanized rubber may be attributed to Charles Goodyear and Leverett Candee. The qualities of rubber, though fascinating to Goodyear, were highly dependent on temperature: it was tacky when hot, brittle when cold. Vulcanization of rubber tempered its properties so that it was easily molded, durable, and tough. A rubberized elastic webbing made Goodyear's galoshes (circa 1890) easy to pull on and off.


title: Galoshes

text: Galoshes are now almost universally made of rubber. In the bootmakers' trade, a "galosh" is the piece of leather, of a make stronger than, or different from, that of the "uppers", which runs around the bottom part of a boot or shoe, just above the sole.


title: Galoshes

text: A more modern term for galoshes could be rubber boots or bad weather shoes. Overshoes have evolved in the past decades and now are being made with more advanced features, such as high traction outsoles.


title: Galoshes

text: There are two basic types. One is like an oversize shoe or low boot made of thick rubber with a heavy sole and instep, designed for heavy-duty use. The other one is of much thinner, more flexible material, more like a rubber slipper, designed solely for protection against the wet rather than for extensive walking.


title: Galoshes

text: In Turkey, the word refers to a polythene overshoe that is worn temporarily when visiting homes or offices, to protect the floors against dirt from the outside.


title: Kenneth Mitchell (actor)

text: Kenneth Alexander Mitchell (born November 25, 1974) is a Canadian actor. He is known for his role as Eric Green in the CBS television series "Jericho" (2006–2008) and for portraying various characters in "" (2017–present). In film, he appeared as Ralph Cox in the sports biopic "Miracle" (2004) and as Joseph Danvers in "Captain Marvel" (2019).


title: Kenneth Mitchell (actor)

text: In 2004 Mitchell was cast in the film "Miracle" with Kurt Russell, in the role of hockey player Ralph Cox who was the last player cut from the 1980 Mens Olympic Hockey Team.


title: Kenneth Mitchell (actor)

text: Mitchell appeared as Eric Green in the U.S. television drama "Jericho", which was cancelled by CBS in May 2007 but was brought back onto the 2007–08 schedule following a fan campaign to save the show.


title: Kenneth Mitchell (actor)

text: In 2014, Mitchell was cast in ABC's "The Astronaut Wives Club" television drama series, playing the role of Deke Slayton. Mitchell played three recurring Klingon characters in "": season 1's Kol and season 2's Kol-Sha (Kol's father) and Tenavik. He also appeared in season 3 as Aurellio, a character whose use of a wheelchair-like device matched Mitchell's real situation with his progressing amyotrophic lateral sclerosis (ALS) disease; Mitchell has hinted that he will be seen in season 4 playing a character who, like Mitchell's progressing situation, has lost the use of his voice. Mitchell was cast in the FX "The Old Man" by Dan Shotz, a friend of Mitchell's who was also an executive producer on "Jericho". The role also incorporated Mitchell's condition into the character.


title: Kenneth Mitchell (actor)

text: In May 2006, Mitchell married actress Susan May Pratt. They have two children, a daughter (born 2007) and a son (born 2012).


title: Kenneth Mitchell (actor)

text: In February 2020, Mitchell revealed that he was diagnosed with amyotrophic lateral sclerosis (ALS), also known as Lou Gehrig's Disease. He has used a power wheelchair since October 2019. To incorporate Mitchell's wheelchair, the showrunners of "Star Trek: Discovery" created a character called "Aurellio", a scientist similarly paralyzed by illness, for the season 3 episode "There Is a Tide...". By August 2021, Mitchell had lost the use of his voice due to the disease.


title: Weird Tales

text: Weird Tales is an American fantasy and horror fiction pulp magazine founded by J. C. Henneberger and J. M. Lansinger in late 1922. The first issue, dated March 1923, appeared on newsstands February 18. The first editor, Edwin Baird, printed early work by H. P. Lovecraft, Seabury Quinn, and Clark Ashton Smith, all of whom went on to be popular writers, but within a year, the magazine was in financial trouble. Henneberger sold his interest in the publisher, Rural Publishing Corporation, to Lansinger, and refinanced "Weird Tales", with Farnsworth Wright as the new editor. The first issue under Wright's control was dated November 1924. The magazine was more successful under Wright, and despite occasional financial setbacks, it prospered over the next 15 years. Under Wright's control, the magazine lived up to its subtitle, "The Unique Magazine", and published a wide range of unusual fiction.


title: Weird Tales

text: Lovecraft's Cthulhu mythos stories first appeared in "Weird Tales", starting with "The Call of Cthulhu" in 1928. These were well-received, and a group of writers associated with Lovecraft wrote other stories set in the same milieu. Robert E. Howard was a regular contributor, and published several of his Conan the Barbarian stories in the magazine, and Seabury Quinn's series of stories about Jules de Grandin, a detective who specialized in cases involving the supernatural, was very popular with the readers. Other well-liked authors included Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Warner Munn. Wright published some science fiction, along with the fantasy and horror, partly because when "Weird Tales" was launched, no magazines were specializing in science fiction, but he continued this policy even after the launch of magazines such as "Amazing Stories" in 1926. Edmond Hamilton wrote a good deal of science fiction for "Weird Tales", though after a few years, he used the magazine for his more fantastic stories, and submitted his space operas elsewhere.


title: Weird Tales

text: In 1938, the magazine was sold to William Delaney, the publisher of "Short Stories", and within two years, Wright, who was ill, was replaced by Dorothy McIlwraith as editor. Although some successful new authors and artists, such as Ray Bradbury and Hannes Bok, continued to appear, the magazine is considered by critics to have declined under McIlwraith from its heyday in the 1930s. "Weird Tales" ceased publication in 1954, but since then, numerous attempts have been made to relaunch the magazine, starting in 1973. The longest-lasting version began in 1988 and ran with an occasional hiatus for over 20 years under an assortment of publishers. In the mid-1990s, the title was changed to "Worlds of Fantasy and Horror" because of licensing issues, the original title returning in 1998.


title: Weird Tales

text: The magazine is regarded by historians of fantasy and science fiction as a legend in the field, Robert Weinberg considering it "the most important and influential of all fantasy magazines". Weinberg's fellow historian, Mike Ashley, describes it as "second only to "Unknown" in significance and influence", adding that "somewhere in the imagination reservoir of all U.S. (and many non-U.S.) genre-fantasy and horror writers is part of the spirit of "Weird Tales"".


title: Weird Tales

text: In the late 19th century, popular magazines typically did not print fiction to the exclusion of other content; they would include nonfiction articles and poetry, as well. In October 1896, Frank A. Munsey Company's "Argosy" magazine was the first to switch to printing only fiction, and in December of that year, it changed to using cheap wood-pulp paper. This is now regarded by magazine historians as having been the start of the pulp magazine era. For years, pulp magazines were successful without restricting their fiction content to any specific genre, but in 1906, Munsey launched "Railroad Man's Magazine", the first title that focused on a particular niche. Other titles that specialized in particular fiction genres followed, starting in 1915 with "Detective Story Magazine," with "Western Story Magazine" following in 1919. Weird fiction, science fiction, and fantasy all appeared frequently in the pulps of the day, but by the early 1920s, still no single magazine was focused on any of these genres, though "The Thrill Book", launched in 1919 by Street & Smith with the intention of printing "different", or unusual, stories, was a near miss.


title: Weird Tales

text: In 1922, J. C. Henneberger, the publisher of "College Humor" and "The Magazine of Fun", formed Rural Publishing Corporation of Chicago, in partnership with his former fraternity brother, J. M. Lansinger. Their first venture was "Detective Tales", a pulp magazine that appeared twice a month, starting with the October 1, 1922 issue. It was initially unsuccessful, and as part of a refinancing plan, Henneberger decided to publish another magazine that would allow him to split some of his costs between the two titles. Henneberger had long been an admirer of Edgar Allan Poe, so he created a fiction magazine that would focus on horror, and titled it "Weird Tales".


title: Weird Tales

text: Henneberger chose Edwin Baird, the editor of "Detective Tales", to edit "Weird Tales"; Farnsworth Wright was first reader, and Otis Adelbert Kline also worked on the magazine, assisting Baird. Payment rates were low, usually between a quarter and a half cent per word; the budget went up to one cent per word for the most popular writers. Sales were initially poor, and Henneberger soon decided to change the format from the standard pulp size to large pulp, to make the magazine more visible. This had little long-term effect on sales, though the first issue at the new size, dated May 1923, was the only one that first year to sell out completely—probably because it contained the first instalment of a popular serial, "The Moon Terror", by A.G. Birch.


title: Weird Tales

text: The magazine lost a considerable amount of money under Baird's editorship: after thirteen issues, the total debt was over $40,000. In the meantime, "Detective Tales" had been retitled "Real Detective Tales" and was making a profit, as was "College Humor". Henneberger decided to sell both magazines to Lansinger and invest the money in "Weird Tales". This did not address the $40,000 in debts, much of which was owed to the magazine's printer. The printing company was owned by B. Cornelius, who agreed to Henneberger's suggestion that the debt should be converted to a majority interest in a new company, Popular Fiction Publishing. This did not eliminate all of the magazine's debts, but it meant that "Weird Tales" could continue to publish, and perhaps return to profitability. Cornelius agreed that if the magazine ever became profitable enough to repay him the $40,000 he had been owed, he would give up his shares in the company. Cornelius became the company treasurer; the business manager was William (Bill) Sprenger, who had been working for Rural Publishing. Henneberger had hopes of eventually refinancing the debt with the help of another printer, Hall Printing Company, owned by Robert Eastman.


title: Weird Tales

text: Baird stayed with Lansinger, so Henneberger wrote to H. P. Lovecraft, who had sold some stories to "Weird Tales", to see if he would be interested in taking the job. Henneberger offered ten weeks advance pay, but made it a condition that Lovecraft move to Chicago, where the magazine was headquartered. Lovecraft described Henneberger's plans in a letter to Frank Belknap Long as "a brand-new magazine to cover the field of Poe-Machen shudders". Lovecraft did not wish to leave New York, where he had recently moved with his new bride; his dislike of cold weather was another deterrent. He spent several months considering the offer in mid-1924 without making a final decision; Henneberger visited him in Brooklyn more than once, but eventually either Lovecraft declined or Henneberger simply gave up. By the end of the year Wright had been hired as the new editor of "Weird Tales". The last issue under Baird's name was a combined May/June/July issue, with 192 pages—a much thicker magazine than the earlier issues. It was assembled by Wright and Kline, rather than Baird.


title: Weird Tales

text: Henneberger gave Wright full control of "Weird Tales", and did not get involved with story selection. In about 1921, Wright had begun to suffer from Parkinson's disease, and over the course of his editorship the symptoms grew gradually worse. By the end of the 1920s he was unable to sign his name, and by the late 1930s Bill Sprenger was helping him get to work and back home. The first issue with Wright as editor was dated November 1924, and the magazine immediately resumed a regular monthly schedule, the format changing back to pulp again. The pay rate was initially low, with a cap of half a cent per word until 1926, when the top rate was increased to one cent per word. Some of Popular Fiction Publishing's debts were paid off over time, and the highest pay rate eventually rose to one and a half cents per word. The magazine's cover price was high for the time. Robert Bloch recalled that "in the late Twenties and Thirties of this century...at a time when most pulp periodicals sold for a dime, its price was a quarter". Although Popular Fiction Publishing continued to be based in Chicago, the editorial offices were in Indianapolis for a while, at two separate addresses, but moved to Chicago toward the end of 1926. After a short period on North Broadway, the office moved to 840 North Michigan Avenue, where it would remain until 1938.


title: Weird Tales

text: In 1927, Popular Fiction Publishing issued Birch's "The Moon Terror", one of "Weird Tales" more popular serials, as a hardcover book, including three other stories from the magazine's first year. One of the stories, "An Adventure in the Fourth Dimension", was by Wright himself. The book sold poorly, and it remained on offer in the pages of "Weird Tales", at reduced prices, for twenty years. It was at one point provided as a bonus to readers who subscribed. In 1930 Cornelius launched a companion magazine, "Oriental Stories", but the magazine was not a success, though it managed to last for over three years before Cornelius gave up. Another financial blow occurred in late 1930 when a bank failure froze most of the magazine's cash. Henneberger changed the schedule to bimonthly, starting with the February/March 1931 issue; six months later, with the August 1931 issue, the monthly schedule returned. Two years later "Weird Tales"' bank was still having financial problems, and payment to authors was being substantially delayed.


title: Weird Tales

text: The Depression also hit the Hall Printing Company, which Henneberger had been hoping would take over the debt from Cornelius; Robert Eastman, the owner of Hall, at one point was unable to meet payroll. Eastman died in 1934, and with him went Henneberger's plans for recovering control of "Weird Tales". The magazine advertised in the early science fiction pulps, usually highlighting one of the more science-fictional stories. Often the advertised story was by Edmond Hamilton, who was popular in the sf magazines. Wright also sold hardcovers of books by some of his more popular authors, such as Kline, in the pages of "Weird Tales". Although the magazine was never greatly profitable, Wright was paid well. Robert Weinberg, author of a history of "Weird Tales", records a rumor that Wright was unpaid for much of his work on the magazine, but according to E. Hoffmann Price, a close friend of Wright's who occasionally read manuscripts for him, "Weird Tales" was paying Wright about $600 a month in 1927.


title: Weird Tales

text: Cornelius retired in 1938, and Popular Fiction Publishing was sold to William J. Delaney, who was the publisher of "Short Stories", a successful general fiction pulp magazine based in New York. Sprenger and Wright both received a share of the stock from Cornelius; Sprenger did not remain with the company but Wright moved to New York and stayed on as editor. Henneberger's share of Popular Fiction Publishing was converted to a small interest in the new company, Weird Tales, Inc., a subsidiary of Delaney's Short Stories, Inc. Dorothy McIlwraith, the editor of "Short Stories," became Wright's assistant, and over the next two years Delaney tried to increase profits by adjusting the page count and price. An increase from 144 pages to 160 pages starting with the February 1939 issue, along with the use of cheaper (and hence thicker) paper, made the magazine thicker, but this failed to increase sales. In September 1939 the page count went down to 128, and the price was cut from 25 cents to 15 cents. From January 1940 the frequency was reduced to bimonthly, a change which stayed in effect until the end of the magazine's run fourteen years later. None of these changes had the intended effect, and sales continued to languish. In March 1940, Wright left and was replaced by McIlwraith as editor; histories of the magazine differ as to whether he was fired because of poor sales, or quit because of his health—he was by now suffering from Parkinson's so severely that he had trouble walking unassisted. Wright then had an operation to reduce the pain with which he suffered, but never fully recovered. He died in June of that year.


title: Weird Tales

text: McIlwraith's first issue was dated April 1940. From 1945 through 1949, she was assisted by Lamont Buchanan, who worked for her as associate editor and art editor for both "Weird Tales" and "Short Stories". August Derleth also provided assistance and advice, although he had no formal connection with the magazine. Most of McIlwraith's budget went to "Short Stories", since that was the more successful magazine; the payment rate for fiction in "Weird Tales" by 1953 was one cent per word, well below the top rates of other science fiction and fantasy magazines of the day. War shortages also caused problems, and the page count was reduced, first to 112 pages in 1943, and then to 96 pages the following year.


title: Weird Tales

text: The price was increased to 20 cents in 1947, and again to 25 cents in 1949, but it was not only "Weird Tales" that was suffering—the entire pulp industry was in decline. Delaney switched the format to digest with the September 1953 issue, but there was to be no reprieve. In 1954, "Weird Tales" and "Short Stories" ceased publication; in both cases the last issue was dated September 1954. For "Weird Tales", the September 1954 issue was its 279th.


title: Weird Tales

text: In the mid-1950s, Leo Margulies, a well-known figure in the magazine publishing world, launched a new company, Renown Publications, with plans to publish several titles. He acquired the rights to both "Weird Tales" and "Short Stories", and hoped to bring both magazines back. He abandoned a plan to restart "Weird Tales" in 1962, using reprints from the original magazine, after being advised by Sam Moskowitz that there was little market for weird and horror fiction at the time. Instead Margulies mined the "Weird Tales" backfile for four anthologies which appeared in the early 1960s: "The Unexpected", "The Ghoul-Keepers", "Weird Tales", and "Worlds of Weird". The latter two were ghost-edited by Moskowitz, who proposed to Margulies that when the time was right to start the magazine up again, it should include reprints from obscure sources that Moskowitz had found, rather than just stories reprinted from the first incarnation of "Weird Tales". These stories would be as good as new for most readers, and the money saved could be used for an occasional new story.


title: Weird Tales

text: The new version of "Weird Tales" finally appeared from Renown Publications, in April 1973, edited by Moskowitz. It had weak distribution and sales were too low for sustainability; according to Moskowitz the average sales were 18,000 copies per issue, well short of the 23,000 that would have been needed for the magazine to survive. The fourth issue, dated Summer 1974, was the last, as Margulies closed down all his magazines except for "Mike Shayne Mystery Magazine", which was the only one that was making a profit. Mike Ashley, a science fiction magazine historian, records that Moskowitz was unwilling to continue in any case, as he was annoyed by Margulies's detailed involvement in the day-to-day editorial tasks such as editing manuscripts and writing introductions.


title: Weird Tales

text: Margulies died the following year, and his widow, Cylvia Margulies, decided to sell the rights to the title. Forrest Ackerman, a science fiction fan and editor, was one of the interested parties, but she chose instead to sell to Victor Dricks and Robert Weinberg. Weinberg in turn licensed the title to Lin Carter, who interested a publisher, Zebra Books, in the project. The result was a series of four paperback anthologies, edited by Lin Carter, appearing between 1981 and 1983; these were originally planned to be quarterly, but in fact the first two both appeared in December 1980 and were both dated Spring 1981. The next was dated Fall 1981; Carter's rights to the title were terminated by Weinberg in 1982 for non-payment, but the fourth issue was already in the works and finally appeared with a date of Summer 1983.


title: Weird Tales

text: In 1982 Sheldon Jaffery and Roy Torgeson met with Weinberg to propose taking over as licensees, but Weinberg decided not to pursue the offer. The following year, Brian Forbes approached Weinberg with another offer. Forbes' company, the Bellerophon Network, was an imprint of a Los Angeles company named The Wizard. Ashley reports that Weinberg was only able to contact Forbes by phone, and even that was not always reliable, so negotiations were slow. Forbes' editorial director was Gordon Garb and the fiction editor was Gil Lamont; Forrest Ackerman also assisted, mainly by obtaining material to include. There was a good deal of confusion between the participants in the project: according to "Locus", a science fiction trade journal, "Ackerman says he has had no contact with publisher Forbes, does not know what will happen to the material he put together, and is as much in the dark as everybody else. Lamont says that he is still renegotiating his contract and is not sure where he stands". The original plan was for the first issue to appear in August 1984, dated July/August, but before it appeared the decision was taken to change the contents, and a new, completely reset issue finally appeared at the end of the year, dated Fall 1984. Even with this delay a final agreement had not yet been reached with Weinberg over licensing. Only 12,500 copies were printed; these were sent to two distributors who both went into bankruptcy. As a result, few copies were sold, and Forbes was not paid by the distributors. Despite the financial setback, Forbes attempted to continue, and a second issue eventually appeared. Its cover date was Winter 1985 but it was not published until June 1986. Few copies were printed; reports vary between 1,500 and 2,300 in total. Mark Monsolo was the fiction editor, but Garb continued as editorial director; Lamont was no longer involved with the magazine.


title: Weird Tales

text: "Weird Tales" was more lastingly revived at the end of the 1980s by George H. Scithers, John Gregory Betancourt and Darrell Schweitzer, who formed Terminus Publishing, based in Philadelphia, and licensed the rights from Weinberg. Rather than focus on newsstand distribution, which was expensive and had become less effective in the 1980s, they planned to build a base of direct subscribers and distribute the magazine for sale through specialist stores. The first issue had a cover date of Spring 1988, but it was produced early enough to be available at the 1987 World Fantasy Convention in Nashville, Tennessee. The size was the same as the original pulp version, though it was printed on better paper. There were also limited edition hardcover versions of each issue, signed by the contributors. A special World Fantasy Award "Weird Tales" received in 1992 made it apparent that the magazine was successful in terms of quality, but sales were insufficient to cover costs. To save money the format was changed to a larger flat size, starting with the Winter 1992/1993 issue, but the magazine remained in financial trouble, issues becoming irregular over the next couple of years. The Summer 1993 issue was the last to have a hardcover edition; it was also the last, for a while, to bear the name "Weird Tales", as Weinberg did not renew the license. The magazine was retitled "Worlds of Fantasy & Horror", and the volume numbering was restarted at volume 1 number 1, but in every other way the magazine was unchanged, and the four issues under this title, issued between 1994 and 1996, are regarded by bibliographers as part of the overall "Weird Tales" run.


title: Weird Tales

text: In April 1995, HBO announced they had plans to turn "Weird Tales" into a three-episode anthology show similar to their "Tales from the Crypt" series. The deal for the rights was facilitated by screenwriters Mark Patrick Carducci and Peter Atkins. Directors Tim Burton, Francis Ford Coppola, and Oliver Stone were executive producers, and each was expected to direct an episode. Stone was to be director of the pilot, but the series never came to fruition.


title: Weird Tales

text: No issues appeared in 1997, but in 1998 Scithers and Schweitzer negotiated a deal with Warren Lupine of DNA Publications which allowed them to start publishing "Weird Tales" under license once again. The first issue was dated Summer 1998, and, other than the omission of the Winter 1998 issue, a regular quarterly schedule was maintained for the next four and a half years. Sales were weak, never rising above 6,000 copies, and DNA began to experience financial difficulties. Wildside Press, owned by John Betancourt, joined DNA and Terminus Publishing as co-publisher, starting with the July/August 2003 issue, and "Weird Tales" returned to a mostly regular schedule for a few months. A long hiatus ended with the December 2004 issue, which appeared in early 2005; this was the last issue under the arrangement with DNA. Wildside Press then bought "Weird Tales", and Betancourt again joined Scithers and Schweitzer as co-editor.


title: Weird Tales

text: The first Wildside Press edition appeared in September 2005, and starting with the following issue, dated February 2006, the magazine was able to stay on a more or less bimonthly schedule for some time. In early 2007, Wildside announced a revamp of "Weird Tales", naming Stephen H. Segal the editorial and creative director and later recruiting Ann VanderMeer as the new fiction editor. In January 2010, the magazine announced Segal was leaving the top editorial post to become an editor at Quirk Books. VanderMeer was elevated to editor-in-chief, Mary Robinette Kowal joined the staff as art director and Segal became senior contributing editor.


title: Weird Tales

text: On August 23, 2011, John Betancourt announced that Wildside Press would be selling "Weird Tales" to Marvin Kaye and John Harlacher of Nth Dimension Media. Marvin Kaye took over chief editorial duties. Issue 359, the first under the new publishers, was published in late February 2012. Some months before the release of issue 359, a special World Fantasy Convention preview issue was given away for free to interested attendees. Four issues then appeared, with issue #362 published in Spring of 2014.


title: Weird Tales

text: On August 14, 2019, the official "Weird Tales" Facebook magazine announced the return of "Weird Tales" with author Jonathan Maberry as the editorial director. Issue #363 became available to purchase at the "Weird Tales" website.


title: Weird Tales

text: Henneberger gave "Weird Tales" the subtitle "The Unique Magazine" from the first issue. Henneberger had been hoping for submissions of "off-trail", or unusual, material. He later recalled talking to three well-known Chicago writers, Hamlin Garland, Emerson Hough, and Ben Hecht, each of whom had said they avoided writing stories of "fantasy, the bizarre, and the outré" because of the likelihood of rejection by existing markets. He added "I must confess that the main motive in establishing "Weird Tales" was to give the writer free rein to express his innermost feelings in a manner befitting great literature".


title: Weird Tales

text: Edwin Baird, the first editor of "Weird Tales", was not an ideal choice for the job as he disliked horror stories; his expertise was in crime fiction, and most of the material he acquired was bland and unoriginal. The writers Henneberger had been hoping to publish, such as Garland and Hough, failed to submit anything to Baird, and the magazine published mostly traditional ghost fiction, many of the stories being narrated by characters in lunatic asylums, or told in diary format. The cover story for the first issue was "Ooze", by Anthony M. Rud; there was also the first installment of a serial, "The Thing of A Thousand Shapes", by Otis Adelbert Kline, and 22 other stories. Ashley suggests that the better pulp writers from whom Baird did manage to acquire material, such as Francis Stevens and Austin Hall, were sending Baird stories which had already been rejected elsewhere.


title: Weird Tales

text: In the middle of the year Baird received five stories submitted by H. P. Lovecraft; Baird bought all five of them. Lovecraft, who had been persuaded by friends to submit the stories, included a cover letter that was so remarkably negative about the quality of the manuscripts that Baird published it in the September 1923 issue, with a note appended saying that he had bought the stories "despite the foregoing, or because of it". Baird insisted that the stories be resubmitted as typed double-spaced manuscripts; Lovecraft disliked typing, and initially decided to resubmit only one story, "Dagon". It appeared in the October 1923 issue, which was the most noteworthy of Baird's tenure, since it included stories by three writers who would become frequent contributors to "Weird Tales": as well as Lovecraft, it marked the first appearance in the magazine of Frank Owen and Seabury Quinn.


title: Weird Tales

text: Robert Weinberg, in his history of "Weird Tales", agrees with Ashley that the quality of Baird's issues was poor, but comments that some good stories were published: "it was just that the percentage of such stories was dismally small". Weinberg singles out "A Square of Canvas" by Rud, and "Beyond the Door" by Paul Suter as "exceptional"; both appeared in the April 1923 issue. Weinberg also regards "The Floor Above" by M. L. Humphries and "Penelope" by Vincent Starrett, both from the May 1923 issue, and "Lucifer" by John Swain, from the November 1923 issue, as memorable, and comments that "The Rats in the Walls", in the March 1924 issue, was one of Lovecraft's finest stories. It is unclear whether Baird or Henneberger was responsible for buying Lovecraft's stories; in one of Lovecraft's letters he makes it clear that Baird was keen to acquire his stories, but Henneberger has said that he overrode Baird and that Baird did not like Lovecraft's writing. It was Henneberger who came up with another idea involving Lovecraft: Henneberger contacted Harry Houdini and made arrangements to have Lovecraft ghost-write a story for him using a plot supplied by Houdini. The story, "Imprisoned with the Pharaohs", appeared under Houdini's name in the May/June/July 1924 issue, though it was nearly lost—Lovecraft left the typed manuscript on the train he took to New York to get married, and as a result spent much of his wedding day retyping the manuscript from the longhand copy he still had.


title: Weird Tales

text: The May/June/July 1924 issue included another story: "The Loved Dead", by C. M. Eddy Jr. which included a mention of necrophilia. According to Eddy, this led to the magazine being removed from the newsstands in several cities, and beneficial publicity for the magazine, helping sales, but in his history of "Weird Tales" Robert Weinberg reports that he found no evidence of the magazine being banned, and the financial state of the magazine implies there was no benefit to sales either. S. T. Joshi contends that the magazine was indeed removed from newsstands in Indiana.


title: Weird Tales

text: The cover art during Baird's tenure was dull; Ashley calls it "unattractive", and Weinberg describes the color scheme of the first issue's cover as "less than inspired", though he considers the next month's cover to be an improvement. He adds that from the May 1923 issue "the covers plunged into a pit of mediocrity". In Weinberg's opinion the poor cover art, frequently by R. M. Mally, was probably partly to blame for the magazine's lack of success under Baird. Weinberg also regards the interior art during the magazine's first year as very weak; most of the interior drawings were small, and with little of the atmosphere one would expect from a horror magazine. All the illustrations were by Heitman, whom Weinberg describes as "... notable for his complete lack of imagination. Heitman's specialty was taking the "one" scene in a frightening story that featured nothing at all frightening or weird and illustrating that".


title: Weird Tales

text: The new editor, Farnsworth Wright, was much more willing than Baird had been to publish stories that did not fit into any of the existing pulp categories. Ashley describes Wright as "erratic" in his selections, but under his guidance the magazine steadily improved in quality. His first issue, November 1924, was little better than those edited by Baird, although it included two stories by new writers, Frank Belknap Long and Greye La Spina, who became popular contributors. Over the following year, Wright established a group of writers as regulars, including Long and La Spina, and published many stories by writers who would be closely associated with the magazine for the next decade and more. In April 1925, Nictzin Dyalhis's first story, "When the Green Star Waned", appeared; although Weinberg regards it as very dated, it was highly regarded at the time, Wright listing it in 1933 as the most popular story to appear in "Weird Tales". That issue also contained the first instalment of La Spina's novel "Invaders from the Dark", which Baird had rejected as "too commonplace". It proved to be extremely popular with readers, and Weinberg comments that Baird's rejection was "just one of the many mistakes made by the earlier editor".


title: Weird Tales

text: Arthur J. Burks, who would go on to be a very successful pulp writer, appeared under both his real name and under a pseudonym, used for his first sale, in January 1925. Robert Spencer Carr's first story appeared in March 1925; H. Warner Munn's "The Werewolf of Ponkert" appeared in July 1925, and in the same issue Wright printed "Spear and Fang", the first professional sale of Robert E. Howard, who would become famous as the creator of Conan the Barbarian. In late 1925 Wright added a ""Weird Tales" reprint" department, which showcased old weird stories, typically horror classics. Often these were translations, and in some cases the appearance in "Weird Tales" was the story's first appearance in English.


title: Weird Tales

text: Wright initially rejected Lovecraft's "The Call of Cthulhu", but eventually bought it, and printed it in the February 1928 issue. This was the first tale of the Cthulhu Mythos, a fictional universe in which Lovecraft set several stories. Over time other writers began to contribute their own stories with the same shared background, including Frank Belknap Long, August Derleth, E. Hoffmann Price, and Donald Wandrei. Robert E. Howard and Clark Ashton Smith were friends of Lovecraft's, but did not contribute Cthulhu stories; instead Howard wrote sword and sorcery fiction, and Smith produced a series of high fantasy stories, many of which were part of his Hyperborean cycle. Robert Bloch, later to become well known as the writer of the movie "Psycho", began publishing stories in "Weird Tales" in 1935; he was a fan of Lovecraft's work, and asked Lovecraft's permission to include Lovecraft as a character in one of his stories, and to kill the character off. Lovecraft gave him permission, and reciprocated by killing off a thinly disguised version of Bloch in one of his own stories not long afterward. Edmond Hamilton, a leading early writer of space opera, became a regular, and Wright also published science fiction stories by J. Schlossel and Otis Adelbert Kline. Tennessee Williams' first sale was to "Weird Tales", with a short story titled "The Vengeance of Nitocris". This was published in the August 1928 issue under the author's real name, Thomas Lanier Williams. "Weird Tales"' subtitle was "The Unique Magazine", and Wright's story selections were as varied as the subtitle promised; he was willing to print strange or bizarre stories with no hint of the fantastic if they were unusual enough to fit in the magazine. Although Wright's editorial standards were broad, and although he personally disliked the restrictions that convention placed on what he could publish, he did exercise caution when presented with material that might offend his readership. E. Hoffmann Price records that his story "Stranger from Kurdistan" was held after purchase for six months before Wright printed it in the July 1925 issue; the story includes a scene in which Christ and Satan meet, and Wright was worried about the possible reader reaction. The story nevertheless proved to be very popular, and Wright reprinted it in the December 1929 issue. He also published "The Infidel's Daughter" by Price, a satire of the Ku Klux Klan, which drew an angry letter and a cancelled subscription from a Klan member. Price later recalled Wright's response: "a story that arouses controversy is good for circulation ... and anyway it would be worth a reasonable loss to rap bigots of that caliber". Wright also printed George Fielding Eliot's "The Copper Bowl", a story about a young woman being tortured; she dies when her torturer forces a rat to eat through her body. Weinberg suggests that the story was so gruesome that it would have been difficult to place in a magazine even fifty years later.


title: Weird Tales

text: On several occasions Wright rejected a story of Lovecraft's only to reconsider later; de Camp suggests that Wright's rejection at the end of 1925 of Lovecraft's "In the Vault", a story about a mutilated corpse taking revenge on the undertaker responsible, was because it was "too gruesome", but Wright changed his mind a few years later, and the story eventually appeared in April 1932. Wright also rejected Lovecraft's "Through the Gates of the Silver Key" in mid-1933. Price had revised the story before passing it to Wright, and after Wright and Price discussed the story, Wright bought it, in November of that year. Wright turned down Lovecraft's novel "At the Mountains of Madness" in 1935, though in this case it was probably because of the story's length—running a serial required paying an author for material that would not appear until two or three issues later, and "Weird Tales" often had little cash to spare. In this case he did not change his mind.


title: Weird Tales

text: Quinn was "Weird Tales"' most prolific author, with a long-running sequence of stories about a detective, Jules de Grandin, who investigated supernatural events, and for a while he was the most popular writer in the magazine. Other regular contributors included Paul Ernst, David H. Keller, Greye La Spina, Hugh B. Cave, and Frank Owen, who wrote fantasies set in an imaginary version of the Far East. C.L. Moore's story "Shambleau", her first sale, appeared in "Weird Tales" in November 1933; Price visited the "Weird Tales" offices shortly after Wright read the manuscript for it, and recalls that Wright was so enthusiastic about the story that he closed the office, declaring it "C.L. Moore day". The story was very well received by readers, and Moore's work, including her stories about Jirel of Joiry and Northwest Smith, appeared almost exclusively in "Weird Tales" over the next three years. As well as fiction, Wright printed a substantial amount of poetry, with at least one poem included in most issues. Originally this often included reprints of poems such as Edgar Allan Poe's "El Dorado", but soon most of the poetry was original, with contributions from Lovecraft, Howard, and Clark Ashton Smith, among many others. Lovecraft's contributions included ten of his "Fungi from Yuggoth" poems, a series of sonnets on weird themes that he wrote in 1930.


title: Weird Tales

text: The artwork was an important element of the magazine's personality; Margaret Brundage, who painted many covers featuring nudes for "Weird Tales", was perhaps the best known artist. Many of Brundage's covers were for stories by Seabury Quinn, and Brundage later commented that once Quinn realized that Wright always commissioned covers from Brundage that included a nude, "he made sure that each de Grandin story had at least one sequence where the heroine shed all her clothes". For over three years in the early 1930s, from June 1933 to August/September 1936, Brundage was the only cover artist "Weird Tales" used. Another prominent cover artist was J. Allen St. John, whose covers were more action-oriented, and who designed the title logo used from 1933 until 2007. Hannes Bok's first professional sale was to "Weird Tales", for the cover of the December 1939 issue; he became a frequent contributor over the next few years.


title: Weird Tales

text: Virgil Finlay, one of the most important figures in the history of science fiction and fantasy art, made his first sale to Wright in 1935; Wright only bought one interior illustration from Finlay at that time because he was concerned that Finlay's delicate technique would not reproduce well on pulp paper. After a test print on pulp stock demonstrated that the reproduction was more than adequate, Wright began to buy regularly from Finlay, who became a regular cover artist for "Weird Tales" starting with the December 1935 issue. Demand from readers for Finlay's artwork was so high that in 1938 Wright commissioned a series of illustrations from Finlay for lines taken from famous poems, such as "O sweet and far, from cliff and scar/The horns of Elfland faintly blowing", from Tennyson's "The Princess". Not every artist was as successful as Brundage and Finlay: Price suggested that Curtis Senf, who painted 45 covers early in Wright's tenure, "was one of Sprenger's bargains", meaning that he produced poor art, but worked fast for low rates.


title: Weird Tales

text: During the 1930s, Brundage's rate for a cover painting was $90. Finlay received $100 for his first cover, which appeared in 1937, over a year after his first interior illustrations were used; Weinberg suggests that the higher fee was partly to cover postage, since Brundage lived in Chicago and delivered her artwork in person, but it was also because Brundage's popularity was beginning to decline. When Delaney acquired the magazine in late 1938, the fee for a cover painting was cut to $50, and in Weinberg's opinion the quality of the artwork declined immediately. Nudes no longer appeared, though it is not known if this was a deliberate policy on Delaney's part. In 1939 a campaign by Fiorello LaGuardia, the mayor of New York, to eliminate sex from the pulps led to milder covers, and this may also have had an effect. In 1936, Howard committed suicide, and the following year Lovecraft died. There was so much unpublished work by Lovecraft that Wright was able to use that he printed more material under Lovecraft's byline after his death than before. In Howard's case, there was no such trove of stories available, but other writers such as Henry Kuttner provided similar material. By the end of Wright's tenure as editor, many of the writers who had become strongly associated with the magazine were gone; Kuttner, and others such as Price and Moore, were still writing, but "Weird Tales"' rates were too low to attract submissions from them. Clark Ashton Smith had stopped writing, and two other writers who were well-liked, G.G. Pendarves and Henry Whitehead, had died.