title: Women in Iran

text: The first university Iranian girls could attend was the University of Tehran in 1932. However, girl's attendance in school only occurred after the Islamic revolution in 1979. In 2005, there were 62% university entrees. Furthermore, the first exam took place after the Cultural Revolution in 1984, 42% of females accepted examinees, and 32% of male applicants and 68% were accepted into the program. In addition, there was an 8% chance for girls to be accepted, and 12.2% for males in 1984. Between 1984 and 2003 the demand for women's higher education was greater than men's, and the percentage of entrees shifted upward. Moreover, the advantage of women's higher education decrease underdevelopment, backwardness, and compensation. The other factors that motivate women to obtain higher education are justice and equality in society, increase girl knowledge, participation in the social culture and politics, and change the traditional attitudes. Due to higher education, women were involved in decision-making because of their knowledge. Lastly, the general purpose of girls obtaining higher education is for social status, and before the Islamic revolution, higher education was basically for wealthy women and women from royal families. On the other hand, education was the only factor to upgrade women's social status because they wanted to further themselves and be involved in economics and politics after the Islamic revolution and anti-shah rallies. Another factor that motivates girls' education is the increase in the age of marriage. Thus, women's education has a greater demand, then they could get involved in private and public investment findings jobs. As women progress in higher education, they get more involved in the labor market argued by Kelli. However, the percentage of women in the labor market is very low, and organizations, governmental and nongovernmental prioritize men. Even though there was changes in economic, social, cultural, and political there still is gender stereotyping. In addition, the number of educated women increased, but there still remains a problem with unemployment in the labor market for women. Finally, when it comes to education and employment, there is no relationship between girls' education and employment, and 50% of graduated students have jobs, which unrelated to their studies.


title: Women in Iran

text: Since the 1970s, Iran has experienced significant economic and social changes. Women's workforce participation rate went from 9.1 percent in 1996 to 14 percent in 2004 to 31.9 in 2009. That is a 22.8 percent increase in 13 years. Women make up over half of the Iranian population, yet they only make up a small percentage of the workforce. Official statistics reported by the Census Bureau suggest that women's labor force participation remains quite low. Despite this, while women make up almost 30 percent of the Iranian labor force, and the percentage of all Iranian women who are economically active has more than doubled from 6.1 percent in 1986 to 13.7 percent in 2000. In 2004, there were 18 million people employed in Iran, Women made up only 12.9 percent (or roughly 2,160,000) of the employed population. Men, on the other hand, made up 64 percent, or roughly 11,520,000. The ILO data, however, suggest that female unemployment has been consistently higher than men's in recent years (Olmsted). Women are concentrated in the typically female jobs of teaching and caring. 82.7 percent of female civil servants work in teaching and education followed by administrative, financial, clerical, health, and medical professions. However, according to the International Labour Organization, the top three areas of female employment are agriculture, manufacturing, and education. One factor in the increase in women's employment is an increase in their literacy rates. The illiteracy among women has been a decrease from 1970 when it was 54 percent to the year 2000 when it was 17.30 percent. Iranian female education went from a 46 percent literacy rate to 83 percent. Iran ranked 10th in terms of female literacy in the 1970s, and still holds this position today. Women's labor force participation rate and literacy rate have been on the rise. Yet the unemployment rate for women compared to that of men is still considerably higher. Take, for example, that in 1996, the unemployment rate for women was 13.4 percent whereas, for men, the unemployment rate was 8.4 percent. The unemployment rate for both men and women has increased since 1996, with the gender gap in unemployment still present. In 2008 for example, male unemployment was 9.1 percent and female was 16.7 percent


title: Women in Iran

text: Studies concerning female labor force participation vary. One factor to this is the difference between measurements. The Iranian Census provides one measurement for labor force participation, and the Labor Force survey provides another. The Iranian census for example, used different ages for the cut off age, 10 for the 1976 census, and used 6 for the 1986 census (Olmsted) While the International Labour Organization uses 15. The World Bank and International Labour Organization have different data on recent female employment; the ILO reports an employment rate of 17.1 percent which is considerably higher than that of the World Bank. Overall, there seems to be a common upward trend in employment over time.


title: Women in Iran

text: Women in Iran had previously been restricted to the private sphere, which includes the care of the home and the children, they have been restricted from mobility, and they needed their husband's permission in order to obtain a job. Employers depict women as less reliable in the workforce as opposed to men. However, the Islamic Revolution had some influence in changing this perception. Secular feminists and the elite were not happy with the revolution, while other feminists such as Roksana Bahramitash argue that the revolution did bring women into the public sphere. The 1979 Revolution had gained widespread support from women who were eager to earn rights for themselves. A woman's responsibility and obligation was in the home, which was the underlying basis of the Islamic Republic. Olmsted adds to this by stating that women have this "double burden". In addition, men had the right to inhibit their wives from entering the labor force. Ali Akbar Mahdi is in agreement with Parvin Ghorayshi in that through the domestication of women and confinement to the private sphere, they were being exploited in non-wage activities. In Karimi's viewpoint, after the revolution, even though it had been accepted on paper that women had an equal right to employment, she believed that this did not show in practice. Comparing the pre-revolution and post-revolution era, between 1976 and 1986, the labor force participation of women had declined immensely from 12.9 percent down to 8.2 percent. In addition, during the 1990s, women were being compensated for their housework due to the domestic wage law which allowed women to demand compensation from their husbands for their housework in the event of a divorce.


title: Women in Iran

text: In 1979 the United States imposed an economic boycott on Iran, which has affected many of their economic sectors. In particular, the boycott affected the carpet industry. As a result, the boycott influenced women's participation in the labor force. Weaving is a common occupation for women, as it can be done inside the family home. If the market is volatile, merchants can simply remove or add looms to the worker's home in response to demand. Therefore, women who have children to take care of can be inside the home while tending to their work. Carpet weaving was very common among women from rural areas. Thus, carpet weaving was a valuable method of increasing the economic involvement of women in rural neighborhoods. In 1996, over 91 percent of the female industrial employees were in the textile industry which consisted largely of carpet weaving. Nonetheless, this all changed due to sanctions. Before the Islamic Revolution, Iranian firms were combined with firms in the United States where Iranians produced rugs for the United States market. However, due to the United States inflicting sanctions on Iran, Iranian imports were banned from the country. The demand for Iranian carpets was still high. In response, Americans bought carpets with Iranian designs from other countries that produced the same carpets, such as China and India. From 1994 to 2005 the export of carpets had declined drastically. In 1994 Iran sold over $2 million worth of carpets, but by 2005 it went to under $500 in carpet exports. In other words, the total share of carpet in non-oil exports had declined from 44.2 percent to 4.2 percent; a drastic decrease. Olmsted concurs with Moghadam this would drastically affect women in the labor market, since the majority of carpet weavers consisted of less-educated women.


title: Women in Iran

text: According to the 2012 "Global Entrepreneurship Monitor report", the rate of entrepreneurship in Iran for women between the ages 18 to 64 fluctuated from 4 to 6 percent between 2008 and 2012 while their overall economic participation makes up only 13 percent of the entire economy.


title: Women in Iran

text: The movement for women's rights in Iran is particularly complex within the scope of the political history of the country. Women have consistently pushed the boundaries of societal norms and were continually gaining more political and economic rights. Women heavily participated at every level of the revolution. Within months of the formation of the Islamic republic by Ruhollah Khomeini many important rights were repealed, but in mid-1980s replaced by a far more protective laws.


title: Women in Iran

text: In 2003, Shirin Ebadi, Iran's first female judge in the Pahlavi era, won the Nobel Peace Prize for her efforts in promoting human rights.


title: Women in Iran

text: During the last few decades, Iranian women have had a significant presence in Iran's scientific movement, art movement, literary new wave and the new wave of Iranian cinema. According to the research ministry of Iran, about 6 percent of full professors, 8 percent of associate professors, and 14 percent of assistant professors were women in the 1998–99 academic year. However, women accounted for 56 percent of all students in the natural sciences, including one in five Ph.D. students. In total 49.8 percent of the university students in Iran are women.


title: Women in Iran

text: With the 2005 election of President Mahmoud Ahmadinejad, Western media said that women's rights declined. After Ahmadinejad's re-election in 2009, the first female minister was appointed.


title: Women in Iran

text: Every year, people in Iran commemorate the national Women's Day and Mother's Day on the 20 Jumada al-Thani (), which marks the birthday anniversary of Fatima Zahra (often referred to as a role model), Muhammad's daughter and the wife of Imam Ali. Many Iranians take the occasion of this holiday to thank and honor their mothers, grandmothers, wives and sisters and to spend more time with them. They pay tribute to them by giving them gifts.


title: Women in Iran

text: A major part of one's cultural identity is their clothing. For many centuries, since ancient pre-Islamic times, the female headscarf was a normative dress code in the Greater Iran. First veils in region are historically attested in ancient Mesopotamia as a complementary garment, but later it became exclusionary and privileging in Assyria, even regulated by social law. Veil was a status symbol enjoyed by upper-class and royal women, while law prohibited peasant women, slaves and prostitutes from wearing the veil, and violators were punished. After ancient Iranians conquered Assyrian Nineveh in 612 BC and Chaldean Babylon in 539 BC, their ruling elite has adopted those Mesopotamian customs. During the reign of ancient Iranian dynasties, the veil was first exclusive to the wealthy, but gradually the practice spread and it became standard for modesty.


title: Women in Iran

text: Later, after the Muslim Arabs conquered Sassanid Iran, early Muslims adopted veiling as a result of their exposure to the strong Iranian cultural influence.


title: Women in Iran

text: This general situation did change somewhat in the Middle Ages after the arrival of the Turkic nomadic tribes from Central Asia, whose women did not wear headscarves. However, after the Safavid centralization in the 16th century, the headscarf became defined as the standard head dress for the women in urban areas all around the Iranian Empire. Exceptions to this standard were seen only in the villages and among the nomads, so women without a headscarf could be found only among rural people and nomadic tribes(like Qashqai). Veiling of faces, that is, covering the hair and the whole face was very rare among the Iranians and was mostly restricted to the Arabs (niqab, battula and boushiya) and the Afghans (burqa). Later, during the economic crisis in the late 19th century under the Qajar dynasty, the poorest urban women could not afford headscarves due to the high price of textile and its scarcity. Owing to the aforementioned historical circumstances, the covering of hair has always been the norm in Iranian dress, and removing it was considered impolite, or even an insult. In the early 20th century, the Iranians associated not wearing it as something rural, nomadic, poor and non-Iranian. The use of veils provided women with a level of moral satisfaction. It was very ideal for women to be seen wearing these veils because they were viewed  as proper


title: Women in Iran

text: The use of veils began to be publicly challenged by women in the mid 19th century. Women such as Tahereh QorratolAyn, Huda Sha'arawi and Saiza Nabarawi unveiled themselves in public and created a political and religious controversy. Woman argued that being forced to wear the veil was a violation of their freedom and even a symbol of their inferiority.


title: Women in Iran

text: Attempts at changing dress norms (and perspectives toward it) occurred in mid-1930s when pro-Western autocratic ruler Reza Shah banned Iranian women from wearing the veil entirely.


title: Women in Iran

text: Many types of male traditional clothing were also banned under the pretext that "Westerners now wouldn't laugh at us".


title: Women in Iran

text: Many of Iran's leading feminists and women's rights activists organized in the Kanun-e Banuvan to campaign in favor of the Kashf-e hijab.


title: Women in Iran

text: To enforce this decree, the police were ordered to physically remove the veil from any woman who wore it in public. Women who refused were beaten, their headscarves and chadors torn off, and their homes forcibly searched.


title: Women in Iran

text: Until Reza Shah's abdication in 1941, many conservative women simply chose not leave their houses in order to avoid confrontations, and a few even committed suicide to avoid removing their hijabs due to the decree. A far larger escalation of violence occurred in the summer of 1935, when Reza Shah ordered all men to wear European-style bowler hats. This provoked massive non-violent demonstrations in July in the city of Mashhad, which were brutally suppressed by the Imperial Iranian army, resulting in the deaths of an estimated 100 to 500 people (including women and children).


title: Women in Iran

text: Some Western historians have stated that the reform would have been a progressive step if women had initiated it themselves, but that the method of banning it humiliated and alienated many Iranian women, since its effect was, because of the effect of traditional beliefs, comparable to a hypothetical situation in which European women were suddenly ordered to go out topless into the street. Some historians have pointed out that Reza Shah's ban on veiling and his policies were unseen in Atatürk's Turkey. The ban lasted for five years; from 1936 until 1941.


title: Women in Iran

text: Under next ruler Mohammad Reza Pahlavi, wearing of the veil or chador was no longer an offence, and women were able to dress as they wished.


title: Women in Iran

text: However, under his regime, the chador became a hindrance to climbing the social ladder, as it was considered a badge of backwardness and an indicator of being a member of the lower class. Veiled women were assumed to be from conservative religious families with limited education, while unveiled women were assumed to be from the educated and professional upper- or middle class. The veil became a class marker; while the lower classes started to wear the veil again, the upper classes no longer wore the veil at all, while professional middle class women such as teachers and nurses appeared unveiled in their work place, but sometimes veiled when they returned home to their families.


title: Women in Iran

text: A few years prior to the Iranian revolution, a tendency towards questioning the relevance of Eurocentric gender roles as the model for Iranian society gained ground among university students, and this sentiment was manifested in street demonstrations where many women from the non-veiled middle classes put on the veil and symbolically rejected the gender ideology of Pahlavi regime and its aggressive deculturalization. Many argued that veiling should be restored to stop further dissolution of the Iranian identity and culture, as from an Iranian point of view the unveiled women are seen as exploited by Western materialism and consumerism.


title: Women in Iran

text: Wearing of headscarf and chador was one of main symbols of the revolution along with the resurgence and wearing of other traditional Iranian dresses. Headscarves and chadors were worn by all women as a religious and/or nationalistic symbols, and even many secular and Westernized women, who did not believe in wearing them before the revolution, began wearing them, in solidarity with the vast majority of women who always wore them.


title: Women in Iran

text: Wearing headscarves and chadors was used as a significant populist tool and Iranian veiled women played an important rule in the revolution's victory.


title: Women in Iran

text: After the Islamic Revolution, the policy inherited from the Kashf-e hijab was turned around. Instead of being forced to remove their veil, women were now subjected to the reversed ban against unveiling, and the veil were now enforced upon all women. The non-conservative women, who had worn the veil as a symbol of opposition during the revolution, had not expected veiling to become mandatory, and when the veil was first made mandatory in February 1979 it was met with protests and demonstrations by liberal and leftist women, and thousands of women participated in a women's march on International Women's Day, 8 March 1979, in protest against mandatory veiling. The protests resulted in the temporary retraction of mandatory veiling.


title: Women in Iran

text: When the left and the liberals were eliminated and the conservatives secured solitary control, however, veiling was enforced on all women. This began with the 'Islamification of offices' in July 1980, when unveiled women were refused entry to government offices and public buildings, and banned from appearing unveiled at their work places under the risk of being fired. On the streets, unveiled women were attacked by revolutionaries, and two slogans of the revolution were: "Wear a veil, or we will punch your head" and "Death to the unveiled". In July 1981, an edict of mandatory veiling in public was introduced, which was followed in 1983 by an Islamic Punishment Law, introducing a punishment of 74 lashes on unveiled women. The law was enforced by members of the Islamic Revolution Committees patrolling the streets, and later by the Guidance Patrols, also called the Morality Police.


title: Women in Iran

text: Since hijab was legally imposed on all Iranian women in 1984, post revolutionary Iranian women's fashion has seen Iranian women attempt to work within the narrow confines of the Islamic modesty code, with the typical attire gradually evolving from the standard black chador to a rousari (simple headscarf) combined with other colorful elements of clothing. In 2010, 531 young females (aged 15–29) from different cities in nine provinces of Iran participated in a study the results of which showed that 77 percent prefer stricter covering, 19 percent loose covering, and only 4 percent do not believe in veiling at all. A tendency towards Western dress correlated with 66 percent of the latest non-compliance with the dress-code. In Tehran, police will no longer arrest any women seen violating modest code but will instead be fined or given classes by the police.


title: Women in Iran

text: There have been many changes in Iran's society in the years since the revolution, often referred to as the "generation gap". This gap is overreaching and affects issues such as lifestyle, familial relationships, politics, and religion. For many of the young women one topic gaining popularity is the issue of the veil. After the 1979 revolution, the Hijab became compulsory as well as modesty requirements; loose-fitting clothing as well as a Rusari (headscarf) that covers all the hair. There has also been a rise in baddhi-jab, or girls who wear the legal requirements but not to the letter of the law, often having the majority of their hair showing. Many young urban Iranian women claimed that they are becoming less traditional. Many view their clothing style as a personal choice include the choice to veil. Issues and protests against the veil became symbolic as resistance against the Islamic regime.


title: Women in Iran

text: Masih Alinejad in 2015 launched My Stealthy Freedom, which encouraged Iranian women to post pictures without their hijab. After December more than 35 protesters were arrested in just Tehran. The reaction from the government has been severe; police have stated that any women that participate in demonstrations against compulsory hijab could face up to 10 years in prison. The situation had become more tense in April after a video was shared showing a woman being slapped by a female member of Gast-e-Ersade (morality police) for wearing a loose headscarf. This incident also drew international attention to the issues Iranian women were facing.


title: Women in Iran

text: The Gasht-E-Ershaad (also known as the Guidance Patrol) is a part of Iranian Islamic religious police, which is tasked with enforcing Iran's headscarf and dress code laws. They have the authority to chastise and even arrest women who do not conform to dress "modesty tests".


title: Women in Iran

text: Women who are arrested for demonstrating against compulsory hijab claim that they are held in solitary confinement and subjected to torture and beatings. Protests against compulsory hijab continued with the response becoming larger. In December 2017 and January 2018, several women took off their headscarves to protest. These women became known as "the Girls of Revolution Street". One of "the Girls of Revolution Street", Vida Mohaved, was arrested for crimes against public morals, encouraging corruption and prostitution, and was sentenced to a year in prison. Punishment is given out to not only those who protest but also those who defend them; Nasrin Sotoudeh, an Iranian human rights lawyer who defended women who were being prosecuted for protesting compulsory hijab, was sentenced to 38 years in prison and 148 lashes. She was tried on the charges of assembly and collusion against national security, propaganda against the state, membership in various human rights groups, encouraging corruption and prostitution, appearing at the judiciary without Islamic hijab, disturbing public peace and order, and publishing falsehoods with the intent to disturb public opinion. Protests have continued to occur where on May 13, 2019 there was a vast peaceful protest of both male and female students on the campus of Tehran University, but they were assaulted by other protesters who were chanting "Students may die, but we will not tolerate indignity". This protest was created to bring together Iranians in order to show their frustration with the government and an effort to receive change that has been sought for a long time. The protest turned violent when Iranian officers became involved.


title: Women in Iran

text: In June 2018, Iranian human rights lawyer Nasrin Sotoudeh, who represented women arrested for removing their headscarves, was arrested and sentenced to 38 years in prison and 148 lashes for national security-related offenses. She is one of the seven human rights lawyers arrested in Iran in 2018.


title: Women in Iran

text: Over the past two centuries, women have played a prominent role in Persian literature, however, it mostly remained predominantly male-focused. The literary work of women was repressed for many years and even denied to them. Contemporary Iranian poets such as Simin Behbahani, Forough Farrokhzad, Parvin Etesami and Mina Assadi have helped in the inclusion of woman literature in Iran. Simin Behbahani has written passionate love poems as well as narrative poetry enriched by a motherly affection for all humans. She has been an advocate for individual rights regardless of anyone's gender, class or religion. In addition, Behbani does not compete in her literature but instead writes and empowers both man and woman. Behbahani is president of The Iranian Writers' Association and was nominated for the Nobel Prize in literature in 1997.


title: Women in Iran

text: Contemporary authors include Simin Daneshvar, Mahshid Amirshahi, Shahrnush Pârsipur, Moniru Ravânipur and Zoya Pirzad to name a few. Daneshvar's work spans pre-Revolutionary and post-Revolutionary Iranian literature. Her first collection of short stories, "Âtash-e khâmush" (Fire Quenched), was published in 1948. It was the first collection of short stories published by a woman in Iran. In 1969, she published "Savushun" (Mourners of Siyâvash), a novel that reflected the Iranian experience of modernity during the 20th century. It was the first novel published by a woman in Iran. Daneshvar was the first president of the Iranian Writers' Association. Shahrnush Pârsipur became popular in the 1980s following the publication of her short stories. Her 1990 novel, "Zanân bedûn-e Mardân" (Women Without Men), addressed issues of sexuality and identity. Many people criticized her work for being too outspoken and because she challenged many traditional views such as sexual oppression, virginity, and sexuality. As a result, it was ultimately banned by the Islamic Republic. Moniru Ravânipur's work includes a collection of short stories, "Kanizu" (The Female Slave), and her novel "Ahl-e gharq" (The People of Gharq). Ravânipur is known for her focus on rituals, customs, and traditions of coastal life.


title: Women in Iran

text: Perhaps Qamar ol-Molouk Vaziri was the first female master of Persian music who introduced a new style of music and was praised by other masters of Persian music of the time. Several years later, Mahmoud Karimi trained women students—Arfa Atrai, Soosan Matloobi, Fatemeh Vaezi, Masoomeh Mehr-Ali, and Soosan Aslani—who later became masters of Persian traditional music. Soodabeh Salem and Sima Bina developed Iranian children's music and Iranian folk music respectively.


title: Women in Iran

text: Innovations made by Iranian women are not restricted to Persian music. For instance, Lily Afshar is working on a combination of Persian and Western classical music.


title: Women in Iran

text: Googoosh is one of the most famous Iranian singers. Her legacy dates back to pre-Revolutionary times in Iran, where her fame in Iran reached heights equivalent to Elvis Presley or Barbra Streisand. She became iconic when, after the 1979 Iranian Revolution, she lived unheard of for more than 20 years. In 2000, she emerged from Iran with an international tour.


title: Women in Iran

text: Iranian women have played an important role in gaining international recognition for Iranian art and in particular Iranian cinema.


title: Women in Iran

text: Since the rise of the Iranian "New Wave" of Persian cinema, Iran has produced record numbers of film school graduates; each year more than 20 new directors, many of them women, make their debut films. In the last two decades, the percentage of Iranian film directors who are women has exceeded the percentage of women film directors in most Western countries. The success of the pioneering director Rakhshan Bani-Etemad suggests that many women directors in Iran were working hard on films long before director Samira Makhmalbaf made the headlines. Internationally recognized figures in Persian women's cinema are Tahmineh Milani, Rakhshan Bani-Etemad, Zahra Dowlatabadi, Niki Karimi, Samira Makhmalbaf, Mahin Oskouei, Pari Saberi, Hana Makhmalbaf, Pouran Rakhshandeh, Shirin Neshat, Sepideh Farsi, Maryam Keshavarz, Yassamin Maleknasr, and Sara Rastegar.


title: Women in Iran

text: Iranian writer-director Rakhshan Bani-Etemad is probably Iran's best known and certainly most prolific female filmmaker. She has established herself as the elder stateswoman of Iranian cinema with documentaries and films about social pathology. One of the best-known female film directors in the country today is Samira Makhmalbaf, who directed her first film, "The Apple" when she was only 17 years old. Samira Makhmalbaf won the 2000 Cannes Jury Prize for "Blackboards", a film about the trials of two traveling teachers in Kurdistan.


title: Women in Iran

text: And many creators of classical verse and prose were women themselves as well. One can mention Qatran Tabrizi, Rabia Balkhi, Táhirih, Simin Behbahani, Simin Daneshvar, Parvin E'tesami, Forough Farrokhzad, Mahsati and Mina Assadi in this group to name nine of them.


title: Women in Iran

text: In Western democracies, there is a general view of women in modern Iran and the Islamic World writ large as victims of a patriarchal system that oppresses and enslaves them. Such a perspective was criticized by Ayatollah Khomeini, who argued:


title: Women in Iran

text: Also, negative perceptions about foreign women are common inside Iran, where American and Western women are frequently seen as "commodified" objects of male desire.


title: Anneke van Giersbergen

text: Anna Maria "Anneke" van Giersbergen (born 8 March 1973) is a Dutch singer, songwriter and guitarist who became known worldwide as the lead singer for the rock band The Gathering between 1994 and 2007. She also has a solo career. The project was originally called Agua de Annique, but now goes by her own name.


title: Anneke van Giersbergen

text: A frequent collaborator of Arjen Anthony Lucassen, she portrayed main characters in the albums "Into the Electric Castle", "01011001" and "The Theater Equation" by his project Ayreon. In 2014 they collaborated on a project called The Gentle Storm, which produced an album titled "The Diary" that was released in 2015. Since 2016 she has formed a new band VUUR with members of The Gentle Storm live band and her own solo band, to focus on the heavier side of her music. They released their debut album "In This Moment We Are Free – Cities" in October 2017.


title: Anneke van Giersbergen

text: Van Giersbergen has also prominently collaborated with Devin Townsend on many of his albums, Within Temptation, Anathema, Lawn, Farmer Boys, Napalm Death, Moonspell, Novembers Doom, Globus, Giant Squid, and many other artists and projects.


title: Anneke van Giersbergen

text: Van Giersbergen was born in the small town of Sint-Michielsgestel, Netherlands. She began singing at age 7, when she participated in a music contest. At 12 years old she participated in her school choir where she studied and toured through France. Later, she took singing lessons and joined several bands. In 1992, she founded the duo "Bad Breath" with guitarist and singer Deniz Cagdas (Spencer Edgards), with music predominantly based on blues, jazz, folk and funk. She joined The Gathering in 1994, and is best known for her work with them.


title: Anneke van Giersbergen

text: In 1998, she sang on the Ayreon album "Into the Electric Castle", a concept album telling the tale of an alien entity 'kidnapping' eight human souls from different times. Van Giersbergen portrayed an Egyptian woman from the time of the pharaohs.


title: Anneke van Giersbergen

text: In 2006, she appeared on the album 2006 "Rubicon" from Asia band members' John Wetton and Geoffrey Downes on the tracks "To Catch a Thief" and "Tears of Joy". She also appears on the "Smear Campaign" by the grindcore-death metal band Napalm Death, on the tracks "Weltschmerz" and "In Deference", contributing spoken rather than sung vocals "for good effect and relevance to the track".


title: Anneke van Giersbergen

text: In June 2006, the epic rock band Globus released the album "Epicon", which included Van Giersbergen's vocal and writing contributions. Van Giersbergen co-wrote the lyrics for "Mighty Rivers Run", and sang lead vocal on the track as well as dueting with Christine Navarro on the seminal "Diem Ex Dei".


title: Anneke van Giersbergen

text: On 5 June 2007 it was announced that Van Giersbergen would be leaving The Gathering in August 2007 to focus on a new project, Agua de Annique, and to spend more time with her family. She released three albums under this name, "Air" in 2007 and both "Pure Air" and "In Your Room" in 2009. On 24 November 2007, she performed the song "Somewhere" with Within Temptation in Eindhoven. Her 7 February 2008 performance of "Somewhere" with Within Temptation at the Ahoy Arena in Rotterdam was featured in the Within Temptation live DVD "Black Symphony".


title: Anneke van Giersbergen

text: Van Giersbergen also sings on the Ayreon album "01011001", released in early 2008. The character she portrays is one of the Forever, an alien being of the same race, who kidnapped her character from "Into the Electric Castle".


title: Anneke van Giersbergen

text: She sings on "Scorpion Flower" from the album "Night Eternal" (2008) from Moonspell. On 3 December 2008, she performed this song live with Moonspell at the 013 in Tilburg, The Netherlands.


title: Anneke van Giersbergen

text: Van Giersbergen collaborated with Devin Townsend on his albums "Addicted" in 2009, "Epicloud" in 2012, "Sky Blue" in 2014, "Transcendence" in 2016, and "Empath" in 2019.


title: Anneke van Giersbergen

text: She also appeared as guest vocalist on several Devin Townsend Project live shows including the second show in the concert series in 2011 and The Retinal Circus in 2012, both of which were released as DVD.


title: Anneke van Giersbergen

text: She appeared as a guest vocalist on the debut album of "The Human Experimente", a project which also features Robert Fripp (King Crimson), John Wetton (Asia, King Crimson), Maynard James Keenan (Tool, A Perfect Circle, Puscifer), Adrian Belew, U-G-O with Sean Kingston, and Dann Pursey (Globus, Vantan).


title: Anneke van Giersbergen

text: In 2011, Van Giersbergen collaborated with Yoav Goren on the song "The Promise", the lead track on Globus second album "Break From This World". She co-wrote lyrics and, along with Lisbeth Scott, was a featured vocalist on the track. She performed the track "What Could Have Been" for death-doom metal band Novembers Doom. Van Giersbergen also features on a track in the orchestral re-interpretations album from English progressive rock band Anathema, "Falling Deeper", released on 5 September 2011. She toured with the band in South America, singing "Everwake" during concerts.


title: Anneke van Giersbergen

text: Van Giersbergen released a solo album, "Everything Is Changing", in 2012, followed by "Drive" in 2013.


title: Anneke van Giersbergen

text: On 22 April 2014, Arjen Anthony Lucassen revealed that his next project would be a collaboration with Van Giersbergen, their third work together after the Ayreon albums "Into the Electric Castle" and "01011001". He described it as "an epic double concept album, a combination of 'classical meets metal' and 'acoustic folk'." The project is named The Gentle Storm, with their first album released in 2015.


title: Anneke van Giersbergen

text: Later in 2015, Van Giersbergen collaborated again with Lucassen, portraying the character of Fear in the musical "The Theater Equation", consisting of three shows of a semi-staged version of the Ayreon album "The Human Equation" (Mikael Åkerfeldt originally recorded the vocals for Fear on the album).


title: Anneke van Giersbergen

text: In February 2016, she released a collaboration album with the Icelandic band Árstíðir called "Verloren Verleden".


title: Anneke van Giersbergen

text: On 1 December 2016, she announced the creation of her new band, named VUUR, with musicians coming mostly from The Gentle Storm live band. Their debut album was released in 2017.


title: Anneke van Giersbergen

text: In 2018 she performed on "Amongst Stars" from Finnish Heavy Metal band Amorphis' album Queen of Time, including appearing on the official music video. She also performed in two concerts alongside Residentie Orkest The Hague covering songs from Van Giersbergen's whole career, later released in the live album "Symphonized" in October.


title: Anneke van Giersbergen

text: In 2019, she toured the Netherlands on an acoustic theatre tour 'Inchecken', performing a career-spanning setlist alongside VUUR bandmate Ferry Duijsens in over 40 Dutch theatres, touring from January to March.


title: Anneke van Giersbergen

text: She also joined Amorphis and Delain for their 2019 North American tour, performing a solo setlist as well as performing "Amongst Stars" alongside Amorphis during their set. On 16 November, she announced a solo album titled "The Darkest Skies Are the Brightest", set for release on 26 February 2021.


title: Anneke van Giersbergen

text: Van Giersbergen's musical roots are in classical and jazz music, but she enjoys rock and pop the most. Some of her main influences are Prince, Ella Fitzgerald and Thom Yorke (Radiohead).


title: The Old Ways

text: The Old Ways is a 2020 American folk horror film directed by Christopher Alender. It stars Brigitte Kali Canales as Cristina Lopez, a Mexican-American reporter who returns to her hometown near Veracruz in search of a story on witchcraft. There, she is kidnapped by a group of locals, including a "bruja" (a female practitioner of witchcraft), who believe her to be possessed by a demon.


title: The Old Ways

text: A young Cristina watches as her mother undergoes an exorcism. When her mother beckons Cristina to her bedside, the demon controlling her lunges at Cristina and leaves scratches on her arm.


title: The Old Ways

text: In the present, an adult Cristina wakes up in a remote hut in Veracruz, Mexico. A man, Javi, asks her why she was in a region called La Boca. Luz, a Nahua bruja, looks into her eyes and proclaims, "She has it." Javi then forces Cristina to drink goat's milk to purify her soul. Cristina's cousin Miranda explains that she found her lying unconscious at La Boca and brought her to Luz and Javi to help her.


title: The Old Ways

text: It is revealed that Cristina is a Los Angeles journalist who returned to her hometown to investigate the La Boca ruins. She is addicted to heroin and continues to inject the drug with her remaining syringes while chained to her bed, insisting that she does not have a demon inside of her. Luz and Javi perform a ritual to exorcise the demon. Though Cristina remains skeptical, she accepts she is possessed after disturbing events occur: snakes enter her room, she finds a rooster inexplicably mangled in her cell, and sees candles burn out and lead to a dark corner in the room. During another ritual, Luz seems to pull animal teeth out of her abdomen, and unsuccessfully tries to extract a snake, which escapes back into her body.


title: The Old Ways

text: One night, she chokes Javi unconscious and tries to escape, but the salt line across the threshold of the door prevents her from leaving. She becomes a believer in the demon, Postehki, after she vomits hair and black liquid. Postehki is "the death god of broken things," and has inhabited her because she is chronically depressed from spending her youth in foster care and turned to heroin. The demon has called her back to her hometown so he can finish "consuming" her. She discards what's left of her heroin supply and becomes determined to defeat the demon.


title: The Old Ways

text: Cristina asks about a mysterious boy she sees occasionally. The group declares they don't know of any boy living nearby. Cristina discovers the "broken man ritual" from a book Miranda gave her. During another ritual, Luz temporarily subdues a convulsing Cristina. Postehki reveals itself to Luz, who seizes its heart, sacrificing her life to expel it and save Cristina. However, Postehki enters Miranda through the scratches Cristina gave her earlier. Cristina paints her face, taking over the bruja role from Luz, and they draw out Postehki through rejecting the old ritualistic ways in favor of a more compassionate approach. Cristina grabs its heart, throws it to Miranda, who stabs it - burning and apparently killing Postehki.


title: The Old Ways

text: Cristina's editor Carson is brought to the hut by the locals after he was found near La Boca. He's arrived to rescue her, but he's brought more heroin. Cristina is uninterested in the drugs, and instead determines that he has been possessed once she sees his eyes. She begins the ritual to save Carson, having fully assumed the role as the new bruja.


title: The Old Ways

text: On Rotten Tomatoes, "The Old Ways" has an approval rating of based on reviews, with an average rating of . The site's critical consensus reads, "A demonic possession movie with impressive depth, "The Old Ways" uses familiar genre ingredients to cast a uniquely gripping spell."


title: The Old Ways

text: Deirdre Crimmins, writing for "Rue Morgue", called the film "part possession, part "bruja", and part confession, and an all-around good and scary movie."


title: Space Seed

text: "Space Seed" is the twenty-second episode of the of the American science fiction television series "". Written by Gene L. Coon and Carey Wilber and directed by Marc Daniels, it first aired on February 16, 1967.


title: Space Seed

text: In the episode, the "Enterprise" crew encounter a sleeper ship holding selectively bred superpeople from Earth's past. Their leader, Khan Noonien Singh (Ricardo Montalbán), attempts to take control of the "Enterprise".


title: Space Seed

text: "Space Seed" has been named one of the best episodes of the series by "Cinefantastique" and IGN. The 1982 film "" serves as a sequel to this episode. References to "Space Seed" appear in episodes of "" and "".


title: Space Seed

text: The USS "Enterprise" finds the derelict SS "Botany Bay" adrift in space. A boarding party consisting of Captain Kirk, Doctor Leonard McCoy, Chief Engineer Montgomery Scott, and historian Lieutenant Marla McGivers beams over to the freighter. The boarding party finds a cargo of 84 humans, 72 of whom are alive in suspended animation after nearly 200 years, the other 12 having perished during the journey. McGivers identifies the group's leader, who begins to revive and is taken back to the "Enterprise" for a medical examination.


title: Space Seed

text: Kirk has "Botany Bay" taken in tow by a tractor beam, and "Enterprise" sets course for Starbase 12. In sickbay, the group's leader awakens and introduces himself as "Khan". McGivers marvels over Khan, a living relic from the 20th century, her field of interest. First Officer Spock discovers that their guest is actually Khan Noonien Singh, who, along with his people, are products of 20th-century selective breeding designed to create perfect humans. The genetic superhumans instead became tyrants and conquered more than a third of the planet during the Eugenics Wars of the 1990s; however Khan is admired by all the command-crew but Spock, in that Khan was by all measures a benevolent dictator, with no massacres under his rule, no war until he was attacked, and he had a great vision to unite humanity. Later Kirk asks Khan why he left Earth, when he was needed most; and Khan responds that the superhumans offered the world "order," but were refused.


title: Space Seed

text: Khan is placed under guard in quarters. McGivers is sent to brief him on current events. Taking advantage of McGivers' attraction towards him, Khan tells her he means to find a planet willing to be led by him, and needs her help to take over "Enterprise". Reluctantly, she agrees, beaming Khan to "Botany Bay", where he revives the rest of his people. They return to "Enterprise" and take control of the ship, but cannot navigate it. Khan throws Kirk into a decompression chamber and threatens to slowly suffocate all of them unless at least one of Kirk's crew agrees to help him, promising to treat them well if they join him and saying that improving man is better than improving machines. But not a single crew-member helps him and Khan is dumbfounded.


title: Space Seed

text: Having a change of heart, McGivers frees Kirk from the chamber. Kirk and Spock vent anesthetic gas throughout the entire ship to disable Khan and his people. Khan escapes the gas and goes to Engineering, where he attempts to destroy "Enterprise", but Kirk confronts him. They fight and Kirk knocks Khan unconscious.


title: Space Seed

text: Kirk holds a hearing to decide the fate of Khan and his people. In a shocking turn of events, Kirk drops all charges, believing that sentencing Khan and his people to a penal colony would be a terrible waste of their potential. He offers Khan a choice to either join modern society as a commoner or settle and rule Ceti Alpha V, an uninhabited, fertile world that he describes as "no worse than the Botany Bay Colony on Earth," and which Kirk believes would be a perfect place for Khan to "tame". Khan accepts Kirk's offer, citing Milton's "Paradise Lost". Instead of a court-martial for McGivers, Kirk allows her to go with Khan. Spock notes that it would be interesting to see what Khan makes of Ceti Alpha V in 100 years. (Correct astronomical nomenclature would designate the star as "Alpha Ceti," and the planet as "Alpha Ceti e.")


title: Space Seed

text: Carey Wilber was hired to write a script for an episode of "Star Trek". His idea was based on an episode he wrote for the television series "Captain Video and His Video Rangers" (1949–1955). His work on that show featured Ancient Greek-era humans transported in suspended animation through space, with the people of the future finding that they have mythological powers. For "Space Seed", Wilber replaced these mythological powers with abilities that were enhanced due to genetic engineering. Wilber had briefly worked with Gene Roddenberry on the television series "Harbormaster". His science fiction extended beyond "Star Trek": he also wrote scripts for "Lost in Space" and "The Time Tunnel" around the same time. The script changed numerous times during preproduction as producer Bob Justman felt that it would be too expensive to film. Eventually Gene L. Coon and series creator Gene Roddenberry also made alterations.


title: Space Seed

text: In Wilber's first proposal for the story that became "Space Seed", dated August 29, 1966 (shortly before the first episode of "Star Trek" aired) the villain was Harold Erickson, an ordinary criminal exiled into space. He sought to free his gang from "Botany Bay", seize "Enterprise", and become a pirate. Parts of the story were inspired by the use of penal colonies in the 18th century, and characterizations were based on descriptions from the series' writer's bible. As a result, several elements of the draft differed from how the characters behaved in the series; for example, the draft includes a scene where Spock defeats Kirk at chess by cheating. Producer Gene L. Coon told Wilber that his work was the best outline he had seen during his time on "Star Trek". Fellow producer Bob Justman was less enthusiastic; he compared it negatively to "Flash Gordon" and "Buck Rogers", and felt the concept would be too expensive to film. There were also concerns that an unsolicited script submitted by science fiction author Philip José Farmer resembled the proposed plot which, as Roddenberry had corresponded with Farmer, might lead to litigation.


title: Space Seed

text: NBC executives reviewed the plot for "Space Seed" and approved it, but Justman reassessed the outline, saying that it needed to be heavily revised. In September, Wilber was given a list of suggested changes including asking him to remove any mention of the setting, as the producers did not want to say how far in the future "Star Trek" was set, and to remove the chess scene. Wilber submitted a second draft, but Roddenberry still had problems with basic elements of the script. He did not believe common criminals would be fired into space as a solution and strongly disliked the notion of space pirates. The second draft introduced the idea that Kirk marooned Erickson and his crew on a new planet; this remained in the final version. Wilber was not asked for a third draft; Coon was tasked with the re-write; he submitted it on December 7 and updated it twice over the following five days. Wilber accepted Coon's re-writes, and left the staff after the submission of his second draft as his contractual obligations were complete.


title: Space Seed

text: Coon proposed that Erickson should be a rival to Kirk, a genetic superman who had once ruled part of Earth. Roddenberry and Justman were still unhappy with the script, and Roddenberry revised it once more a week before filming was due to begin, after Montalbán had been cast. In this draft the blond Nordic character of Erickson became closer to the version seen on screen. In Roddenberry and Coon's script, the character was renamed Sibahl Khan Noonien. The name Govin Bahadur Singh was suggested by the DeForest Research company, who checked scripts for potential errors on behalf of the production company; the Singh name was suggested in part because it was closer to actual Sikh names. Coon and Roddenberry settled on Khan Noonien Singh; Roddenberry had an old Chinese friend named Noonien Wang that he had lost touch with, and hoped that Wang would see the episode and contact him. In the final draft, Roddenberry listed himself as the primary writer, Coon as co-writer and Wilber was absent, but the Writers Guild of America turned down Roddenberry's request to be credited; Coon received the main credit; Wilber was given co-writer and "story-by" credits. Wilber did not often watch his own work, and nearly thirty years later had never seen "Space Seed". Coon was later credited as Lee Cronin for his part in production of the script.


title: Space Seed

text: Mexican actor Ricardo Montalbán was cast as the genetic superman Khan Noonian Singh, having been the first choice for the role. He had been suggested by casting director Joseph D'Agosta, who was not looking to cast an actor of a particular ethnic background due to Roddenberry's vision for the series; Roddenberry wanted to show his perceived 23rd century values by not requiring any specific ethnicities when casting actors in guest roles. Montalbán had previously appeared in a television movie created by Roddenberry, "The Secret Weapon of 117" (also referred to as "The Secret Defense of 117"), which was the writer's first attempt to create science fiction on television and aired more than ten years before "Star Trek". Montalbán called his role as Khan "wonderful", saying that "it was well-written, it had an interesting concept and I was delighted it was offered to me". The main cast were enthusiastic about working with Montalbán; DeForest Kelley later said "I enjoyed working with Ricardo the best. I was privileged. He is a marvelous actor."


title: Space Seed

text: Madlyn Rhue, who portrayed Lt. Marla McGivers, had previously worked with Montalbán in an episode of "Bonanza" in 1960 as his on-screen wife; she later appeared with him in a 1982 episode of "Fantasy Island". Montalbán and Rhue also appeared in separate episodes of Roddenberry's previous NBC television series, "The Lieutenant" (1963–1964). Main cast member George Takei did not appear in "Space Seed"; the character of Hikaru Sulu was replaced by Blaisdell Makee as Lt. Spinelli. It was the first of two appearances in "Star Trek" for Makee, who returned in the episode "" as Lt. Singh. John Winston appeared for the second time as Lt. Kyle, and went on to make nine further episodic appearances in that role. Following positive feedback from the producers and the network regarding James Doohan, "Space Seed" was the first episode to feature a more prominent role for his character, Chief Engineer Montgomery Scott.


title: Space Seed

text: Filming of "Space Seed" began December 15, 1966, and concluded on December 22 after six days of shooting. Roddenberry, Coon and Wilber's rewrites resulted in a shooting script of nearly 60 pages and 120 scenes. Marc Daniels was hired to direct the episode; he had previously worked on "The Lieutenant". The first day's filming coincided with the airing of the episode "Balance of Terror", and Daniels allowed the cast and crew to go home early to watch it. The other five days ran to schedule, to the extent that there was an early finish on the final day of filming, allowing cast and crew time to return home to watch a repeat of the episode "What Are Little Girls Made Of?" which had replaced "" on that evening's schedule. A scene filmed but later cut from the episode depicted a discussion between McGivers and Angela Martine (Barbara Baldavin), intended to show that McGivers was looking for a forceful man. Further scenes were trimmed after filming following input from NBC. For example, scenes shot on the "Botany Bay" were cut as executives felt the costumes worn by the newly awakened crew were too revealing.


title: Space Seed

text: The character of Khan required five costumes, more than any other guest star in the entire series. This meant that the staff working on costumes had less time to devote to any one costume. Montalbán's athletic physique was such that when his measurements were passed to them, staff thought there had been a mistake. Costume designer William Ware Theiss found it challenging to produce the outfits in the time allotted, to make the materials seem suitably futuristic and to fit his own preferences in design. Two of Khan's outfits re-used previous costumes, while three were specifically created for Montalbán. The production built two new sets for the episode: the decompression chamber in sickbay, and the set on board "Botany Bay". A doorframe from that set was later reused as an overhead unit in McCoy's research lab, which appeared later in the series.


title: Space Seed

text: Post-production on "Space Seed" began on December 23, 1966, and ran through February 5 the following year. The Westheimer Company produced the majority of effects in the episode, but the scenes of "Enterprise" and "Botany Bay" in space were produced by Film Effects of Hollywood who were not credited on screen for their work. "Botany Bay" utilized a design Matt Jefferies created prior to the USS "Enterprise". It had been previously labeled "antique space freighter", and was built by Film Effects of Hollywood. The creation of the ship miniature caused the episode to go over budget by more than $12,000; "Space Seed" actually cost a total of $197,262 against a budget of $180,000. By this point, the series was nearly $80,000 over budget in total. The "Botany Bay" model was later re-purposed as a freighter for the episode "The Ultimate Computer".


title: Space Seed

text: The sound effects team borrowed effects and manipulated them in order to achieve the "painted sound" effect sought by Roddenberry. Although a number of sources were used, they attempted to avoid most science fiction television series as they wanted an authentic sound. The sound archive of the United States Air Force was used, although the photon torpedo sound was created from the 1953 film "The War of the Worlds". "Space Seed" was awarded the Golden Reel for sound editing on television by the Motion Picture Sound Editors society.


title: Space Seed

text: "Space Seed" was first broadcast in the United States on February 16, 1967, on NBC. A 12-city overnight Trendex report compiled by Nielsen ratings showed that during the first half-hour, it held second place in the ratings behind "Bewitched" on ABC with 13.12 million viewers compared to "Bewitched"s 14.44 million. The episode beat "My Three Sons" on CBS. During the second half-hour it was pushed into third place in the ratings by the start of the Thursday Night Movie on CBS, the Western film "One-Eyed Jacks" starring Marlon Brando, which received 35.5 percent of the audience share compared to 28 percent for "Space Seed".


title: Space Seed

text: A high-definition remastering of "Space Seed", which introduced new special effects and starship exteriors as well as enhanced music and audio, was shown for the first time on November 18, 2006, in broadcast syndication. It was the eleventh remastered episode to be shown. This meant that the episode was made available to over 200 local stations across the United States with the rights to broadcast "Star Trek", and depending on the station it was broadcast either on November 18 or 19.


title: Space Seed

text: In 1967, "The Indiana Gazette" described "Space Seed" as "a good piece of science fiction". The "Kokomo Tribune" called it "imaginative", and also said that the episode was "particularly interesting" for "its commentary on the scientific know-how of the late 1990s".


title: Space Seed

text: Later reviewers watched the episodes several decades after broadcast. Zack Handlen of "The A.V. Club" gave the episode an 'A' rating, noting its strong characters and the interplay between Kirk and Spock that emphasizes their friendship. Michelle Erica Green called the episode "legendary" in her review for TrekNation. She thought that Khan made the "perfect foil" for the trio of Kirk, Spock and McCoy and said that the episode was not dulled by later episodes and films based on "Space Seed". In Mark Pickavance's review at Den of Geek, he said that it remained an "obvious choice of great source material" to be followed up in a film.


title: Space Seed

text: The review by Eugene Myers and Torrie Atkinson on "Tor.com" criticized the attraction between McGivers and Khan, saying that it was "really uncomfortable to watch her immediate attraction to him and her easy acceptance of his abusive and controlling behavior". Both praised the episode, Myers giving it a five out of six, and Atkinson a six out of six rating. "Tor.com" also placed "Space Seed" at number three of "Star Trek"s most underappreciated elements, saying that, "As an introductory story to what old school "Star Trek" was all about, 'Space Seed' is perfect. It presents an original science fiction concept, grapples with notions of human technology and ingenuity creating a monster, and features Captain Kirk beating the crap out of someone with a piece of Styrofoam. What more could you want?"


title: Space Seed

text: The episode appears in numerous publications’ lists of top "Original Series" episodes, including "Newsweek", "Forbes", "Collider", "TV Guide", "Vulture", and "Entertainment Weekly"; IGN ranked "Space Seed" as the fourth best, praising the fist fight between Kirk and Khan. It appeared in the top ten episodes listed by "Cinefantastique" and was also included in a list of ten "must see" "Star Trek" episodes on "The A.V. Club". Handlen said that it "features a terrific performance from guest star Montalbán, gives the franchise one of its greatest villains, and sets the stage for one of the best science-fiction adventure movies ever made".


title: Space Seed

text: The first adaptation of "Space Seed" was as a re-working into a short story by author James Blish as part of the novelization "Star Trek 2". This book contained seven short stories, each based on an episode of "The Original Series" and was published in 1968. The adaptation of "Space Seed" appeared as the final story in the book.


title: Space Seed

text: "Space Seed" was the first "Star Trek" episode to go on public sale, sold as a single-episode VHS cassette in June 1982 by Paramount Home Video. It was one of the episodes of "The Original Series" published on Capacitance Electronic Disc, alongside "The Changeling", released on November 1, 1982. A LaserDisc of the episode, alongside "Return of the Archons" was released in 1985. Further releases of all episodes of the series were made on VHS and Betamax. These releases reverted to a single episode tape as in the original 1982 version.


title: Space Seed

text: The episode was released on DVD paired with "A Taste of Armageddon" as part of the general release of the series in 2000. There were no additional extras added to that entire series of releases, except the DVD containing "Turnabout Intruder". "Space Seed" was later released within a DVD box set of the first season in 2004; all three seasons of "The Original Series" were released as full-season box sets that year. The episode was included in the remastered season one release on DVD and Blu-ray in 2009. This release featured CGI remodels of "Enterprise" and other space scenes, including the "Botany Bay". The most recent release is as part of the "Star Trek: Origins" collection on Blu-ray, which was released in 2013.


title: Space Seed

text: The events of "Space Seed" are followed up in the 1982 film "". Harve Bennett was hired to produce a sequel to "" having never seen the television series; he watched every episode in preparation and latched onto Khan from "Space Seed" as the compelling villain he considered to be lacking from the first film.


title: Space Seed

text: In reprising the role of Khan, Montalbán worried that fans would see him only as Mr. Roarke from "Fantasy Island" but felt that he managed to recapture the character after re-watching "Space Seed". The film set a record for the opening weekend gross of $14.3 million, and went on to take $78.9 million domestically within the United States, making it the sixth best-selling film of the year.


title: Space Seed

text: Khan recognizes Pavel Chekov although the character did not join "Star Trek" until season two, after this episode took place. This latter error was described in Deborah Cartmell and Imelda Whelehan's book, "Adaptations: From Text to Screen, Screen to Text" as the "gaffe notorious throughout "Star Trek" fandom". The novelization of "The Wrath of Khan" stated that Chekov was working on the night shift at the time. "" with Chekov has an earlier Stardate than "Space Seed", confirming that he joined "Enterprise" before Khan's arrival.


title: Space Seed

text: A non-canon novelization by Greg Cox was later released in 2005 to fill in the timeframe between "Space Seed" and the film, titled "". This book expanded on Khan's romance with McGivers, and the author wanted to "give her a spine" as he felt that she was not "the pride of Starfleet, and even less of a feminist role-model" in her appearance in "Space Seed".


title: Space Seed

text: Events of both "Space Seed" and "The Wrath of Khan" were also directly referenced in 2013's "Star Trek Into Darkness", in which Benedict Cumberbatch portrayed Khan. The film took $70.1 million on the opening weekend, and $467.3 million internationally throughout the cinematic release.


title: Space Seed

text: As part of their line of licensed "Star Trek" comic books, IDW Publishing launched a five-part mini-series titled "" which described the early part of Khan's life and how the events in "Star Trek Into Darkness" diverged from those seen in "Space Seed". One of the film's writers, Roberto Orci, was the story consultant on the comic series. This series also explained how Khan changed physically in order to be represented by Cumberbatch in the film. A retro-style film poster for "Space Seed" was created by Juan Ortiz in 2013, released around the same as "Star Trek Into Darkness".


title: Space Seed

text: The television series "" makes several further references to the events first described in "Space Seed". In "", the survivors of the Xindi attack on Earth eventually resettle on Ceti Alpha V. The development of Khan and his followers were said to have been through selective breeding in "Space Seed". American sociologist William Sims Bainbridge said that this method would have been unable to create genetic supermen in such a short space of time and that today the less implausible method of genetic engineering (directly changing the DNA code) would be used. In fact, subsequent references to the creation of Khan and the other supermen, such as in the "" episode "Doctor Bashir, I Presume", substituted genetic engineering.


title: Space Seed

text: The Eugenics Wars, first mentioned in "Space Seed", are stated in the "Star Trek Chronology" by Michael and Denise Okuda as taking place between 1992 and 1996. They considered it fortunate that these events did not come to pass in the real world, and noted that the development of the "Botany Bay" in 1996 as an instance of where ""Star Trek" technological predictions have missed by a significant margin". The war itself has been referenced elsewhere in the "Star Trek" franchise. The first mention of the wars following "Space Seed" was in the "" episode "The Infinite Vulcan", in which a cloned version of Dr. Stavos Keniclius, a scientist from that era, clones Spock. Later, during the production of "Doctor Bashir, I Presume?", writer René Echevarria, seeking a secret past for Doctor Julian Bashir, noted that coverage of the issue of eugenics in "Star Trek" had been limited to Khan and his followers. Fellow writer Ronald D. Moore decided to link the background of Bashir to genetic engineering. "Encounter at Farpoint" and "Star Trek First Contact" confused matters by saying World War III (otherwise known as The Eugenics Wars) had occurred in the 2050s. When Echevarria wrote that the Eugenics Wars took place 200 years before the "Deep Space Nine" episode "Doctor Bashir, I Presume?", he took the time interval directly from "The Wrath of Khan", failing to factor in the additional century between the events of the original series (and its associated films).


title: Space Seed

text: Novelist Gary Cox first mentioned the events of the Eugenics Wars in his non-canon novel "Assignment: Eternity", which followed up on the events of the episode "" and included the characters of Gary Seven and Roberta Lincoln. In it, he mentioned that Seven and Lincoln were involved in overthrowing Khan during the Eugenics Wars. He had not intended to explore this any further, but he was prompted to do so by his editor at Pocket Books. He wrote a story, split into two books, about the specific events of the Eugenics Wars, entitled "Star Trek: ". As the Eugenics Wars were already meant to have taken place, he described them as a secret history that was not discovered until generations had passed. He also felt that this approach would make the books consistent with the "" episode "Future's End" in which the crewmembers travel in time to the same period of Earth's history as the Eugenics Wars, but find no such wars taking place. A further version of the Eugenics Wars was presented in the "Star Trek: Khan" comic book mini-series.


title: Space Seed

text: The "Enterprise" episodes "", "Cold Station 12" and "The Augments" showed a further group of genetic superpeople produced from embryos produced in the same era as Khan and his crew. This was a deliberate link by the producers of "Enterprise" to both "Space Seed" and "The Wrath of Khan", and was one of several plots during the fourth season of the show to include elements of "Star Trek: The Original Series" in the hope that this would boost ratings.


title: Restriction fragment length polymorphism

text: In molecular biology, restriction fragment length polymorphism (RFLP) is a technique that exploits variations in homologous DNA sequences, known as polymorphisms, in order to distinguish individuals, populations, or species or to pinpoint the locations of genes within a sequence. The term may refer to a polymorphism itself, as detected through the differing locations of restriction enzyme sites, or to a related laboratory technique by which such differences can be illustrated. In RFLP analysis, a DNA sample is digested into fragments by one or more restriction enzymes, and the resulting "restriction fragments" are then separated by gel electrophoresis according to their size.


text: RFLP analysis is now largely obsolete due to the emergence of inexpensive DNA sequencing technologies, but it was the first DNA profiling technique inexpensive enough to see widespread application. RFLP analysis was an important early tool in genome mapping, localization of genes for genetic disorders, determination of risk for disease, and paternity testing.


text: The basic technique for the detection of RFLPs involves fragmenting a sample of DNA with the application of a restriction enzyme, which can selectively cleave a DNA molecule wherever a short, specific sequence is recognized in a process known as a restriction digest. The DNA fragments produced by the digest are then separated by length through a process known as agarose gel electrophoresis and transferred to a membrane via the Southern blot procedure. Hybridization of the membrane to a labeled DNA probe then determines the length of the fragments which are complementary to the probe. A restriction fragment length polymorphism is said to occur when the length of a detected fragment varies between individuals, indicating non-identical sequence homologies. Each fragment length is considered an allele, whether it actually contains a coding region or not, and can be used in subsequent genetic analysis.


text: There are two common mechanisms by which the size of a particular restriction fragment can vary. In the first schematic, a small segment of the genome is being detected by a DNA probe (thicker line). In allele "A", the genome is cleaved by a restriction enzyme at three nearby sites (triangles), but only the rightmost fragment will be detected by the probe. In allele "a", restriction site 2 has been lost by a mutation, so the probe now detects the larger fused fragment running from sites 1 to 3. The second diagram shows how this fragment size variation would look on a Southern blot, and how each allele (two per individual) might be inherited in members of a family.


text: In the third schematic, the probe and restriction enzyme are chosen to detect a region of the genome that includes a variable number tandem repeat (VNTR) segment (boxes in schematic diagram). In allele "c", there are five repeats in the VNTR, and the probe detects a longer fragment between the two restriction sites. In allele "d", there are only two repeats in the VNTR, so the probe detects a shorter fragment between the same two restriction sites. Other genetic processes, such as insertions, deletions, translocations, and inversions, can also lead to polymorphisms. RFLP tests require much larger samples of DNA than do short tandem repeat (STR) tests.


text: Analysis of RFLP variation in genomes was formerly a vital tool in genome mapping and genetic disease analysis. If researchers were trying to initially determine the chromosomal location of a particular disease gene, they would analyze the DNA of members of a family afflicted by the disease, and look for RFLP alleles that show a similar pattern of inheritance as that of the disease (see genetic linkage). Once a disease gene was localized, RFLP analysis of other families could reveal who was at risk for the disease, or who was likely to be a carrier of the mutant genes. RFLP test is used in identification and differentiation of organisms by analyzing unique patterns in genome. It is also used in identification of recombination rate in the loci between restriction sites.


text: RFLP analysis was also the basis for early methods of genetic fingerprinting, useful in the identification of samples retrieved from crime scenes, in the determination of paternity, and in the characterization of genetic diversity or breeding patterns in animal populations.


text: The technique for RFLP analysis is, however, slow and cumbersome. It requires a large amount of sample DNA, and the combined process of probe labeling, DNA fragmentation, electrophoresis, blotting, hybridization, washing, and autoradiography can take up to a month to complete. A limited version of the RFLP method that used oligonucleotide probes was reported in 1985. The results of the Human Genome Project have largely replaced the need for RFLP mapping, and the identification of many single-nucleotide polymorphisms (SNPs) in that project (as well as the direct identification of many disease genes and mutations) has replaced the need for RFLP disease linkage analysis (see SNP genotyping). The analysis of VNTR alleles continues, but is now usually performed by polymerase chain reaction (PCR) methods. For example, the standard protocols for DNA fingerprinting involve PCR analysis of panels of more than a dozen VNTRs.


text: RFLP is still used in marker-assisted selection. Terminal restriction fragment length polymorphism (TRFLP or sometimes T-RFLP) is a technique initially developed for characterizing bacterial communities in mixed-species samples. The technique has also been applied to other groups including soil fungi. TRFLP works by PCR amplification of DNA using primer pairs that have been labeled with fluorescent tags. The PCR products are then digested using RFLP enzymes and the resulting patterns visualized using a DNA sequencer. The results are analyzed either by simply counting and comparing bands or peaks in the TRFLP profile, or by matching bands from one or more TRFLP runs to a database of known species. The technique is similar in some aspects to temperature gradient or denaturing gradient gel electrophoresis (TGGE and DGGE).


text: The sequence changes directly involved with an RFLP can also be analyzed more quickly by PCR. Amplification can be directed across the altered restriction site, and the products digested with the restriction enzyme. This method has been called Cleaved Amplified Polymorphic Sequence (CAPS). Alternatively, the amplified segment can be analyzed by allele-specific oligonucleotide (ASO) probes, a process that can often be done by a simple dot blot.


title: Sick of It (TV series)

text: Sick of It is a British comedy-drama television series that premiered on Sky One on 27 September 2018. It was created and written by Karl Pilkington and Richard Yee (who also directed the series). Pilkington stars as both lead characters, playing his namesake Karl, and the voice inside his head that takes the form of his Doppelgänger.


title: Sick of It (TV series)

text: The series is set around Ladbroke Grove in London and follows Karl, a bored taxi driver who has been dumped by his girlfriend Zoe and moves in with his elderly American aunt Norma, and is struggling to get his life back on track. Karl's closest companion is the voice in his head, a sardonic, outspoken alter ego who takes the form of his double – it's the uncensored true version of Karl that says what he really thinks without the risk of offending others. As Karl attempts to move on from the break up and sort out his life, the voice in his head appears periodically to guide, criticise and dispense his unorthodox philosophy of life.


title: Sick of It (TV series)

text: Pilkington and Yee have worked together since 2009 on "An Idiot Abroad" and "The Moaning of Life". "Sick of It" is the first scripted project they have collaborated on.


title: Sick of It (TV series)

text: The show was renewed for a second series, which premiered in January 2020. In March 2020 in an interview with Lorraine Kelly on "Lorraine", Pilkington stated that the second series would likely be the last.


title: Sick of It (TV series)

text: Pilkington stars as the show’s two lead characters and appears in every episode. Sondra James plays his American Auntie Norma. In Series 2 Norma's carer Ruby is played by Marama Corlett who also becomes a love interest for Karl. "Sick of It" doesn’t have a regular fixed cast and instead features guest appearances each week from actors including Craig Parkinson, Kate Ashfield, Perry Benson, Finn Bennett, Remy Beasley, Mark Silcox, Raad Rawi, David Vujanic, Cokey Falcow, Lou Sanders, Shola Adewusi, Cavan Clerkin Julia Krynkeand & Doug Stanhope.


title: Sick of It (TV series)

text: Lucy Mangan from "The Guardian" gave the first two episodes 3 out of 5, observing, "It may not have been pure Pilkington, but perhaps in these melancholy times we couldn’t cope with that simple, shining joy anyway." Morgan Jeffery at RadioTimes.com gave the second series 4 stars out of 5, calling it "a smart, well-observed, touching and, yes, funny reflection on the intricacies and trivialities of modern life, and a step-up from the already formidable first series".


title: Ofrenda

text: An ofrenda (Spanish: "offering") is the offering placed in a home altar during the annual and traditionally Mexican "Día de los Muertos" celebration. An "ofrenda", which may be quite large and elaborate, is usually created by the family members of a person who has died and is intended to welcome the deceased to the altar setting.


title: Ofrenda

text: This display coincides with the Día de Muertos, which is a tradition some believe originated with the Aztecs, though others dispute this. The Aztec culture considered souls to continuously live and enter different realms when a body would die. This view the Aztecs held was commingled with the Christian beliefs that the soul is eternal (whether it be in heaven, purgatory, or hell) during the Spanish conquest of the Aztec Empire when the two cultures were merged. The ofrenda is presented in one's home in order to commemorate the souls of loved ones in the family.


title: Ofrenda

text: A common format for an "ofrenda" contains three levels or tiers. The topmost tier identifies the dead person who is being invited to the altar, frequently with photos of the deceased, along with images of various saints, statuettes of the Virgin Mary, crucifixes, etc. which are positioned in a "retablo" which forms the back of the altar; on the second tier are things placed to encourage the dead to feel at home and welcome: the deceased person's favorite food items might go here, including such things as "mole", candy, "pan dulce", and especially a sweet bread called "pan de muerto". For deceased adults, the "ofrenda" might include a bottle or poured shot glasses of tequila or mezcal, while if the deceased is a child a favorite toy might be placed here. The bottom-most tier almost always contains lit candles, and might also have a washbasin, mirror, soap, and a towel so that the spirit of the deceased can see and refresh themselves upon arrival at the altar. Throughout the altar are placed "calaveras" (decorated candied skulls made from compressed sugar) and bright orange and yellow marigolds ("cempazuchitl"), an Aztec flower of the dead. According to cultural descriptions of the celebration, the smell from the Marigolds helps guide the dead to the ofrenda, and the petals are often picked and spread in a pathway to lead the way. "Ofrendas" are constructed in the home as well as in village cemeteries and churches.


title: Ofrenda

text: The ofrenda typically features types of decorations that are representative of the four elements. For example, candles are lit on the table to symbolize the element of fire. Papel picado represents the element air because it is so light weight, you can see how the wind moves it. Since food is solid and is grown in the ground, it represents the element earth. The element of water is represented by the glasses of water. It is thought that because the journey to the land of the living is a long one, water is left out to satisfy the thirst of those who made the journey. Incense from the resin of copal trees are also used in the offering in order to produce smells that will scare away evil spirits.


title: Ofrenda

text: A non-fiction children's book called "Day of the Dead: A Mexican-American Celebration" was written by Diane Hoyt-Goldsmith. The book is about a Mexican-American family celebrating the Day of the Dead (Día de Muertos) in California and is focused on two young twins in the family. The twins help the family create an ofrenda for their loved ones, as well as a larger ofrenda for their community.


title: Ofrenda

text: In Season 15 of "Grey's Anatomy", the family of a patient build an ofrenda in her hospital room to mark the Día de los Muertos. The episode contains several other references to the holiday, including many of the doctors meditating on dead loved ones and multiple appearances of marigolds.


title: Ofrenda

text: In the 1998 PC adventure game "Grim Fandango", which is set in the Land of the Dead during the Day of the Dead, one of the supporting characters is named Olivia Ofrenda. The game is also largely based around Mexican folklore and traditions such as the Día de Muertos, as well as some Aztec mythology.


title: Ofrenda

text: In Season 2, Episode 18 of "Vampirina", featured on Disney Junior, Vampirina learns about Día de los Muertos and how to construct an ofrenda.


title: Ofrenda

text: Rooms for the Dead, a labyrinth of over 25 altars are featured each year at the Yerba Buena Center in San Francisco. The display was curated and created in 1972 by artist and activist Rene Yanez.


title: Ludacris discography

text: The discography of Ludacris, an American rapper, consists of eight studio albums, two compilation albums, one extended play (EP), six mixtapes, 89 singles (including 51 as a featured artist) and nine promotional singles. Thirty-five of those singles have charted in the Top 40 of the US Hot 100 chart.


title: Vox Populi, Vox Dei

text: Vox Populi, Vox Dei is a Whig tract of 1709, titled after a Latin phrase meaning "the voice of the people is the voice of God". It was expanded in 1710 and later reprintings as The Judgment of whole Kingdoms and Nations: Concerning the Rights, Power, and Prerogative of Kings, and the Rights, Privileges, and Properties of the People. The author is unknown but was probably either Robert Ferguson or Thomas Harrison. There is no evidence for persistent attribution to Daniel Defoe or John Somers as authors.


title: Vox Populi, Vox Dei

text: The 1709 tract's use of the Latin phrase was consistent with earlier usage of "vox populi, vox Dei" in English political history since at least as early as 1327 when the Archbishop of Canterbury Walter Reynolds brought charges against King Edward II in a sermon ""Vox populi, vox Dei"". From Reynolds onwards English political use of the phrase was favorable, not referencing an alternative context of the usage by Alcuin (c. 735 – 804) who in a letter advised the emperor Charlemagne to resist such a dangerous democratic idea on the grounds that "the riotousness of the crowd is always very close to madness".


title: Vox Populi, Vox Dei

text: "Vox Populi, Vox Dei: being true Maxims of Government" was the next year, 1710, republished under the title of "The Judgment of whole Kingdoms and Nations," with considerable alterations. The 10th printing of the revised tract was in 1771.


title: Vox Populi, Vox Dei

text: The title "Vox Populi, Vox Dei" was also borrowed in a Jacobite pamphlet to argue against the Whigs in 1719, resulting in the hanging of the young printer John Matthews.


title: Brian

text: Brian (sometimes spelled Bryan in English) is a male given name of Irish and Breton origin, as well as a surname of Occitan origin. It is common in the English-speaking world.


title: Brian

text: It is possible that the name is derived from an Old Celtic word meaning "high" or "noble". For example, the element "bre" means "hill"; which could be transferred to mean "eminence" or "exalted one". The name is quite popular in Ireland, on account of Brian Boru, a 10th-century High King of Ireland. The name was also quite popular in East Anglia during the Middle Ages. This is because the name was introduced to England by Bretons following the Norman Conquest. Bretons also settled in Ireland along with the Normans in the 12th century, and 'their' name was mingled with the 'Irish' version. Also, in the north-west of England, the 'Irish' name was introduced by Scandinavian settlers from Ireland. Within the Gaelic speaking areas of Scotland, the name was at first only used by professional families of Irish origin.


title: Brian

text: It was the fourth most popular male name in England and Wales in 1934, but a sharp decline followed over the remainder of the 20th century and by 1994 it had fallen out of the top 100. It retained its popularity in the United States for longer; its most popular period there was from 1968 to 1979 when it consistently ranked between eighth and tenth. The name has become increasingly popular in South America, particularly Argentina and Uruguay, since the early 1990s.


title: Brian

text: The surname "Brian" is sometimes an English and Irish variant spelling of the surname "Bryan". The English and French surname "Brian" is sometimes derived from the personal Celtic personal name shown above. The surname "Brian" can also sometimes be a French surname; derived from the Old Occitan word "brian", meaning "maggot" and used as a nickname.


title: Brian

text: Variants of the name include Briant, Brien, Bran, Brion, Bryan, Bryant, Brjánn (in Icelandic) and Bryon. Variant spellings such as "Brien" are sometimes used as female given names, especially among members of the Irish diaspora.


title: Molybdenum disulfide

text: Molybdenum disulfide (or moly) is an inorganic compound composed of molybdenum and sulfur. Its chemical formula is .


title: Molybdenum disulfide

text: The compound is classified as a transition metal dichalcogenide. It is a silvery black solid that occurs as the mineral molybdenite, the principal ore for molybdenum. is relatively unreactive. It is unaffected by dilute acids and oxygen. In appearance and feel, molybdenum disulfide is similar to graphite. It is widely used as a dry lubricant because of its low friction and robustness. Bulk is a diamagnetic, indirect bandgap semiconductor similar to silicon, with a bandgap of 1.23 eV. Single layer sheets act as a perfect mirror, reflecting 100% of incident photons.


title: Molybdenum disulfide

text: MoS is naturally found as either molybdenite, a crystalline mineral, or jordisite, a rare low temperature form of molybdenite. Molybdenite ore is processed by flotation to give relatively pure . The main contaminant is carbon. also arises by thermal treatment of virtually all molybdenum compounds with hydrogen sulfide or elemental sulfur and can be produced by metathesis reactions from molybdenum pentachloride.


title: Molybdenum disulfide

text: All forms of have a layered structure, in which a plane of molybdenum atoms is sandwiched by planes of sulfide ions. These three strata form a monolayer of MoS. Bulk MoS consists of stacked monolayers, which are held together by weak van der Waals interactions.


title: Molybdenum disulfide

text: Crystalline MoS is the only TMD found in nature. It exists in one of two phases, 2H-MoS and 3R-MoS, where the "H" and the "R" indicate hexagonal and rhombohedral symmetry, respectively. In both of these structures, each molybdenum atom exists at the center of a trigonal prismatic coordination sphere and is covalently bonded to six sulfide ions. Each sulfur atom has pyramidal coordination and is bonded to three molybdenum atoms. Both the 2H- and 3R-phases are semiconducting.


title: Molybdenum disulfide

text: A third, metastable crystalline phase known as 1T-MoS was discovered by intercalating 2H-MoS with alkali metals. This phase has tetragonal symmetry and is metallic. The 1T-phase can be stabilized through doping with electron donors such as rhenium, or converted back to the 2H-phase by microwave radiation. The 2H/1T-phase transition can be controlled via the incorporation of S vacancies.


title: Molybdenum disulfide

text: While bulk MoS in the 2H-phase is known to be an indirect-band gap semiconductor, monolayer MoS has a direct band gap. The layer-dependent optoelectronic properties of MoS have promoted much research in 2-dimensional MoS-based devices. 2D MoS can be produced by exfoliating bulk crystals to produce single-layer to few-layer flakes either through a dry, micromechanical process or through solution processing.


title: Molybdenum disulfide

text: Micromechanical exfoliation, also pragmatically called "Scotch-tape exfoliation", involves using an adhesive material to repeatedly peel apart a layered crystal by overcoming the van der Waals forces. The crystal flakes can then be transferred from the adhesive film to a substrate. This facile method was first used by Konstantin Novoselov and Andre Geim to obtain graphene from graphite crystals. However, it can not be employed for a uniform 1-D layers because of weaker adhesion of MoS to the substrate (either Si, glass or quartz). The aforementioned scheme is good for graphene only. While Scotch tape is generally used as the adhesive tape, PDMS stamps can also satisfactorily cleave MoS if it is important to avoid contaminating the flakes with residual adhesive.


title: Molybdenum disulfide

text: Liquid-phase exfoliation can also be used to produce monolayer to multi-layer MoS in solution. A few methods include lithium intercalation to delaminate the layers and sonication in a high-surface tension solvent.


title: Molybdenum disulfide

text: MoS excels as a lubricating material (see below) due to its layered structure and low coefficient of friction. Interlayer sliding dissipates energy when a shear stress is applied to the material. Extensive work has been performed to characterize the coefficient of friction and shear strength of MoS in various atmospheres. The shear strength of MoS increases as the coefficient of friction increases. This property is called superlubricity. At ambient conditions, the coefficient of friction for MoS was determined to be 0.150, with a corresponding estimated shear strength of 56.0 MPa (megapascals). Direct methods of measuring the shear strength indicate that the value is closer to 25.3 MPa.


title: Molybdenum disulfide

text: The wear resistance of MoS in lubricating applications can be increased by doping MoS with Cr. Microindentation experiments on nanopillars of Cr-doped MoS found that the yield strength increased from an average of 821 MPa for pure MoS (at 0% Cr) to 1017 MPa at 50% Cr. The increase in yield strength is accompanied by a change in the failure mode of the material. While the pure MoS nanopillar fails through a plastic bending mechanism, brittle fracture modes become apparent as the material is loaded with increasing amounts of dopant.


title: Molybdenum disulfide

text: The widely used method of micromechanical exfoliation has been carefully studied in MoS to understand the mechanism of delamination in few-layer to multi-layer flakes. The exact mechanism of cleavage was found to be layer dependent. Flakes thinner than 5 layers undergo homogenous bending and rippling, while flakes around 10 layers thick delaminated through interlayer sliding. Flakes with more than 20 layers exhibited a kinking mechanism during micromechanical cleavage. The cleavage of these flakes was also determined to be reversible due to the nature of van der Waals bonding.


title: Molybdenum disulfide

text: In recent years, MoS has been utilized in flexible electronic applications, promoting more investigation into the elastic properties of this material. Nanoscopic bending tests using AFM cantilever tips were performed on micromechanically exfoliated MoS flakes that were deposited on a holey substrate. The yield strength of monolayer flakes was 270 GPa, while the thicker flakes were also stiffer, with a yield strength of 330 GPa. Molecular dynamic simulations found the in-plane yield strength of MoS to be 229 GPa, which matches the experimental results within error.


title: Molybdenum disulfide

text: Bertolazzi and coworkers also characterized the failure modes of the suspended monolayer flakes. The strain at failure ranges from 6 to 11%. The average yield strength of monolayer MoS is 23 GPa, which is close to the theoretical fracture strength for defect-free MoS.


title: Molybdenum disulfide

text: Molybdenum disulfide is stable in air and attacked only by aggressive reagents. It reacts with oxygen upon heating forming molybdenum trioxide:


title: Molybdenum disulfide

text: Molybdenum disulfide is a host for formation of intercalation compounds. This behavior is relevant to its use as a cathode material in batteries. One example is a lithiated material, . With butyl lithium, the product is .


title: Molybdenum disulfide

text: Due to weak van der Waals interactions between the sheets of sulfide atoms, has a low coefficient of friction. in particle sizes in the range of 1–100 µm is a common dry lubricant. Few alternatives exist that confer high lubricity and stability at up to 350 °C in oxidizing environments. Sliding friction tests of using a pin on disc tester at low loads (0.1–2 N) give friction coefficient values of <0.1.


title: Molybdenum disulfide

text: Examples of applications of -based lubricants include two-stroke engines (such as motorcycle engines), bicycle coaster brakes, automotive CV and universal joints, ski waxes and bullets.


title: Molybdenum disulfide

text: Other layered inorganic materials that exhibit lubricating properties (collectively known as solid lubricants (or dry lubricants)) includes graphite, which requires volatile additives and hexagonal boron nitride.


title: Molybdenum disulfide

text: is employed as a cocatalyst for desulfurization in petrochemistry, for example, hydrodesulfurization. The effectiveness of the catalysts is enhanced by doping with small amounts of cobalt or nickel. The intimate mixture of these sulfides is supported on alumina. Such catalysts are generated in situ by treating molybdate/cobalt or nickel-impregnated alumina with or an equivalent reagent. Catalysis does not occur at the regular sheet-like regions of the crystallites, but instead at the edge of these planes.


title: Molybdenum disulfide

text: MoS finds use as a hydrogenation catalyst for organic synthesis. It is derived from a common transition metal, rather than group 10 metal as are many alternatives, MoS is chosen when catalyst price or resistance to sulfur poisoning are of primary concern. MoS is effective for the hydrogenation of nitro compounds to amines and can be used to produce secondary amines via reductive amination. The catalyst can also can effect hydrogenolysis of organosulfur compounds, aldehydes, ketones, phenols and carboxylic acids to their respective alkanes. The catalyst suffers from rather low activity however, often requiring hydrogen pressures above 95 atm and temperatures above 185 °C.


title: Molybdenum disulfide

text: and related molybdenum sulfides are efficient catalysts for hydrogen evolution, including the electrolysis of water; thus, are possibly useful to produce hydrogen for use in fuel cells.


title: Molybdenum disulfide

text: MoS@Fe-"N"-C core/shell nanosphere with atomic Fe-doped surface and interface (MoS/Fe-"N"-C) can be used as a used an electrocatalyst for oxygen reduction and evolution reactions (ORR and OER) bifunctionally because of reduced energy barrier due to Fe-N dopants and unique nature of MoS/Fe-"N"-C interface.


title: Molybdenum disulfide

text: As in graphene, the layered structures of and other transition metal dichalcogenides exhibit electronic and optical properties that can differ from those in bulk. Bulk has an indirect band gap of 1.2 eV, while monolayers have a direct 1.8 eV electronic bandgap, supporting switchable transistors and photodetectors.


title: Molybdenum disulfide

text: The sensitivity of a graphene field-effect transistor (FET) biosensor is fundamentally restricted by the zero band gap of graphene, which results in increased leakage and reduced sensitivity. In digital electronics, transistors control current flow throughout an integrated circuit and allow for amplification and switching. In biosensing, the physical gate is removed and the binding between embedded receptor molecules and the charged target biomolecules to which they are exposed modulates the current.


title: Molybdenum disulfide

text: Due to the lack of spatial inversion symmetry, odd-layer MoS2 is a promising material for valleytronics because both the CBM and VBM have two energy-degenerate valleys at the corners of the first Brillouin zone, providing an exciting opportunity to store the information of 0s and 1s at different discrete values of the crystal momentum. The Berry curvature is even under spatial inversion (P) and odd under time reversal (T), the valley Hall effect cannot survive when both P and T symmetries are present. To excite valley Hall effect in specific valleys, circularly polarized lights were used for breaking the T symmetry in atomically thin transition-metal dichalcogenides. In monolayer MoS2, the T and mirror symmetries lock the spin and valley indices of the sub-bands split by the spin-orbit couplings, both of which are flipped under T; the spin conservation suppresses the inter-valley scattering. Therefore, monolayer MoS2 have been deemed an ideal platform for realizing intrinsic valley Hall effect without extrinsic symmetry breaking.


title: Molybdenum disulfide

text: also possesses mechanical strength, electrical conductivity, and can emit light, opening possible applications such as photodetectors. has been investigated as a component of photoelectrochemical (e.g. for photocatalytic hydrogen production) applications and for microelectronics applications.


title: A No-Rough-Stuff-Type Deal

text: "A No-Rough-Stuff-Type Deal" is the seventh and final episode of the first season of the American television drama series "Breaking Bad". Written by Peter Gould and directed by Tim Hunter, it aired on AMC in the United States and Canada on March 9, 2008.


title: A No-Rough-Stuff-Type Deal

text: At a high school Parent Teacher Association meeting, Walter White fondles Skyler White beneath the conference room table. In the parking lot, the two of them have sex in Walt's car. Jesse Pinkman, who is now living in the RV, puts his house on the market because of his trauma from the deaths of Krazy-8 and Emilio to continue living there. Walt tells him about the deal with Tuco, but Jesse says producing two pounds of meth a week is impossible. His pseudoephedrine suppliers needed to cook the meth – cannot meet their demand.