title: Atmospheric diving suit

text: In 1987, the "Newtsuit" was developed by the Canadian engineer Phil Nuytten, and a version was put into production as the "Hardsuit" by Hardsuits International. The Newtsuit is constructed to function like a 'submarine you can wear', allowing the diver to work at normal atmospheric pressure even at depths of over . Made of wrought aluminium, it had fully articulated joints so the diver can move more easily underwater. The life support system provides 6–8 hours of air, with an emergency back-up supply of an additional 48 hours. The Hardsuit was used to salvage the bell from the wreck of the SS "Edmund Fitzgerald" in 1995. The latest version of the Hardsuit designed by Oceanworks, the "Quantum 2", uses higher power commercially available ROV thrusters for better reliability and more power as well as an atmospheric monitoring system to monitor the environmental conditions in the cabin.


title: Atmospheric diving suit

text: A more recent design by Nuytten is the Exosuit, a relatively lightweight and low powered suit intended for marine research. It was first used in 2014 at the Bluewater and Antikythera underwater research expeditions.


title: Atmospheric diving suit

text: The ADS 2000 was developed jointly with OceanWorks International and the US Navy in 1997, as an evolution of the Hardsuit to meet US Navy requirements. The ADS2000 provides increased depth capability for the US Navy's Submarine Rescue Program. Manufactured from forged T6061 aluminum alloy it uses an advanced articulating joint design based on the Hardsuit joints. Capable of operating in up to of seawater for a normal mission of up to six hours it has a self-contained, automatic life support system. Additionally, the integrated dual thruster system allows the pilot to navigate easily underwater. It became fully operational and certified by the US Navy off southern California on August 1, 2006, when Chief Navy Diver Daniel Jackson submerged to .


title: Law of mass action

text: In chemistry, the law of mass action is the proposition that the rate of the chemical reaction is directly proportional to the product of the activities or concentrations of the reactants. It explains and predicts behaviors of solutions in dynamic equilibrium. Specifically, it implies that for a chemical reaction mixture that is in equilibrium, the ratio between the concentration of reactants and products is constant.


title: Law of mass action

text: Two aspects are involved in the initial formulation of the law: 1) the equilibrium aspect, concerning the composition of a reaction mixture at equilibrium and 2) the kinetic aspect concerning the rate equations for elementary reactions. Both aspects stem from the research performed by Cato M. Guldberg and Peter Waage between 1864 and 1879 in which equilibrium constants were derived by using kinetic data and the rate equation which they had proposed. Guldberg and Waage also recognized that chemical equilibrium is a dynamic process in which rates of reaction for the forward and backward reactions must be equal at chemical equilibrium. In order to derive the expression of the equilibrium constant appealing to kinetics, the expression of the rate equation must be used. The expression of the rate equations was rediscovered later independently by Jacobus Henricus van 't Hoff.


title: Law of mass action

text: The law is a statement about equilibrium and gives an expression for the equilibrium constant, a quantity characterizing chemical equilibrium. In modern chemistry this is derived using equilibrium thermodynamics. It can also be derived with the concept of chemical potential.


title: Law of mass action

text: Two chemists generally expressed the composition of a mixture in terms of numerical values relating the amount of the product to describe the equilibrium state.


title: Law of mass action

text: Cato Maximilian Guldberg and Peter Waage, building on Claude Louis Berthollet's ideas about reversible chemical reactions, proposed the law of mass action in 1864. These papers, in Danish, went largely unnoticed, as did the later publication (in French) of 1867 which contained a modified law and the experimental data on which that law was based.


title: Law of mass action

text: In 1877 van 't Hoff independently came to similar conclusions, but was unaware of the earlier work, which prompted Guldberg and Waage to give a fuller and further developed account of their work, in German, in 1879. Van 't Hoff then accepted their priority.


title: Law of mass action

text: the "chemical affinity" or "reaction force" between A and B did not just depend on the chemical nature of the reactants, as had previously been supposed, but also depended on the amount of each reactant in a reaction mixture. Thus the law of mass action was first stated as follows:


title: Law of mass action

text: In this context a substitution reaction was one such as <chem>{alcohol} + acid <=> {ester} + water</chem>. Active mass was defined in the 1879 paper as "the amount of substance in the sphere of action". For species in solution active mass is equal to concentration. For solids, active mass is taken as a constant. formula_2, a and b were regarded as empirical constants, to be determined by experiment.


title: Law of mass action

text: At equilibrium, the chemical force driving the forward reaction must be equal to the chemical force driving the reverse reaction. Writing the initial active masses of A,B, A' and B' as p, q, p' and q' and the dissociated active mass at equilibrium as formula_3, this equality is represented by


title: Law of mass action

text: formula_3 represents the amount of reagents A and B that has been converted into A' and B'. Calculations based on this equation are reported in the second paper.


title: Law of mass action

text: The third paper of 1864 was concerned with the kinetics of the same equilibrium system. Writing the dissociated active mass at some point in time as x, the rate of reaction was given as


title: Law of mass action

text: The overall rate of conversion is the difference between these rates, so at equilibrium (when the composition stops changing) the two rates of reaction must be equal. Hence


title: Law of mass action

text: The rate expressions given in Guldberg and Waage's 1864 paper could not be differentiated, so they were simplified as follows. The chemical force was assumed to be directly proportional to the product of the active masses of the reactants.


title: Law of mass action

text: This is equivalent to setting the exponents a and b of the earlier theory to one. The proportionality constant was called an affinity constant, k. The equilibrium condition for an "ideal" reaction was thus given the simplified form


title: Law of mass action

text: [A], [B] etc. are the active masses at equilibrium. In terms of the initial amounts reagents p,q etc. this becomes


title: Law of mass action

text: The ratio of the affinity coefficients, k'/k, can be recognized as an equilibrium constant. Turning to the kinetic aspect, it was suggested that the velocity of reaction, v, is proportional to the sum of chemical affinities (forces). In its simplest form this results in the expression


title: Law of mass action

text: where formula_13 is the proportionality constant. Actually, Guldberg and Waage used a more complicated expression which allowed for interaction between A and A', etc. By making certain simplifying approximations to those more complicated expressions, the rate equation could be integrated and hence the equilibrium quantity formula_3 could be calculated. The extensive calculations in the 1867 paper gave support to the simplified concept, namely,


title: Law of mass action

text: In the 1879 paper the assumption that reaction rate was proportional to the product of concentrations was justified microscopically in terms of the frequency of independent collisions, as had been developed for gas kinetics by Boltzmann in 1872 (Boltzmann equation). It was also proposed that the original theory of the equilibrium condition could be generalised to apply to any arbitrary chemical equilibrium.


title: Law of mass action

text: The exponents α, β etc. are explicitly identified for the first time as the stoichiometric coefficients for the reaction.


title: Law of mass action

text: The affinity constants, k and k, of the 1879 paper can now be recognised as rate constants. The equilibrium constant, K, was derived by setting the rates of forward and backward reactions to be equal. This also meant that the chemical affinities for the forward and backward reactions are equal. The resultant expression


title: Law of mass action

text: Yakov Frenkel represented diffusion process in condensed matter as an ensemble of elementary jumps and quasichemical interactions of particles and defects. Henry Eyring applied his theory of absolute reaction rates to this quasichemical representation of diffusion. Mass action law for diffusion leads to various nonlinear versions of Fick's law.


title: Law of mass action

text: The Lotka–Volterra equations describe dynamics of the predator-prey systems. The rate of predation upon the prey is assumed to be proportional to the rate at which the predators and the prey meet; this rate is evaluated as "xy", where "x" is the number of prey, "y" is the number of predator. This is a typical example of the law of mass action.


title: Law of mass action

text: The law of mass action forms the basis of the compartmental model of disease spread in mathematical epidemiology, in which a population of humans, animals or other individuals is divided into categories of susceptible, infected, and recovered (immune). The SIR model is a useful abstraction of disease dynamics which applies well to many disease systems and provides useful outcomes in many circumstances when the Mass Action Principle applies. The law of mass action formulation of the SIR model corresponds to the following "quasichemical" system of elementary reactions:


title: Law of mass action

text: A rich system of law of mass action models was developed in mathematical epidemiology by adding components and elementary reactions.


title: Law of mass action

text: Individuals in human or animal populations unlike molecules in an ideal solution do not mix homogeneously. There are some disease examples in which this non-homogeneity is great enough such that the outputs of the classical SIR model and their simple generalizations like SIS or SEIR, are invalid. For these situations, more sophisticated compartmental models or distributed reaction-diffusion models may be useful.


title: Law of mass action

text: Sociophysics uses tools and concepts from physics and physical chemistry to describe some aspects of social and political behavior. It attempts to explain why and how humans behave much like atoms, at least in some aspects of their collective lives. The law of mass action (generalized if it is necessary) is the main tool to produce the equation of interactions of humans in sociophysics.


title: Ernie Pyle

text: Ernest Taylor Pyle (August 3, 1900 – April 18, 1945) was a Pulitzer Prize–winning American journalist and war correspondent who is best known for his stories about ordinary American soldiers during World War II. Pyle is also notable for the columns he wrote as a roving human-interest reporter from 1935 through 1941 for the Scripps-Howard newspaper syndicate that earned him wide acclaim for his simple accounts of ordinary people across North America. When the United States entered World War II, he lent the same distinctive, folksy style of his human-interest stories to his wartime reports from the European theater (1942–44) and Pacific theater (1945). Pyle won the Pulitzer Prize in 1944 for his newspaper accounts of "dogface" infantry soldiers from a first-person perspective. He was killed by enemy fire on Iejima (then known as Ie Shima) during the Battle of Okinawa.


title: Ernie Pyle

text: At the time of his death in 1945, Pyle was among the best-known American war correspondents. His syndicated column was published in 400 daily and 300 weekly newspapers nationwide. President Harry Truman said of Pyle, "No man in this war has so well told the story of the American fighting man as American fighting men wanted it told. He deserves the gratitude of all his countrymen."


title: Ernie Pyle

text: Ernest "Ernie" Taylor Pyle was born on August 3, 1900, on the Sam Elder farm near Dana, Indiana, in rural Vermillion County, Indiana. His parents were Maria (Taylor) and William Clyde Pyle. At the time of Pyle's birth his father was a tenant farmer on the Elder property. Neither of Pyle's parents attended school beyond the eighth grade.


title: Ernie Pyle

text: Pyle, an only child, disliked farming and pursued a more adventurous life. After graduating from a local high school in Bono, Helt Township, Vermillion County, Indiana, he enlisted in the U.S. Naval Reserve during World War I. Pyle began his training at the University of Illinois Urbana-Champaign, but the war ended before he could be transferred to the Great Lakes Naval Training Station for additional training.


title: Ernie Pyle

text: Pyle enrolled at Indiana University in 1919, aspiring to become a journalist. However, IU did not offer a degree in journalism at that time, so Pyle majored in economics and took as many journalism courses as he could. Pyle began studying journalism in his sophomore year, the same year he joined Sigma Alpha Epsilon fraternity and began working on the "Indiana Daily Student", the student-written newspaper. During his junior year Pyle became the newspaper's city editor and its news editor; he also worked on the "Arbutus", the campus yearbook, although he did not enjoy the desk-bound work. Pyle's simple, storytelling writing style, which he developed while a student at IU, later became his trademark style as a professional journalist and earned him millions of readers as a columnist for Scripps-Howard newspaper syndicate.


title: Ernie Pyle

text: In March 1922, during his junior year at IU, Pyle and three of his fraternity brothers dropped out of school for a semester to follow the IU baseball team on a trip to Japan. Pyle and his fraternity brothers found work aboard the S.S. "Keystone State". During its voyage across the Pacific Ocean, the ship docked at ports such as Shanghai, Hong Kong, and Manila, as well as in Japan before returning trip to the United States. Pyle's interest in traveling and exploring the world continued in his later years as a reporter.


title: Ernie Pyle

text: After his trip across the Pacific, Pyle returned to IU Bloomington, where he was named editor-in-chief of the "Indiana Summer Student", the summer edition of the campus newspaper. During his senior year at IU, Pyle continued his work at the "Daily Student" and the "Arbutus". He also joined Sigma Delta Chi, the journalism fraternity, and was active in other campus clubs. In addition, Pyle was selected as a senior manager of IU's football team, making him a letterman along with the other members of the team in 1922.


title: Ernie Pyle

text: He took a job as a newspaper reporter for the "Daily Herald" in La Porte, Indiana, earning $25 a week. Pyle worked at the "Daily Herald" for three months before moving to Washington, D.C., to join the staff of "The Washington Daily News".


title: Ernie Pyle

text: Pyle met his future wife, Geraldine Elizabeth "Jerry" Siebolds (August 23, 1899 – November 23, 1945), a native of Minnesota, at a Halloween party in Washington, D.C., in 1923.


title: Ernie Pyle

text: They married in July 1925. In the early years of their marriage the couple traveled the country together. In Pyle's newspaper columns describing their trips, he often referred to her as "That Girl who rides with me". In June 1940, Pyle purchased property about from downtown Albuquerque, New Mexico, and had a modest, home built on the site. The residence served as the couple's home base in the United States for the remainder of their lives.


title: Ernie Pyle

text: Ernie and Jerry Pyle had a tempestuous relationship. He often complained of being ill, was a "heavy abuser of alcohol at times," and suffered from bouts of depression, later made worse from the stress of his work as a war correspondent during World War II. His wife suffered from alcoholism and periods of mental illness (depression or bipolar disorder). She also made several suicide attempts. Although the couple divorced on April 14, 1942, they remarried by proxy in March 1943, while Pyle was covering the war in North Africa. They had no children. Newspapers reported that Jerry Pyle "took the news [of her husband's death] bravely", but her health declined rapidly in the months following his death on April 18, 1945, while he was covering operations of American troops on Ie Shima. Jerry Pyle died from complications of influenza at Albuquerque, New Mexico, on November 23, 1945.


title: Ernie Pyle

text: In 1923, Pyle moved to Washington, D.C., to join the staff as a reporter for the "Washington Daily News", a new Scripps-Howard tabloid newspaper, and soon became a copy editor as well. Pyle was paid $30 a week for his services, beginning a career with Scripps-Howard that would continue for the remainder of his life. When Pyle joined the "Daily News" all the editors were young, including editor-in-chief John M. Gleissner, Lee G. Miller (who became a lifelong friend of Pyle)


title: Ernie Pyle

text: By 1926, Pyle and his wife, Geraldine "Jerry", had quit their jobs. In ten weeks the couple traveled more than 9,000 miles across the United States in a Ford Model T roadster. After briefly working in New York City for the "Evening World" and the "New York Post", Pyle returned to the "Daily News" in December 1927 to begin work on one of the country's first and its best-known aviation column, which he wrote for four years. Pyle's column appeared in syndication for the Scripps-Howard newspapers from 1928 to 1932. Although he never became an aircraft pilot, Pyle flew about as a passenger. As Amelia Earhart later said, "Any aviator who didn't know Pyle was a nobody."


title: Ernie Pyle

text: In 1932, at the age of thirty-one, Pyle was named managing editor at the "Daily News", serving in the position for three years before taking on a new writing assignment. In December 1934 Pyle took an extended vacation in the western United States to recuperate from a severe bout of influenza. Upon his return to Washington, D.C., and while he filled in for the paper's vacationing syndicated columnist Heywood Broun, Pyle wrote a series of eleven articles about his trip and the people he had met. The series proved popular with both readers and colleagues. G.B. ("Deac") Parker, editor-in-chief of the Scripps-Howard newspaper chain, said he had found in Pyle's vacation articles "a sort of Mark Twain quality and they knocked my eyes right out".


title: Ernie Pyle

text: In 1935, Pyle left his position as managing editor at the "Daily News" to write his own national column as a roving reporter of human-interest stories for the Scripps-Howard newspaper syndicate. Over the next six years, from 1935 until early 1942, Pyle and his wife, Jerry, whom Pyle identified in his columns as "That Girl who rides with me," traveled the United States, Canada, and Mexico, as well as Central and South America, writing about the interesting places he saw and people he met. Pyle's column, published under the title of the "Hoosier Vagabond," appeared six days a week in Scripps-Howard newspapers. The articles became popular with readers, earning Pyle national recognition in the years preceding his even bigger fame as a war correspondent during World War II. Selected columns of Pyle's human interest stories were later compiled in "Home Country" (1947),


title: Ernie Pyle

text: Despite his growing popularity, Pyle lacked confidence and was perpetually dissatisfied with his writing; however, he was pleased when others recognized the quality of his work. Pyle's aviation and travel reports laid the groundwork for his life as a war correspondent. Pyle continued his daily travel column until 1942, but by that time he was also writing about American soldiers serving in World War II.


title: Ernie Pyle

text: Pyle initially went to London in 1940 to cover the Battle of Britain, but returned to Europe in 1942 as a war correspondent for Scripps-Howard newspapers. Beginning in North Africa in late 1942, Pyle spent time with the U.S. military during the North African Campaign, the Italian campaign, and the Normandy landings. He returned to the United States in September 1944, spending several weeks recuperating from combat stress before reluctantly agreeing to travel to the Asiatic-Pacific Theater in January 1945. Pyle was covering the invasion of Okinawa when he was killed in April 1945.


title: Ernie Pyle

text: Pyle volunteered to go to London in December 1940 to cover the Battle of Britain. He witnessed the German firebombing of the city and reported on the growing conflict in Europe. His recollections of his experiences from this period were published in his book, "Ernie Pyle in England" (1941). After returning to the United States in March 1941 and taking a three-month leave of absence from work to care for his wife, Pyle made a second trip to Great Britain in June 1942, when he accepted an assignment to become a war correspondent for Scripps-Howard newspapers. Pyle's wartime columns usually described the war from the common man's perspective as he rotated among the various branches of the U.S. military and reported from the front lines. Pyle joined American troops in North Africa and Europe (1942–44), and the Asiatic-Pacific Theater (1945). Collections of Pyle's newspaper columns from the campaigns he covered in the European theater are included in "Here is Your War" (1943) and "Brave Men" (1944).


title: Ernie Pyle

text: In his reports of the North African Campaign in late 1942 and early 1943, Pyle told stories of his early wartime experiences, which made interesting reading for Americans in the United States. Through his work, Pyle became friends of the enlisted men and officers, as well as those in leadership roles such as Generals Omar Bradley and Dwight D. Eisenhower. Pyle wrote that he was especially fond of the infantry "because they are the underdogs".


title: Ernie Pyle

text: Pyle lived among the U.S. servicemen and was free to interview anyone he wanted. As a noncombatant Pyle could also leave the front when he wanted. He interrupted his reporting in September 1943 and in September 1944 to return home to recuperate from the stresses of combat and care for his wife when she was ill.


title: Ernie Pyle

text: Reinforcing his status as the dogface G.I.'s best friend, Pyle wrote a column from Italy in 1944 proposing that soldiers in combat should get "fight pay," just as airmen received "flight pay". In May 1944 the U.S. Congress passed a law that became known as the Ernie Pyle bill. It authorized 50 percent extra pay for combat service. Pyle's most famous column, "The Death of Captain Waskow," written in Italy in December 1943, was published on January 10, 1944, when Allied forces were fighting at the Anzio beachhead in Italy. The notable story also marked the peak of Pyle's writing career.


title: Ernie Pyle

text: After the North African and Italian campaigns, Pyle left Italy in April 1944, relocating to England to cover preparations for the Allied landing at Normandy. Pyle was among the twenty-eight war correspondents chosen to accompany U.S. troops during the initial invasion in June 1944. He landed with American troops at Omaha Beach aboard a LST. On D-Day Pyle wrote:


title: Ernie Pyle

text: The best way I can describe this vast armada and the frantic urgency of the traffic is to suggest that you visualize New York city on its busiest day of the year and then just enlarge that scene until it takes in all the ocean the human eye can reach clear around the horizon and over the horizon. There are dozens of times that many.


title: Ernie Pyle

text: In July 1944, Pyle was nearly caught in the accidental bombing by the U.S. Army Air Forces at the onset of Operation Cobra near Saint-Lô in Normandy . A month after witnessing the liberation of Paris in August 1944, Pyle publicly apologized to his readers in a column on September 5, 1944, stating that "my spirit is wobbly and my mind is confused" and he said that if he "heard one more shot or saw one more dead man, I would go off my nut". He later said he had "lost track of the point of the war" and that another two weeks of coverage would have seen him hospitalized with "war neurosis". An exhausted Pyle wrote that he hoped that a rest at his home in New Mexico would restore his vigor to go "warhorsing around the Pacific".


title: Ernie Pyle

text: Pyle reluctantly headed for the Pacific theater in January 1945 for what became his final writing assignment. While covering the U.S. Navy and Marine forces in the Pacific, Pyle challenged the Navy's policy forbidding the use of the names of sailors in reporting the war. He won a partial but unsatisfying victory when the ban was lifted exclusively for him. Pyle travelled on board the aircraft carrier . He thought the naval crew had an easier life than the infantry in Europe, and wrote several unflattering portraits of the Navy. In response, fellow correspondents, newspaper editorialists and G.I.s criticized Pyle (who was a former member of the U.S. Naval Reserve) for his negative coverage of the Navy in his columns and for underestimating the difficulties of naval warfare in the Pacific. Pyle conceded that his heart was with the servicemen in Europe, but he persevered. After traveling to Guam and resuming his writing, Pyle went on to report on naval action during the Battle of Okinawa, the largest amphibious assault in the Pacific theater during World War II.


title: Ernie Pyle

text: On more than one occasion, Pyle was noted for having premonitions of his own death. Before landing he wrote letters to his friend Paige Cavanaugh, as well as playwright Robert E. Sherwood, predicting that he might not survive the war.


title: Ernie Pyle

text: On April 17, 1945, Pyle came ashore with the U.S. Army's 305th Infantry Regiment, 77th Infantry Division, on Ie Shima (now known as Iejima), a small island northwest of Okinawa that Allied forces had captured, but had not yet cleared of enemy soldiers. The following day, after local enemy opposition had supposedly been neutralized, Pyle was traveling by jeep with Lieutenant Colonel Joseph B. Coolidge, the commanding officer of the 305th and three additional officers toward Coolidge's new command post when the vehicle came under fire from a Japanese machine gun. The men immediately took cover in a nearby ditch. "A little later Pyle and I raised up to look around," Coolidge reported. "Another burst hit the road over our heads ... I looked at Ernie and saw he had been hit." A machine-gun bullet had entered Pyle's left temple just under his helmet, killing him instantly.


title: Ernie Pyle

text: Pyle was buried wearing his helmet, among other battle casualties on Ie Shima, between an infantry private and a combat engineer. In tribute to their friend, the men of the 77th Infantry Division erected a monument that still stands at the site of his death. Its inscription reads: "At this spot the 77th Infantry Division lost a buddy, Ernie Pyle, 18 April 1945." Echoing the sentiment of the men serving in the Pacific theater, General Eisenhower said: "The GIs in Europe––and that means all of us––have lost one of our best and most understanding friends."


title: Ernie Pyle

text: Former First Lady Eleanor Roosevelt, who frequently quoted Pyle's war dispatches in her newspaper column, "My Day," paid tribute to him in her column the day after his death: "I shall never forget how much I enjoyed meeting him here in the White House last year," she wrote, "and how much I admired this frail and modest man who could endure hardships because he loved his job and our men." President Harry S. Truman, who had been in office for less than a week following the death of Franklin Roosevelt on April 12, also paid tribute to Pyle: "No man in this war has so well told the story of the American fighting man as American fighting men wanted it told. He deserves the gratitude of all his countrymen."


title: Ernie Pyle

text: After the war, Pyle's remains were moved to a U.S. military cemetery on Okinawa. In 1949, his remains were some of the first to be interred at the National Memorial Cemetery of the Pacific in Honolulu, Oahu, Hawaii.


title: Ernie Pyle

text: Pyle's signature storytelling style was developed at IU and during his early years as a human-interest reporter. As a war correspondent he generally wrote from the perspective of the common soldier, explaining how the war affected the men instead of recounting troop movements or the activities of generals. His descriptions of or reactions to an event in simple, informal stories are what set his writing apart and made him famous during the war.


title: Ernie Pyle

text: Fellow journalists praised Pyle's writing. Walter Morrow, editor of the "Rocky Mountain News", claimed that Pyle's columns from his travels across the United States in the 1930s were "the most widely read thing in the paper". During World War II Pyle continued to write about his experiences from the perspective of what he called "the worm's-eye view". In addition to publication of his columns in newspapers in the United States, Pyle's writing was the only writing from a civilian correspondent to be regularly published in the U.S. armed forces newspaper, "Stars and Stripes".


title: Ernie Pyle

text: Pyle's "everyman" approach to his wartime reporting earned him the Pulitzer Prize for journalism in 1944.


title: Ernie Pyle

text: Pyle was well known and popular among the American military. According to Sergeant Mack Morris, whose essay appeared in the U.S. army's weekly newspaper, "Yank": "The secret of Ernie's tremendous success and popularity, if there is any secret about it, is his ability to report a war on a personal plane." Artist George Biddle wrote of how a battalion commander told him that Pyle was a poor writer, but was very popular because "he writes about and writes to the great, anonymous American average. They ... are thirsty for recognition and publicity".


title: Ernie Pyle

text: Pyle's newspaper columns were popular in the United States with readers in a wide range of ages from older readers to high school and college students. In November 1942 Pyle's columns were distributed to 42 newspapers, but the number had increased to 122 newspapers by April 1943. When he returned to the United States for a break during the war, reporters and photographers made increasing demands for his time. In 1943 Pyle also gave interviews on radio programs to help sell war bonds. At the time of Pyle's death his columns appeared in 400 daily and 300 weekly newspapers.


title: Ernie Pyle

text: Pyle is described as "the pre-eminent war correspondent of his era," who achieved worldwide fame and readership for his World War II battlefield reports that were published from 1942 to 1945. Present-day war correspondents, World War II veterans, and historians still recognize Pyle's World War II dispatches as "the standard to which every other war correspondent should strive to emulate." As "Life" magazine once described Pyle and his work: "He now occupies a place in American journalistic letters which no other correspondent of this war has achieved. His smooth, friendly prose succeeded in bridging a gap between soldier and civilian where written words usually fail."


title: Ernie Pyle

text: Pyle is best remembered for his World War II newspaper reports of the firsthand experiences of ordinary Americans, especially the G.I.s serving in the U.S. Armed Forces in Europe in particular. His legacy also lies in the stories of soldiers who would otherwise be unknown. "The Death of Captain Waskow," published in January 1944, is considered Pyle's most famous column. In describing the soldiers he had met, Pyle remarked:Their life consisted wholly and solely of war, for they were and always had been front-line infantrymen. They survived because the fates were kind to them, certainly – but also because they had become hard and immensely wise in animal-like ways of self-preservation.


title: Ernie Pyle

text: In addition to his writing, Pyle's legacy includes the Ernie Pyle bill, whose content he proposed in one of his columns in early 1944. Congress passed formal legislation in May 1944 to provide American soldiers with a 50 percent increase in pay for their combat service. The U.S. Army also adopted Pyle's suggestion of providing overseas service bars on uniforms to designate six months of overseas service.


title: Ernie Pyle

text: Pyle's papers and other archival materials related to his life and work are held at the Lilly Library, Indiana University Bloomington; the Ernie Pyle World War II Museum, Dana, Indiana; the Indiana State Museum; and the Wisconsin State Historical Society. The Indiana Historical Society acquired Ernie and Jerry Pyle's personal library from IU Bloomington's School of Journalism in 2005 and moved the collection to its headquarters in Indianapolis.


title: Ernie Pyle

text: "The Death of Captain Waskow", Pyle's most famous column, was written in December 1943 and published on January 10, 1944. The National Society of Newspaper Columnists later selected it as "the best American newspaper column of all time". The organization has bestowed the Ernie Pyle Lifetime Achievement Award annually since 1993.


title: Music of China

text: Music of China refers to the music of the Chinese people, which may be the music of the Han Chinese in the course of Chinese history as well as ethnic minorities in today's China. It also includes music produced by people of Chinese origin in some territories outside mainland China using traditional Chinese instruments or in the Chinese language. It includes forms from the traditional and modern, Western inspired, commercial popular music, folk, art, and classical forms, and innovative combinations of them.


title: Music of China

text: Documents and archaeological artifacts from early Chinese civilization show a well-developed musical culture as early as the Zhou dynasty (1122 BC – 256 BC) that set the tone for the continual development of Chinese musicology in following dynasties. These developed into a wide variety of forms through succeeding dynasties, producing the heritage that is part of the Chinese cultural landscape today. Traditional forms continued to evolve in the modern times, and over the course of the last centuries forms appropriated from the West have become widespread. Today's Chinese music is both rooted in history and part of a global culture.


title: Music of China

text: According to legends, the founder of music in Chinese mythology was Ling Lun who, at the request of the Yellow Emperor to create a system of music, made bamboo pipes tuned to the sounds of birds including the phoenix. A twelve-tone musical system was created based on the pitches of the bamboo pipes, the first of these pipes produced the "yellow bell" (黃鐘) pitch, and a set of tuned bells were then created from the pipes.


title: Music of China

text: Archaeological evidence indicates that music culture developed in China from a very early period. Excavations in Jiahu Village in Wuyang County, Henan found bone flutes dated to 9,000 years ago, and clay music instruments called Xun thought to be 7,000 years old have been found in the Hemudu sites in Zhejiang and Banpo in Xi'an.


title: Music of China

text: During the Zhou dynasty, a formal system of court and ceremonial music later termed "yayue" (meaning "elegant music") was established. Note that the word music (樂, "yue") in ancient China can also refer to dance as music and dance were considered integral part of the whole, and its meaning can also be further extended to poetry as well as other art forms and rituals. The word "dance" (舞) similarly also referred to music, and every dance would have had a piece of music associated with it. The most important set of music of the period was the Six-dynasty Music Dance (六代樂舞) performed in rituals in the royal court. Music in the Zhou Dynasty was conceived as a cosmological manifestation of the sound of nature integrated into the binary universal order of yin and yang, and this concept has had an enduring influence over later Chinese thinking on music. "Correct" music according to Zhou concept would involve instruments correlating to the five elements of nature and would bring harmony to nature. Around or before the 7th century BC, a system of pitch generation and pentatonic scale was derived from a cycle-of-fifths theory.


title: Music of China

text: Chinese philosophers took varying approaches to music. To Confucius, a correct form of music is important for the cultivation and refinement of the individual, and the Confucian system considers the formal music "yayue" to be morally uplifting and the symbol of a good ruler and stable government. Some popular forms of music, however, were considered corrupting in the Confucian view. Mozi on the other hand condemned making music, and argued in "Against Music" (非樂) that music is an extravagance and indulgence that serves no useful purpose and may be harmful. According to Mencius, a powerful ruler once asked him whether it was moral if he preferred popular music to the classics. The answer was that it only mattered that the ruler loved his subjects.


title: Music of China

text: In ancient China the social status of musicians was much lower than that of painters, though music was seen as central to the harmony and longevity of the state. Almost every emperor took folk songs seriously, sending officers to collect songs to record the popular culture. One of the Confucianist Classics, The Classic of Poetry, contained many folk songs dating from 800 BC to about 400 BC.


title: Music of China

text: The Imperial Music Bureau, first established in the Qin dynasty (221–207 BC), was greatly expanded under the emperor Han Wudi (140–87 BC) and charged with supervising court music and military music and determining what folk music would be officially recognized. In subsequent dynasties, the development of Chinese music was influenced by the musical traditions of Central Asia which also introduced elements of Indian music. Instruments of Central Asian origin such as pipa were adopted in China, the Indian Heptatonic scale was introduced in the 6th century by a musician from Kucha named Sujiva, although the heptatonic scale was later abandoned.


title: Music of China

text: The oldest extant written Chinese music is "Youlan" (幽蘭) or the Solitary Orchid, composed during the 6th or 7th century, but has also been attributed to Confucius. The first major well-documented flowering of Chinese music was for the qin during the Tang dynasty (618-907AD), though the qin is known to have been played since before the Han dynasty. This is based on the conjecture that because the recorded examples of Chinese music are ceremonial, and the ceremonies in which they were employed are thought to have existed "perhaps more than one thousand years before Christ", the musical compositions themselves were performed, even in 1000 BC, in precisely the manner prescribed by the sources that were written down in the seventh century AD. (It is based on this conjecture that Van Aalst dates the "Entrance Hymn for the Emperor" to c. 1000 BC.)


title: Music of China

text: Through succeeding dynasties over thousands of years, Chinese musicians developed a large assortment of different instruments and playing styles. A wide variety of these instruments, such as guzheng and dizi are indigenous, although many popular traditional musical instruments were introduced from Central Asia, such as the erhu and pipa.


title: Music of China

text: The presence of European music in China appeared as early as 1601 when the Jesuit priest Matteo Ricci presented a Harpsichord to the Ming imperial court, and trained four eunuchs to play it. During the late Qing dynasty era, the influence of Western music began to be felt.


title: Music of China

text: The New Culture Movement of the 1910s and 1920s produced a great deal of lasting interest in Western music. A number of Chinese musicians returned from studying abroad to perform Western classical music, composing work hits on Western musical notation system. The Kuomintang tried to sponsor modern music adoptions via the Shanghai Conservatory of Music despite the ongoing political crisis. Twentieth-century cultural philosophers like Xiao Youmei, Cai Yuanpei, Feng Zikai and Wang Guangqi wanted to see Chinese music adopted to the best standard possible. There were many different opinions regarding the best standard.


title: Music of China

text: Symphony orchestras were formed in most major cities and performed to a wide audience in the concert halls and on radio. Many of the performers added jazz influences to traditional music, adding xylophones, saxophones and violins, among other instruments. Lü Wencheng, Qui Hechou, Yin Zizhong and He Dasha were among the most notable performers and composers of this period.


title: Music of China

text: In Shanghai, a popular genre of music called "shidaiqu" emerged in the 1920s. "Shidaiqu" is a fusion of Chinese and Western popular music, and Li Jinhui is considered to be founder of the genre. Popular singers in this genre in the 1930s and 1940s included Zhou Xuan, Li Xianglan and Yao Lee.


title: Music of China

text: After the 1942 Yan'an Forum on Literature and Art, a large-scale campaign was launched in the Communist controlled areas to adapt folk music to create revolutionary songs to educate the largely illiterate rural population on party goals. Musical forms considered superstitious or anti-revolutionary were repressed, and harmonies and bass lines were added to traditional songs. One example is The East Is Red, a folksong from northern Shaanxi which was adapted into a nationalist hymn. Of particular note is the composer, Xian Xinghai, who was active during this period, and composed the Yellow River Cantata which is the most well-known of all of his works.


title: Music of China

text: The golden age of shidaiqu and the Seven great singing stars would come to an end when the Communist party denounced Chinese popular music as yellow music (pornography). Maoists considered pop music as a decline to the art form in mainland China. In 1949 the Kuomintang relocated to Taiwan, and the People's Republic of China was established. Revolutionary songs would become heavily promoted by the state. The Maoists, during the Cultural Revolution, pushed revolutionary music as the only acceptable genre; because of propaganda, this genre largely overshadowed all others and came almost to define mainland Chinese music. This is still, in some ways, an ongoing process, but some scholars and musicians (Chinese and otherwise) are trying to revive old music.


title: Music of China

text: After the Tiananmen Square protests of 1989, a new fast tempo Northwest Wind (xibeifeng, 西北風) style was launched by protesters to counter the government. The music would progress into Chinese rock, which remained popular in the 1990s. However, music in China is very much state-owned as the TV, media, and major concert halls are all controlled by the Communist party. The government mainly chose not to support Chinese rock by limiting its exposure and airtime. As a result, the genre never reached the mainstream in its entirety.


title: Music of China

text: Annual events such as the Midi Modern Music Festival in Beijing attracts tens of thousands of visitors. There was also the "Snow Mountain Music Festival" in Yunnan province 2002.


title: Music of China

text: Today, rock music is centered on almost exclusively in Beijing and Shanghai, and has very limited influence over Chinese society. Wuhan and Sichuan are sometimes considered pockets of rock music culture as well. It points to a significant cultural, political and social difference that exist between China, the West, or even different parts within China. While rock has existed in China for decades, the milestone that put the genre on the international map is when Cui Jian played with The Rolling Stones in 2003, at the age of 42. China has also become a destination of major Western rock and pop artists; many foreign acts have toured in China and performed in multiple concerts in recent decades, including Beyonce, Eric Clapton, Nine Inch Nails, Avril Lavigne, Linkin Park and Talib Kweli.


title: Music of China

text: Mainland China has a high piracy rate along with issues of intellectual properties. Normally there is some delay before the products are released into mainland China, with occasional exceptions, such as the work of Cui Jian who was released in Taiwan, Hong Kong and mainland China simultaneously. Consequently, a delay in release time is also the biggest driver of piracy, since individuals would rather pirate from the outside. The modern market is not only hindered by rights issues, as there are many other factors such as profit margin, income and other economical questions.


title: Music of China

text: In 2015, the digital music market in China was expected to be worth . In 2015 China had the 14th largest music market in the world, with revenues of . As of 2016 there were 213 music charts in China. Also as of 2016, the three largest music streaming and download services in China are KuGou, with a 28% share of the market, QQ Music with 15% and Kuwo with 13%. China is expected to become one of the largest music markets in the world by 2020.


title: Music of China

text: Musical instruments were traditionally classified into eight categories known as "bayin". Traditional music in China is played on solo instruments or in small ensembles of plucked and bowed stringed instruments, flutes, and various cymbals, gongs, and drums. The scale is pentatonic. Bamboo pipes and qin are among the oldest known musical instruments from China; instruments are traditionally divided into categories based on their material of composition: animal skins, gourd, bamboo, wood, silk, earth/clay, metal, and stone. Chinese orchestras traditionally consist of bowed strings, woodwinds, plucked strings and percussion.


title: Music of China

text: Chinese vocal music has traditionally been sung in a thin, non resonant voice or in falsetto and is usually solo rather than choral. All traditional Chinese music is melodic rather than harmonic. Chinese vocal music probably developed from sung poems and verses with music. Instrumental pieces played on an erhu or dizi are popular, and are often available outside of China, but the pipa and zheng music, which are more traditional, are more popular in China itself. The qin is perhaps the most revered instrument in China, even though very few people know what it is or seen and heard one being played. The zheng, a form of zither, is most popular in Henan, Chaozhou, Hakka areas, and Shandong. The pipa, a kind of lute, believed to have been introduced from the Arabian Peninsula area during the 6th century and adapted to suit Chinese tastes, is most popular in Shanghai and surrounding areas.


title: Music of China

text: People of the Han ethnic group make up about 92% of the population of China. Han people's music consists of heterophonic music, in which the musicians play versions of a single melodic line. Percussion accompanies most music, dance, talks, and opera. Han Folk Music had many aspects to it regarding its meaning, feelings, and tonality. This genre of music, in a sense, is similar to the Chinese language. This relationship is made by tones, sliding from higher tones to lower tones, or lower to higher tones, or a combination of both. These similarities mean that the instrument is a very important part in mastering technique with both left and right hands (left hand is used to create tonality on the string, right hand is for plucking or strumming the string), particularly for the classical (literati) tradition. Sometimes, singing can be put into the music to create a harmony or a melody accompanying the instrument. Han Chinese Folk's feelings are displayed in its poetry-like feeling to it with slow soothing tempos that express feelings that connect with the audience or whoever is playing the piece. Han folk music uses silences that alter its meaning, creating a sound similar to poetry.


title: Music of China

text: Chinese opera has been a popular form of entertainment for many centuries, from the Nanxi of Song dynasty to the Peking opera of today. The music is often guttural with high-pitched vocals, usually accompanied by suona, jinghu, other kinds of string instruments, and percussion. Other types of opera include clapper opera, Pingju, Cantonese opera, puppet opera, Kunqu, Sichuan opera, Qinqiang, ritual masked opera and Huangmei xi.


title: Music of China

text: According to current archaeological discoveries, Chinese folk music dates back 7,000 years. Not only in form but also in artistic conception, China has been the home of a colorful culture of folk music. Largely based on the pentatonic scale, Chinese folk music is different from western traditional music, paying more attention to the form expression as well.


title: Music of China

text: Han traditional weddings and funerals usually include a form of oboe called a suona and percussive ensembles called "chuigushou". Ensembles consisting of mouth organs (sheng), shawms (suona), flutes (dizi) and percussion instruments (especially yunluo gongs) are popular in northern villages; their music is descended from the imperial temple music of Beijing, Xi'an, Wutai shan and Tianjin. Xi'an drum music, consisting of wind and percussive instruments, is popular around Xi'an, and has received some commercial popularity outside of China. Another important instrument is the sheng, pipes, an ancient instrument that is ancestor of all Western free reed instruments, such as the accordion. Parades led by Western-type brass bands are common, often competing in volume with a shawm/chuigushou band.


title: Music of China

text: In southern Fujian and Taiwan, Nanyin or Nanguan is a genre of traditional ballads. They are sung by a woman accompanied by a xiao and a pipa, as well as other traditional instruments. The music is generally sorrowful and typically deals with a love-stricken woman. Further south, in Shantou, Hakka areas, and Chaozhou, erxian and zheng ensembles are popular.


title: Music of China

text: Sizhu ensembles use flutes and bowed or plucked string instruments to make harmonious and melodious music that has become popular in the West among some listeners. These are popular in Nanjing and Hangzhou, as well as elsewhere along the southern Yangtze area. Sizhu has been secularized in cities but remains spiritual in rural areas.


title: Music of China

text: Jiangnan Sizhu (silk and bamboo music from Jiangnan) is a style of instrumental music, often played by amateur musicians in tea houses in Shanghai; it has become widely known outside of its place of origin.


title: Music of China

text: Guangdong Music or Cantonese Music is instrumental music from Guangzhou and surrounding areas. It is based on Yueju (Cantonese Opera) music, together with new compositions from the 1920s onwards. Many pieces have influences from jazz and Western music, using syncopation and triple time. This music tells stories and myths, maybe legends.


title: Music of China

text: China has many ethnic groups besides the Han, who reside in various regions around the nation. These include Tibetans, Uyghurs, Manchus, Zhuang, Dai, Mongolians, Naxi, Miao, Wa, Yi, and Lisu.


title: Music of China

text: Guangxi is a region of China, the Guangxi Zhuang Autonomous Region. Its most famous performer of Guangxi is the legendary Zhuang folksinger, 刘三姐 () or Third Sister Liu, born in Guangxi during the Southern Song Dynasty (1127-1279) and who was the subject of the 1961 film, Liu Sanjie which introduced Guangxi's culture to the rest of the world.


title: Music of China

text: Zhuang folk songs and Han Chinese music are a similar style, and are mostly in the pentatonic scale. The lyrics have an obvious antithesis format. They frequently contain symbols and metaphors, and common themes include life experiences as well as allusions to classical Chinese stories.


title: Music of China

text: The Jing or Gin people (ethnic Vietnamese) are one of the smallest populations of ethnic and the only coastal fishery ethnic minority of China. They are known for their instrument called "duxianqin" (lit. "single string zither"), a string instrument with only one string, said to date back to the 8th century.


title: Music of China

text: "Hua'er" is a form of traditional a cappella singing that is popular in the mountainous northwestern Chinese provinces such as Gansu, Ningxia, and Qinghai.


title: Music of China

text: Mongolian folk songs have a "long tune" and a "short tune". The Mongolians have a variety of stringed instruments such as morin khuur or horsehead fiddle. It is named because of its headstock carving of a horse used as decoration on the pillar.


title: Music of China

text: "Kuaiban" (快板) is a type of rhythmic talking and singing which is often performed with percussive instruments such as a clapper called "paiban". The center of the "kuaiban" tradition is Shandong province. "Kuaiban" bears some resemblance to rap and other forms of rhythmic music found in other cultures.


title: Music of China

text: Northeast China is a region inhabited by ethnic groups like the Manchu. The most prominent folk instrument is the octagonal drum, while the youyouzha lullaby is also well-known.


title: Music of China

text: Sichuan is a province in southwest China. Its capital city, Chengdu, is home to the only musical higher education institution in the region, the Sichuan Conservatory of Music. The province has a long history of Sichuan opera.


title: Music of China

text: Music forms an integral part of Tibetan Buddhism. While chanting remains perhaps the best known form of Tibetan Buddhist music, complex and lively forms are also widespread. Monks use music to recite various sacred texts and to celebrate a variety of festivals during the year. The most specialized form of chanting is called yang, which is without metrical timing and is dominated by resonant drums and sustained, low syllables. Other forms of chanting are unique to Tantra as well as the four main monastic schools: Gelugpa, Kagyupa, Nyingmapa and Sakyapa. Of these schools, Gelugpa is considered a more restrained, classical form, while Nyingmapa is widely described as romantic and dramatic. Gelugpa is perhaps the most popular.


title: Music of China

text: Secular Tibetan music survived the Cultural Revolution more intact than spiritual music, especially due to the Tibetan Institute of Performing Arts, which was founded by the Dalai Lama shortly after his exile. TIPA originally specialized in the operatic lhamo form, which has since been modernized with the addition of Western and other influences. Other secular genres include nangma and toshe, which are often linked and are accompanied by a variety of instruments designed for highly rhythmic dance music. Nangma karaoke is popular in modern Lhasa. A classical form called gar is very popular, and is distinguished by ornate, elegant and ceremonial music honoring dignitaries or other respected persons.


title: Music of China

text: Tibetan folk music includes a cappella lu songs, which are distinctively high in pitch with glottal vibrations, as well as now rare epic bards who sing the tales of Gesar, Tibet's most popular hero.


title: Music of China

text: Tibetan music has influenced the pioneering compositions of Philip Glass and, most influentially, Henry Eichheim. Later artists made new-age fusions by pioneers Henry Wolff and Nancy Hennings. These two collaborated on "Tibetan Bells", perhaps the first fusion of New Age and Tibetan influences, in 1971. Glass' "Kundun" soundtrack proved influential in the 1990s, while the popularity of Western-adapted Buddhism (exemplified by Richard Gere, Yungchen Lhamo, Steve Tibbetts, Choying Drolma, Lama Karta and Kitaro and Nawang Khechong) helped further popularize Tibetan music.


title: Music of China

text: In the mid- to late 1980s, a relaxation of governmental rules allowed a form of Tibetan pop music to emerge in Tibet proper. Direct references to native religion is still forbidden, but commonly understood metaphors are widespread. Pure Tibetan pop is heavily influenced by light Chinese rock, and includes best-sellers like Jampa Tsering and Yatong. Politically and socially aware songs are rare in this form of pop, but commonplace in a second type of Tibetan pop. Nangma karaoke bars appeared in 1998 and are common in Lhasa, in spite of threats from the Chinese government.


title: Music of China

text: Xinjiang Uyghur Autonomous Region is dominated by Uyghurs, a Turkic people related to other Turkic groups from Central Asia. The Uyghurs' best-known musical form is the On Ikki Muqam, a complex suite of twelve sections related to Uzbek and Tajik forms. These complex symphonies vary wildly between suites in the same muqam, and are built on a seven-note scale. Instruments typically include dap (a drum), dulcimers, fiddles and lutes; performers have some space for personal embellishments, especially in the percussion. The most important performer is Turdi Akhun, who recorded most of the muqams in the 1950s.


title: Music of China

text: Yunnan is an ethnically diverse area in southwest China. Perhaps best known from the province is the lusheng, a type of mouth organ, used by the Miao people of Guizhou for pentatonic antiphonal courting songs.


title: Music of China

text: The Hani of Honghe Prefecture are known for a unique kind of choral, micro-tonal rice-transplanting songs.


title: Music of China

text: The Nakhi of Lijiang play a type of song and dance suite called baisha xiyue, which was supposedly brought by Kublai Khan in 1253. Nakhi "Dongjing" is a type of music related to southern Chinese forms, and is popular today.


title: Music of China

text: The Dai ethnic musical styles are similar to those of South Asia, Myanmar, and Thailand. Some typical Dai instruments are the hulusi and the elephant-foot drum.


title: Music of China

text: In the early 20th century after the end of Imperial China, there were major changes to traditional Chinese music as part of the New Culture Movement. Much of what Westerners and even Chinese now consider to be music in the traditional Chinese style can be dated to this period and is in fact less than 100 years old. The modernization of Chinese music involved the adoption of some aspects of Western forms and values, such as the use of Western conservatory system of teaching, and changes to the instruments and their tuning, the composition, the orchestration of music, the notation system and performance style. Some forms of Chinese music however remained traditional and are little changed.


title: Music of China

text: The term "guoyue", or national music, became popular in the early 20th century and was used loosely to include all music written for Chinese instruments in response to a particular nationalistic consciousness. The term however may have a slightly different meaning when used by different Chinese communities. It was originally used only to refer to the music of the Han Chinese; it later began to include music of various ethnic minorities in China. In the Republic of China in Taiwan, "Guoyue" emphasized music of the mainland China over the Taiwanese local traditions. In mainland China a new term "minyue" (民乐, short for "minzu yinyue" or "people's music") was coined post-1949 in place of "guoyue" to encompass all compositions and genres for traditional instruments. In other Chinese communities, it may also be referred to as "huayue" (for example in Singapore) or "zhongyue" (in Hong Kong).


title: Music of China

text: There was a tradition of massed instruments in the ritual court music form known as "yayue" since the Zhou Dynasty. This music may be played by a handful of musicians, or there may be more than 200 for example during the Song Dynasty. During the Tang Dynasty there were also large-scale presentations of banquet music called "yanyue" () in the court. The Tang imperial court may have up to ten different orchestras, each performing a different kind of music. It also had a large outdoor band of nearly 1,400 performers.


title: Music of China

text: The modern Chinese orchestra however was created in the 20th century modeled on Western symphony orchestra using Chinese instruments. In the traditional "yanyue", a single dominant melodic line was favored, but the new music and arrangements of traditional melodies created for this modern orchestra is more polyphonic in nature.


title: Music of China

text: Many traditional instruments underwent changes in the early to mid 20th century which has a profound effect on the performance and sound of Chinese music, and a western equal temperament is now used to tune most traditional instruments, which to modern ears seem less harsh and more harmonious but which also robs the instruments of their traditional voices. To ears now used to hearing modern tunings, even Chinese ones, traditional tunings can sound out of tune and discordant.


title: Music of China

text: In order to accommodate Western system, changes were made to the instruments, for example in the "pipa" the number of frets was increased to 24, based on the 12 tone equal temperament scale, with all the intervals being semitones.


title: Music of China

text: There is also a need to standardize the tuning when the instruments are played in an orchestra, which in turn may also affect how the instrument is made. For example, traditionally "dizi" is made by using a solid piece of bamboo which made it impossible to change the fundamental tuning once the bamboo is cut. This issue was resolved in the 1920s by the insertion of a copper joint to connect two pieces of shorter bamboo, which allows the length of the bamboo to be modified so that minute adjustment to its fundamental pitch can be made. The Xindi, "new flute", is a 1930s redesign of the Chinese flute incorporating western influences on the basis of equal temperament.


title: Music of China

text: In order to achieve a greater vibrancy and loudness with instruments (not to mention longevity), many string instruments are no longer strung with silk but with steel or nylon. For example, metal strings began to be used in place of the traditional silk ones in the 1950s for "pipa", resulting in a change in the sound of the "pipa" which became brighter and stronger.


title: Music of China

text: Before the 20th century Chinese used the gongche notation system, in modern times the Jianpu system is common. Western staff notation however is also used.


title: Music of China

text: In common with the music traditions of other Asian cultures, such as Persia and India, one strand of traditional Chinese music consists of a repertoire of traditional melodies, together known as qupai, in which tempo and ornamentation vary according to the mood of the instrumentalist, the audience, and their reaction to what is being played, the same melody can be used to serve many different roles be it merry, melancholic or martial (this can be glimpsed in the love theme of the Butterfly Lovers' Violin Concerto where the same melody at different points in the lover's story reflects elation, turbulence and dejection). Many modern performers now play pieces by following a score in a standard way rather than in the changeable reflective individual way of tradition, this can at times lead to the feeling that a performance has been rushed.


title: Music of China

text: Chinese popular music found its beginnings in the "shidaiqu" genre. The shidaiqu genre was founded by Li Jinhui in mainland China and was influenced by Western jazz artists like Buck Clayton. After the takeover by the Communist in China, popular music were denounced as Yellow Music, a form of pornography. and record companies of Shanghai such as Baak Doi in 1952 left China. Mainland China was left on the sidelines in the development of pop music for a few decades, as the Chinese pop music industry moved from Shanghai to Hong Kong and Taiwan. The 1970s saw the rise of cantopop in Hong Kong, and mandopop in its neighboring country Taiwan.


title: Music of China

text: In the late 1970s, economic reforms by Deng Xiaoping in mainland China led to the introduction of gangtai culture of Hong Kong and Taiwan, and pop music returned to mainland China. However, for a time the government still have a censorious attitude toward pop music; for example, Hong Kong's icon Anita Mui was banned from returning to the mainland concert stage after performing the song "Bad Girl" during the 1990s in China as punishment for what the Chinese government called her rebellious attitude. Nevertheless, pop music continued to increase in popularity in mainland China, and by 2005, China had overtaken Taiwan in term of the retail value of its music sales. The beginning of the 21st century has seen an increasing number of mainland Chinese artists who produced a wide range of Mandarin pop songs and the release of many new albums. However, despite having a much larger population and increasing consumption of Chinese pop music, China is not yet considered a major production hub of pop music.


title: Music of China

text: Many popular mainland Chinese, Hong Kong and Taiwanese music artists were included in promotions for the 2008 Beijing Olympics.


title: Music of China

text: Mandarin rap music gradually became popular in mainland China, especially in Shanghai, Beijing, Chongqing and Sichuan where pop culture is very diverse and modern. Although Chinese perform rap in different dialects and languages, most Chinese hip hop artists perform in China's most popular language: Mandarin.


title: Music of China

text: Electronic dance music (EDM) has become the second biggest music category in China. Among the sub-genres, house music is at the top, followed by bass music and trap music. Reality talent shows and competition programs such as Rave Now and E-Pop of China contributed to promote electronic music towards the mainstream audience.


title: Music of China

text: In recent years, numerous of local Chinese electronic music producers have emerged and got signed by international major labels. Chace, the first Chinese disc jockey (DJ) to play on the main stage of Tomorrowland, has been signed by Universal Music Group. Young Chinese DJ Carta has been signed by Spinnin' Records, listing himself on the DJ Mag Top 100.


title: Music of China

text: A growing number of Chinese producers seek to collaborate with renowned foreign musicians and singers from the Western world. Local electronic music producer Zight collaborated with American singer Chris Willis and Italian DJ duo Maximals to release single "Work It Harder". At the meantime, local electronic singer-songwriter has teamed up with Swedish DJ Alesso, releasing their global hit Going Dumb.


title: Music of China

text: The Peking All-Stars were a rock band formed in Beijing in 1979, by foreigners then resident in the Chinese capital.


title: Music of China

text: The widely acknowledged forefather of Chinese rock is Cui Jian. In the late 1980s he played the first Chinese rock song called: "Nothing To My Name" ("Yi wu suo you"). It was the first time an electric guitar was used in China. He became the most famous performer of the time, and by 1988 he performed at a concert broadcast worldwide in conjunction with the Seoul Summer Olympic Games. His socially critical lyrics earned him the anger of the government and many of his concerts were banned or cancelled. After the Tiananmen Square protests of 1989, he played with a red blindfold around his head as an action against the government.


title: Music of China

text: Afterwards, two bands became famous Hei Bao (Black Panther) and Tang Dynasty. Both started during the late 1980s and early 1990s. Hei Bao is an old-school rock band whose first CD, "Hei Bao" used the popular English song ("Don't Break My Heart"). Tang Dynasty was the first Chinese heavy metal band. Its first CD "A Dream Return to Tang Dynasty" combines elements of traditional Chinese opera and old school heavy metal. The album was a major breakthrough releasing around 1991/1992.


title: Music of China

text: Around 1994–96: the first thrash metal band, Chao Zai (Overload), was formed. They released three CDs, the last one in cooperation with pop singer Gao Chi of the split-up band The Breathing. At the same time the first nu metal bands were formed and inspired by Western bands such as Korn, Limp Bizkit or Linkin Park. China would have their own with Yaksa, Twisted Machine, AK-47, Overheal Tank.


title: Music of China

text: Punk rock first emerged in China in the early 1990s as records from Western punk and post-punk bands were imported into mainland China for the first time. One of the earliest and most renowned punk-influenced Chinese artists was He Yong whose debut album "Garbage Dump" was released in 1994.


title: Music of China

text: Formed in Nanjing in 1997, post-punk group P.K. 14 are regarded as the most important band in the development of Chinese experimental rock music. The band moved to Beijing in 2001 and released their first album 'Upstairs, Turn Left' the same year. P.K. 14's singer-songwriter Yang Haisong (杨海崧) has also produced many of the Chinese indie music scene's most celebrated albums (including Carsick Cars' 2007 eponymous debut album), working with independent record labels such as Maybe Mars and Modern Sky.


title: Music of China

text: Since the early 2000s, Chinese indie music has grown considerably, with homegrown bands such as Carsick Cars, Birdstriking, Re-TROS, Brain Failure, Demerit, Tookoo, AV Okubo, Lonely Leary, Hang on the Box and Fanzui Xiangfa all embarking on international tours.


title: Music of China

text: Whereas orchestras organised by, run solely by and nearly always exclusive to the expatriate community in China are recorded from the early days of the International Settlement in Shanghai (i.e. 1850s) and a Russian orchestra was in operation in Harbin from the early 20th century, the beginnings of a unique classical music tradition in China lie with the first foreign trained Chinese conductor, Zheng Zhisheng AKA (romanized) Yin Zizhong. Zheng (Yin or Wan depending on romanization) was raised in China's Guangdong province. He was influenced by the Western Church Music at an early age. He studied in Lyons and Paris before returning to China in the 1930s. He became the first Chinese conductor of the Chongqing Symphonic Orchestra. Their performances included compositions from Beethoven and Mozart.


title: Music of China

text: The revolutionary spirit of Yin Zizhong's (or romanized Wan-Chi Chung's) style has been continued by the first generation of composers immediately following the accession of the Chinese Communist Party to power, namely Li Delun and Cao Peng. The former provided the driving force and often the life force that kept a tradition alive through the Mao years, especially in his adopted city of Beijing, and the latter has been instrumental in maintaining a high standard of symphonic music, as well as working hard for the popularization of the tradition further into the fabric of Chinese culture, across his long career, which continues to the present. At the same time as this tradition has continued, new generations have sought to bring classical music in China along another path, away from the strict professionalism of the elite trained Li and Cao (who were both at the Russian conservatory in the 1950s) and towards a less nationalistic, but arguably more encompassing attitude towards the tradition. Most influential in this new movement has been the young Shanghai conductor Long Yu.


title: Music of China

text: During the height of the Cultural Revolution, political music became the dominant form. Music accelerated at the political level into "Revolutionary Music" leaning toward cult status and becoming mainstream under pro-Communist ideology. Jiang Qing introduced the revolutionary model operas under her direct supervision; the eight Model Dramas (6 operas and 2 ballets) were promoted while traditional operas were banned. Notable examples are the operas "The Legend of the Red Lantern" and "Taking Tiger Mountain by Strategy", and the ballet pieces "Red Detachment of Women" and "The White Haired Girl". Other forms of musical composition and performance were greatly restricted. After the Cultural Revolution, musical institutions were reinstated and musical composition and performance revived.


title: Music of China

text: Some of the more widely known political songs are "Military Anthem of the People's Liberation Army", "The East is Red", and the "Internationale".


title: Liftback

text: A liftback is a variation of hatchback with a sloping roofline between 45 and 5 degrees. Traditional hatchback designs usually have a 90 to 46 degree slope on the tailgate or rear door. As such the liftback is essentially a hatchback with a more sloping roof, similar to sedans/saloons from a styling perspective. Some liftbacks may also have an appearance similar to a coupe but with a tailgate hinged at the roof that is lifted to open.


title: Liftback

text: The liftback design combines the versatility of a regular hatchback and aerodynamics of a sedan. Liftbacks often offer more boot space over the regular hatchback and sedan but not the station wagon/estate variant of the same model.


title: Liftback

text: In 1973, Toyota invented the "liftback" term to describe the sloping roofline variation of the Celica with a tailgate hinged at the roof, as opposed to the regular hardtop coupe variation which was introduced three years earlier. As its roofline slope is uninterrupted, it can also be defined as a fastback-styled hatchback.


title: Liftback

text: The term "fastback" is not interchangeable with "liftback". A liftback is defined as having a tailgate that is hinged from the roof, similarly to a hatchback, whereas a fastback is a broad styling term used to describe any car with an uninterrupted slope in the roofline from the roof to the rear bumper. Thus, although some liftbacks are fastbacks, not all liftbacks are necessarily fastbacks. Additionally, some fastbacks have a tailgate hinged below a fixed rear window, which is not characteristic of a liftback.


title: Liftback

text: Some feel the slope of the rear window is a key determinant in the term "liftback," in which the rear cargo door, or hatch, is horizontally angled. As a result, the hatch is lifted more upwards than backwards to open, a lifting action.


title: Liftback

text: Liftbacks were the mainstay of manufacturers' D-segment offerings in Europe in the 1990s to late 2000s, having become popular in the 1980s. It was common for manufacturers to offer the same D-segment model in three different body styles: a 4-door sedan, a 5-door liftback, and a 5-door station wagon. Such models included the Ford Mondeo, the Mazda 626 and 6, the Nissan Primera, the Opel Vectra and Insignia, and the Toyota Carina and Avensis. There were also models in this market segment available only as a 5-door liftback or a 4-door sedan, and models available only as a 5-door liftback or a 5-door station wagon. Often, the liftback and the sedan shared the same wheelbase and the same overall length, and the full rear overhang length of a conventional sedan trunk was retained on the five-door liftback version of the car.


title: Liftback

text: The term was sometimes used for marketing purposes, among others, by Toyota, for example, to distinguish between two 5-door versions of the E90 series Corolla sold in Europe, one of which was a conventional 5-door hatchback with a nearly vertical rear hatch while the other one was a 5-door liftback.


title: Liftback

text: Audi, BMW and Mercedes-Benz were not part of this trend in the 1990s, as they did not offer their D-segment or executive cars as 5-door liftbacks back then. However, starting around 2009, Audi and BMW started to sell liftback versions of some of their vehicles but with their own marketing terms, referring to them as "Sportback" (Audi) or "Gran Turismo"/"Gran Coupé" (BMW). This occurred not long after some other manufacturers started to retire D-segment liftbacks from their European lineup.


title: Liftback

text: The second-generation Škoda Superb, produced from 2008 until 2015, is a car that functions both as a hatchback and a sedan. It features a "Twindoor" trunk lid that can be opened using hinges located below the rear glass, or together with the rear glass using hinges at the roof.


title: Doc Samson

text: Doc Samson (Leonard Skivorski Jr.) is a fictional character appearing in American comic books published by Marvel Comics. The character is usually depicted as a superhero and psychiatrist in the Marvel Universe, known as a supporting character in stories featuring the Hulk.


title: Doc Samson

text: Doc Samson debuted in "The Incredible Hulk" vol. 2 #141 (July 1971), created by writer Roy Thomas and artist Herb Trimpe. Since then he has also appeared as a supporting character in several different Marvel Comics titles, including "She-Hulk", "Uncanny X-Men", and "Amazing Spider-Man". In 1996 Doc Samson starred in his first self-titled miniseries written by Dan Slott. In 2006, Samson starred in his second miniseries, written by Paul Di Filippo and penciled by Fabrizio Fiorentino.


title: Doc Samson

text: Leonard Skivorski Jr. was born in Tulsa, Oklahoma. He was raised Jewish and attended yeshiva. His father, Dr. Leonard "Leo" Skivorski, was a popular psychiatrist in his hometown who specialized in treating young women, often conducting extramarital affairs with them. Mrs. Skivorski had nicknamed her husband "Samson" after his long hair. Leonard Jr. initially expressed disinterest in becoming a psychiatrist, perhaps because he resented his father's philandering. Despite this, he became a college professor and psychiatrist. After Bruce Banner was temporarily cured of being the Hulk by siphoning off the gamma radiation that caused his transformations, Samson, who had been working with Banner/Hulk in his job as a psychiatrist, exposed himself to some of the siphoned radiation, granting him a superhumanly strong and muscular physique and causing his hair to turn green and to grow long, reminiscent of his biblical namesake. Initially, Samson's physical strength depends upon the length of his hair, though his gamma mutation eventually stabilized, making the length of his hair no longer a factor. Shortly afterward, his flirting with Betty Ross causes a jealous Banner to re-expose himself to radiation, becoming the Hulk once more to battle Samson. Samson learns that his power decreases when he cuts his green hair, but he loses his powers due to a bombardment of intense gamma radiation. Feeling guilty about his role in his patient's return to being the Hulk, Samson would spend much time working with Banner over the years.


title: Doc Samson

text: Samson eventually regains his powers in a gamma ray explosion. He joins the Gamma Base staff. Alongside S.H.I.E.L.D., he battles the Hulk. He shrinks and projects the Hulk into Glenn Talbot's brain to cure Talbot of a mental block. Samson then battles the Rhino.


title: Doc Samson

text: Samson is captured by the Leader. He joins forces with the Hulk against the Leader's Humanoids. He attempts a psychoanalysis of the Hulk through his dreams and diagnoses him with multiple personality disorder. Samson next encounters Angel and the Master Mold. He encounters Moonstone and battles the Hulk. Samson quits Gamma Base and becomes General Ross' psychiatrist.


title: Doc Samson

text: Samson encounters Woodgod and the Changelings. His former relationship with Dr. Delia Childress is revealed, and he teams with Spider-Man against the Rhino and A.I.M. He defeats Unus the Untouchable in combat. With the Thing and other heroes, he is abducted by the Champion to challenge him in combat. During the training part, the Champion disqualifies him since he declared him unfit to be a worthy opponent. The Vision offers Doc Samson a position as the leader of a midwestern branch of the Avengers. Samson says that he is flattered, but has already accepted a position teaching at Northwestern University, which he prefers to the life of a hero, and additionally that administration is not his strong point.


title: Doc Samson

text: Samson, determined again to cure the Hulk, defeats him in battle by triggering the Banner personality to make illusions of various supervillains for the Hulk to fight. Eventually convinced Samson is an illusion, the Hulk leaves himself open for a sucker punch by Samson, rendering the Hulk unconscious. Samson succeeds in separating Bruce Banner and the Hulk physically into two separate individuals. He rescues the Hulk from S.H.I.E.L.D.'s attempt to execute him, although the now separated Hulk, to Samson's surprise, turns out to be even more angry and bestial than before. After feeling guilty for the ensuing carnage and death, Samson pledges to kill the Hulk. Samson adopts a new costume and battles the heroes Iron Man, Wonder Man, Hercules, and Namor the Sub-Mariner for the right to recapture the Hulk. He battles the Hulk, destroys the Hulk robot, and battles the Hulkbusters, resulting in the death of Carolyn Parmenter. He battles the Hulk and the Hulkbusters again, but the Hulk defeats Samson and the Hulkbusters. Samson then attempts to merge Banner and the Hulk, but an accident results in Banner's transformation into the grey Hulk.


title: Doc Samson

text: Samson becomes mentally dominated by a mutant mind-parasite. He assists X-Factor in capturing the Hulk on behalf of S.H.I.E.L.D. Samson also cures Captain Ultra of his fear of fire.


title: Doc Samson

text: To "cure" the Hulk's multiple personality disorder, Samson hypnotizes Banner with the Ringmaster's help and successfully begins the process of integrating the Banner, grey Hulk and green Hulk personalities into a new Hulk. The results extend beyond his control, however, leading to a somewhat unstable merger which eventually fragments once more into a fourth personality, albeit a more benign one than the previous Hulks. Around this time, Samson attends the execution of convicted murderess "Crazy Eight".


title: Doc Samson

text: Doc Samson was also a part of Bruce Jones' run on "The Incredible Hulk", with one of the main characters Jones introduced supposed to be Samson's ex-wife. Samson sports an eyepatch during much of this run. After discovering that a covert organization which is hunting the Hulk has implanted a surveillance device in Samson's eye, he removes the device with a scalpel and wears the eyepatch for protection while his eye heals.


title: Doc Samson

text: In addition to the Hulk, his most prominent patient, Samson has also spent time in a professional capacity with the second X-Factor, the Molecule Man, She-Hulk, and the Punisher, among others.


title: Doc Samson

text: He is befriended by Doctor Strange's new pupil Jack Holyoak, and helps his friends' daughter Tina Punnett rescue her "New-Age hippie" parents from dealing with the ghost of musician Cam Larson guarded by Living Totem. Searching for his friend Sam Laroquette, Doc Samson along with Living Totem, Tina, and Jack arrives at new age cultist Doctor Arick Schnellageister's farm where they all fight the nightmarish Weed. The third issue was written by Jay Faerber and it shows Samson helps the new Scorpion come clean after being implied to have killed S.H.I.E.L.D. agents. The final two-parter was a storyline involving Nightmare from a different dimension sending the alternate Doc Samson to help him invade the regular 616 Marvel Universe. Those last two issues had Frank Espinosa's short Living Totem stories as back up.


title: Doc Samson

text: Samson reappears, helping Jennifer Walters, and treats Rachel Grey. He talks with Valerie Cooper, regarding her and the O*N*E organization taping his session with Rachel, even though he asked her not to. Samson was a member of Iron Man's Pro-Registration side in the "Civil War" storyline. He gave each member of the newest incarnation of X-Factor a session after a particularly troubling mission. He is paying particular attention to the team's leader, Jamie Madrox.


title: Doc Samson

text: Samson is shown working alongside the Pro-Registration alliance. As part of this group, he helps She-Hulk and Spider-Man take down a rampaging robot threatening innocent civilians. Samson remains on Iron Man's side during the final breakout at the Negative Zone prison. The Pro-Registration people ultimately win when Captain America surrenders.


title: Doc Samson

text: Samson plays a role in the events of the "World War Hulk" crossover event of 2007. Dr. Samson was instrumental in the Illuminati plan of exiling the Hulk as well as de-powering She-Hulk for Iron Man. Samson was sent by Mr. Fantastic to retrieve She-Hulk after she discovered that her cousin was exiled, and tries to convince her that her cousin deserved his punishment after recalling several moments when the Hulk fought the members of the Illuminati. She-Hulk punches Samson into another state after realizing that Samson was siding with the Illuminati.


title: Doc Samson

text: Samson is shown to be one of the various heroes who helped during the evacuation of New York. Later he and the Avengers are quickly defeated by the Hulk and his Warbound allies, whereby Doc Samson and his fallen teammates are 'enslaved' by obedience discs (the very same technology used to control the Hulk/Green Scar and other Gladiators on Sakaar). Following a climactic and hard-fought victory over the Sentry, Doc Samson is freed from his obedience disk after Tony Stark activates a series of satellite devices that open fire on the Hulk and leave him unconscious, and in his human/Bruce Banner form.


title: Doc Samson

text: Samson is appointed by the Initiative to serve as therapist for Penance. He successfully helps Penance regain his original Speedball powers and make steps towards psychological recovery.


title: Doc Samson

text: He is sent by the CSA to temporarily suspend Tony Stark from his S.H.I.E.L.D. duties pending psychological evaluation and while overseeing this was drawn into assisting Tony in uncovering the Mandarin's Extremis conspiracy. He gives evidence to the UN Security Council in Tony's cover, sparring verbally with Norman Osborn in the process.


title: Doc Samson

text: Following the "Secret Invasion," Doc Samson is shown leading a support group meeting with those that had been replaced by Skrulls. Later, he appears on Air Force One, attempting to disclose the full activities of Norman Osborn within Thunderbolts Mountain to the new United States President. Before Samson is able to play the evidence, Osborn's new Thunderbolts hijack the plane: the Ghost takes the evidence, Ant-Man implants a gamma-emitter on the back of Samson's neck causing him to grow angry and more powerful in a Hulk-like manner, and someone wearing the Green Goblin's costume attacks the airplane. Samson's increased anger brings him to attack the President, but he is phased out of the plane by the Ghost. Osborn reasons that, in his enhanced state, Doc Samson probably survived the fall, and places a global warrant for his arrest, suggesting that Samson attempted to kill the President.


title: Doc Samson

text: In the debut issue of the 2008 "Hulk" title, written by Jeph Loeb, Samson appears in Russia, alongside Iron Man, General Ross, and She-Hulk (whose attitude towards Samson is still antagonistic). The group is investigating the murder of the Abomination at the hands of a Hulk-like creature. After an altercation over jurisdiction with the Russian Winter Guard (a fight which Samson uncharacteristically starts), Samson and Ross return to the United States to consult with Banner, who is imprisoned in a high-security facility.


title: Doc Samson

text: However, the Helicarrier crashes near New Jersey. Tony Stark orders Maria Hill to investigate, and search for survivors. Clay Quartermain's corpse is found mangled and ravaged, and the area bathed with gamma radiation. General Ross' and Samson's bodies are missing. Leonard's coat is found ripped and shredded in a Hulk-like fashion, exhibiting higher gamma radiation values than every other item in the wreckage.


title: Doc Samson

text: Samson later shoots Rick Jones and drags him away after Jones attempts to reveal the Red Hulk's true identity.


title: Doc Samson

text: In "The Incredible Hulk" vol. 2 #600 (Sept. 2009), it's revealed the reason Samson shot Rick Jones is because Samson now has multiple personality disorder. Samson grows larger in size (hence the high gamma output and ripped jacket in the Red Hulk story arc), his hair grows out, and in this form he is stronger and faster than Jennifer Walters. He also has a lightning bolt scar across his chest. Samson claims, just before his evil persona takes over, that he was brainwashed by MODOK who would not let him talk. This personality refers to himself only as "Samson" and claims Leonard is never coming back. However, after MODOK subdues She-Hulk and Samson to keep them from destroying the facility, and just before it does explode due to a fight between Rulk and Hulk, Rulk is standing over Leonard (now short-haired again) and She-Hulk claiming the three of them will ride out the explosion.


title: Doc Samson

text: A subsequent appearance features "Samson" apparently attending a psychological evaluation which discusses his feelings of inadequacy compared to other heroes, never attracting the attention of either the public or women despite his powers, only for the appointment to be revealed to be a confrontation in Samson's mind among his three personas, Samson, Doc Samson, and Leonard Samson, Ph.D. Concluding that his intellect is what has been holding him back in his previous confrontations, Samson "kills" his other two personas, prompting MODOK – who has been watching Samson in a cell while the "dream" takes place – to conclude that he is ready.


title: Doc Samson

text: After Banner frees the other captive intellectuals in the Intelligencia's trap, they quickly determine that the Red Hulk 'creation process,' if accidentally or intentionally done incorrectly, will result in a series of "Hulked Out" individuals who will briefly obtain the same abilities as Red Hulk and Red She-Hulk, although these 'overcharged' candidates will overload and die not long afterward. Many of these candidates include members of the X-Men, Avengers, and the Fantastic Four who were inadvertently caught in a shipwide blast of cathexis rays.


title: Doc Samson

text: After re-tooling the Cathexis Ray Generator to re-absorb and turn the Hulked-Out Heroes (and A.I.Marines) back to normal, Banner tries to absorb all of the energy with his body – and mostly succeeds – but at a crucial juncture, the machinery begins to break down from the feedback. Samson steps in and absorbs the additional excess energy, but for unknown reasons, his body is unable to absorb the energy as readily as Banner's body can and he is killed by the overload, reduced to a charred skeleton in seconds.


title: Doc Samson

text: During the "Chaos War" storyline, Doc Samson returns from the dead after what happened to the death realms. He helps Bruce and the other Hulks fight Brian Banner, Abomination, and the demons on Amatsu-Mikaboshi's side. Doc Samson was helpful in holding off Abomination. When Hercules sacrificed the All-Father powers to heal the universe, some of those who came back to life returned to the afterlife while the others remained among the living.


title: Doc Samson

text: When Red Hulk and Doctor Strange traveled to the Monster Metropolis and enlisted the help of the Legion of Monsters, they discover that the spirit that has been haunting Red Hulk is the insane evil side of Doc Samson (referred to as Dark Samson) which has not passed into the next life. Using a ghost entrapment device, Red Hulk and the Legion of Monsters were able to destroy the Dark Samson spirit by ripping him in half. Red Hulk and the Legion of Monsters did a toast to honor Doc Samson after that.


title: Doc Samson

text: During the "Civil War II" storyline, Doc Samson somehow turned up alive at the Triskelion to visit Captain Marvel. She then learns that Doc Samson is there to evaluate her.


title: Doc Samson

text: When Banner has returned from the dead, Doc Samson worked to track him down. After getting Hulk calmed enough to talk with him, Doc Samson learned that Hulk called this form Devil Hulk as Doc Samson notes that this version is much different from the last Devil Hulk he encountered. Then Hulk showed Doc Samson that there is a hole where Rick Jones was buried after he was killed by Hydra during their rise to power. Doc Samson and Hulk learned that Rick Jones' body was taken by the U.S. Hulk Operations. When they arrived at the U.S. Hulk Operations's base in New Mexico, they fought against the gamma-irradiated creatures until Doc Samson is shot in the head by Bushwacker. After Hulk destroyed the base and killed Bushwacker, Doc Samson recovered from his head wound and was picked up by the Alpha Flight Space Program's version of Gamma Flight and taken to their base for treatment and debriefing. Doc Samson revealed to Gamma Flight about Devil Hulk's plan to wipe out humanity and how he will carry it out.


title: Doc Samson

text: Doc Samson aided Gamma Flight in looking for Hulk. When they arrived where Hulk was fighting Subject B, they found the Subject B body that Rick Jones was in and took it to the Alpha Flight Low-Orbit Space Station for study. Wearing the Redeemer armor, General Reginald Fortean raided the Alpha Flight Low-Orbit Space Station to reclaim the Subject B husk. Doc Samson and Walter Langkowski were shot while the other Gamma Flight members were incapacitated. Doc Samson recovered from the shot and joined Gamma Flight in attacking the U.S. Hulk Operations at their base in Groom Lake at Area 51. While the U.S. Hulk Operations anticipated their arrival, Doc Samson was shocked when General Fortean had merged with the Subject B husk. The confrontation was interrupted when Hulk, Rick Jones, Harpy, and Jackie McGee raided the base. A fight broke out between the U.S. Hulk Operations, Gamma Flight, and Hulk's group. When soldiers used concentrated U.V. lights on Hulk, Doc Samson jumped in front of Hulk and took the blast. Upon his death, Doc Samson's soul was transported to Below-Place and ran into Hulk and General Fortean's Subject B form when they killed each other. He even has an encounter with the One Below All. After Samson and Hulk resurrected themselves after General Fortean was killed by Hulk's Grey Hulk persona, Hulk took over the Shadow Base as Samson stays by Hulk's side to keep an eye on him.


title: Doc Samson

text: Leader later used Del Frye to kill Doc Samson sending him to the Below-Place. Then Leader turned his door out red so that he can't get out. While Leader was distracted, Doc Samson struck him with a piece of debris enabling him to get away from Leader. Due to his door being meddled, Doc Samson was able to revive himself in the body of Walter Langkowski on the Alpha Flight Low Orbit Space Station causing the body to turn into a green-haired version of Sasquatch. While reuniting with Gamma Flight and Jackie McGee, Samson told them about Leader's meddling and called this form of his Doc Sasqautch. Leading Gamma Flight to confront Hulk's Joe Fixit persona, Doc Sasquatch prevented everyone from getting sucked out when Joe Fixit punched a hole in the space station.


title: Doc Samson

text: Walter Langkowski was able to revive himself in Doc Samson's body and took on the alias of Walter Samson.


title: Doc Samson

text: Doc Samson possesses superior physical attributes as a result of bombardment to concentrated gamma rays. The gamma radiation mutated Samson's physique by adding considerable muscle and bone mass to his body, granting him immense strength. Initially, Samson's powers are dependent on the length of his hair and the longer it was, the stronger he becomes. Although his mutation have been stabilized, making it irrelevant to him since. His strength is equal to that of the Gray Hulk, a.k.a. Joe Fixit, but less powerful than the latter in a calm emotional state. However, unlike the Savage Hulk, it does not increase due to adrenaline surges while angry. Like other gamma mutates, Samson is also able to run at tremendous speeds. He can even leap incredible distances vertically and horizontally, though not nearly as far as the Hulk, Abomination, or She-Hulk.


title: Doc Samson

text: Aside from more muscle and bone mass, his bodily tissues are fortified and considerably harder than to those of an ordinary human, granting him dynamic durability. Samson can withstand falls from great heights, extreme temperatures, high caliber bullets, and massive impact forces like being repeatedly struck by the Hulk without sustaining injury. Due to his fully advanced musculature, Samson's muscles produce considerably less fatigue toxins during physical activity than a normal human, granting him unnatural stamina. He has demonstrated this to battle a mindless incarnation of the Hulk for more than six hours.


title: Doc Samson

text: The discovery of a new persona within Leonard's psyche, which he calls "Samson", (later referred to as "Dark Samson") reveals that this Samson has much stronger capabilities than previously observed. As an immortal, he can resurrect himself after dying by entering through the Green Door, with certain limitations. While in the body of Sasquatch, he have full access to his bestial abilities.


title: Doc Samson

text: Doc Samson is a skilled psychiatrist, theoretical technician, and inventor of various medical devices. He has often called on to counsel several superhumans, such as the members of X-Factor. His extensive mind also permits him to block out psionic attacks and manipulation. Samson is a formidable unarmed combatant, which he briefly held his own against the combined forces of Iron Man, Wonder Man, Sub-Mariner, and Hercules, after they have first battled the mindless Hulk. He sometimes uses psychology as a tool to get through a more powerful opponent's guard, including an Infinity Gem-empowered Titania.