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Dead Head Fred, Development, Geo
| The Geo concept was described by the development team as similar to other platform games like Rayman or Spyro , and skewed towards a younger audience . When the concept was complete , the development team presented it to several publishers , who stated that they liked the idea but its geometry @-@ based core too strongly resembled " edutainment " , and that they were interested in developing a more edgy , adult premise . The Nintendo GameCube had been an early choice for hosting the game before the PSP was chosen . |
Dead Head Fred, Development, Noir setting
| Vicious Cycle went back to the drawing board and produced a new concept that they felt was darker and better suited to an older audience . The " head @-@ switching " game mechanic had been praised by the potential publishers and was kept , but this time the cartoonish , childlike Geo was replaced by an angry , vengeful private detective named Fred Neuman . The world of Prime was replaced with the bleak , film noir @-@ esque city of Hope Falls , where Fred would seek revenge against those who had wronged him . Vicious Cycle presented the new project to Sony , who promptly approved the game for the PSP , despite it not having secured a publisher . Shortly afterwards , the project was picked up by D3Publisher . |
Dead Head Fred, Development, Noir setting
| Vicious Cycle then submitted the concept to art company Massive Black Studios to develop initial character sketches . Massive Black 's artists were allowed to use their imagination while developing Fred , but the one stipulation Vicious Cycle made from the beginning was Fred 's head — the developers wanted it to be a liquid @-@ filled jar with the detective 's brain and eyes floating around inside . Massive Black came up with several different versions of Fred , including some with guns , which lead designer Adam Cogan had already decided the game would not include . After receiving the sketches , Vicious Cycle chose several that portrayed Fred with a squat , childlike appearance that retained some of the youthful focus of the scrapped Geo project . The publisher , D3 , decided to present all of the concept art to a test group . To the developers ' surprise , the test group was much more interested in a darker , more intimidating portrayal of Fred than the cartoonish , playful look they had chosen . The developers decided to flesh out the concept and took the chosen sketches back to Massive Black . This time the art came back darker , with similarities to Dirty Harry and The Matrix and The Evil Dead , and a Norman Rockwell @-@ inspired look that would influence the game 's art style towards a more violent theme . |
Dead Head Fred, Development, Further testing
| D3 provided the development team with more focus groups , and as a result , the game slowly incorporated more combat and less platforming and puzzles . Fred 's combat capabilities were revamped to give him more attacks , counterattacks and combinations . D3 also gave Vicious Cycle more time to develop the game , with the hope of receiving better reviews and potentially turning Dead Head Fred into a franchise . The delay pushed back the game 's release from January to August 2007 . D3Publisher bought Vicious Cycle two months before the game 's release , but the company 's headquarters remained in North Carolina and the staff was retained . |
Dead Head Fred, Audio, Soundtrack
| The music of Dead Head Fred was composed by Rod Abernethy and Jason Graves and recorded at Abernethy 's studio , Rednote Audio . Abernethy and Graves had worked on previous games by Vicious Cycle , like Curious George . The composers were interested in developing a sound for Dead Head Fred that was retro @-@ futuristic , and borrowed from other death @-@ themed pieces like Stubbs the Zombie and Beetlejuice . The development team did not have any substantial ideas for the game 's music beyond the theme and mood of Hope Falls , giving the composers free rein on the soundtrack 's direction . |
Dead Head Fred, Audio, Voice work
| A crucial area of development was the formation of the game 's mood , theme , and story to give it a dark , yet humorous quality . Hiring a Hollywood screenwriter to create the script was proposed , but ultimately Vicious Cycle designer Dave Ellis was given the task of writing the game 's cutscenes and voiceover script , while Cogan focused on the in @-@ game dialog . Ellis referred to several noir films for inspiration , especially Miller 's Crossing and Who Framed Roger Rabbit During this time , Eric Peterson cast several voice actors , including John C. McGinley from the TV show Scrubs and Jon Polito from the aforementioned Miller 's Crossing . McGinley was cast as Fred because of his Scrubs character 's sarcasm and wit , while Polito was cast in the role of mob boss Ulysses Pitt , which was very similar to his role of Johnny Caspar in Miller 's Crossing . |
Dead Head Fred, Audio, Voice work
| The development team then set about recording the game 's dialog , which proved to be challenging because of Vicious Cycle 's location on the East Coast . All of the recordings were done over the phone at a studio in Hollywood . Despite this , and the fact that Fred alone had over 1000 lines of in @-@ game dialog , the recording went smoothly , with the exception of one unidentified actor who walked out in the middle of a session . The original script had only one instance of the word " fuck " , but several recording sessions with McGinley resulted in a great deal of colorful improvisation . The design team liked the recordings and the script was modified to permit McGinley and other actors to curse more . McGinley focused on portraying Fred as " pissed off " and " having a chip on his shoulder " because his head was missing . |
Dead Head Fred, Audio, Voice work
| " No , this guy was unique because , well … his head was gone ! With him , you could really just open up your imagination and roll out a cavalcade of eccentricities and see what makes sense to you . It was pretty much unlike anything I ’ ve ever done before . " |
Dead Head Fred, Promotion and release
| Dead Head Fred was first announced at the Electronics Entertainment Expo ( E3 ) video game convention in May 2006 , where a trailer was shown to the public . Following this , little was heard about the game until Cogan started a developer diary on Vicious Cycle 's website in March 2007 . Three diary entries were written by Cogan and Ellis , which provided details about the game 's pre @-@ production conceptualization and voice work . In May 2007 , D3 announced that John C. McGinley would be voicing Fred , and the next month the company issued a press release stating that the game was finished and ready for mass production . However , the game was delayed , allowing D3 Publisher to show it at E3 2007 . It was eventually released on August 28 , 2007 in North America after nearly two years of development . It was released on October 26 in Europe , November 2 in Australia , and March 19 , 2008 in Japan . In December 2007 , D3 reduced the price of the game , and in October 2008 it was made available for download on Sony 's PlayStation Network . The soundtrack was released on iTunes by Lakeshore Records on September 18 , 2007 . |
Dead Head Fred, Promotion and release, Future
| Dead Head Fred was designed specifically for the PSP , and Vicious Cycle intended it to be their " flagship " title for the system . However , the game 's designers have hinted that the game could potentially be ported to the PlayStation Network or Xbox Live Arcade with a few months ' work . As of March 2009 , D3Publisher has announced a sequel , but the designers have stated that subsequent titles were discussed during the game 's development . John C. McGinley has expressed interest in reprising Fred . Namco Bandai Games ( the parent of D3 ) were impressed with the game and wanted to publish the sequel because they ' wanted ' to test out Vicious Cycle 's Gameplay on the PSP . |
Dead Head Fred, Reception
| Dead Head Fred received generally favorable reviews from critics . The game 's writing and dialogue were considered the main strengths of the game , with GameSpy 's reviewer stating that " In the vast sea of PSP titles , Dead Head Fred stands ' head and shoulders ' above the rest . " IGN said " The tale of revenge in a dark world is twisted [ and ] unapologetically humorous " . Other publications were not as impressed , however , with one reviewer stating " ... the overused profanity just makes it feel like it 's been designed by teenagers desperately trying to be edgy . " The game 's supernatural themes elicited comparisons to The Darkness and Grim Fandango . GamesRadar included it in their list of the 100 most overlooked games of its generation . Editor Jason Fanelli felt that PSP games often lacked creativity and that Dead Head Fred was the exception . |
Dead Head Fred, Reception
| Many reviewers were pleased with the game 's premise and setting , variously describing it as " weird " , " wacky " and " silly " . Hope Falls , especially the area of Creepy Hollow , was compared to the work of Tim Burton . Dead Head Fred 's graphics were warmly received , with GameSpy noting " The game looks simply phenomenal on the PSP screen . " Pocket Gamer UK said " graphically the game won 't blow your head off but it is undeniably stylish . " Pocket Gamer also felt that the game 's level design , with its emphasis on changing heads to solve environmental puzzles , made up for the " mediocre combat system " . The character design was praised ; GameSpy said " Fred is one of the most interesting and entertaining characters to ever hit gaming , " and GameZone said " Fred ’ s freakish form is like looking at a car crash … you really don ’ t want to stare but you just can ’ t help it . " |
Dead Head Fred, Reception
| The voice acting , in particular John C. McGinley 's portrayal of Fred , was widely praised , as was the rest of the game 's audio . GameZone 's Natalie Romano said " There ’ s also some great music in the game and the sound effects are ... wonderfully detailed " . |
Dead Head Fred, Reception
| " The sound for the title , however , is fantastic . The majority of it is centered around the voice acting , which is anchored by John C. McGinley of Scrubs and Office Space fame . McGinley expertly brings his dry , sarcastic delivery to Fred 's lines and consistently delivers humorous lines across the entire game . " |
Dead Head Fred, Reception
| The focal point of reviewers ' criticism was Dead Head Fred 's gameplay , specifically the combat . It was generally considered tedious and repetitive . Australia 's PAL Gaming Network described the combat as " one of the poorest elements of the game " , and Game Informer called the combat mechanics " awful " . The performance of the camera was also criticized , with IGN noting " Considering that the camera will sometimes choose some horrible angles for you in battle or during puzzles , it 's annoying to have to fight it as well as mutants that want you dead . " GameZone said " I just wish the camera wouldn ’ t be such a hindrance sometimes . " Reviewers were also unhappy with Dead Head Fred 's loading times ; Eurogamer considered them " excessively high " , and IGN said " The only downside that crops up when it comes to the visuals are the continual loading times on just about every single area . " |
Dead Head Fred, Reception, Awards
| Dead Head Fred was nominated for several awards , including the Writers Guild of America 's first award for video game writing , which it won . During E3 2007 , the game was nominated for the Best of E3 2007 : Best Handheld Game award by the Game Critics Awards , a group of prominent media journalists . Dead Head Fred lost to The Legend of Zelda : Phantom Hourglass for the Nintendo DS , but was notable for being the only new intellectual property nominated in the handheld category . The audio was nominated for two awards at the Game Audio Network Guild 's 6th annual ceremony , Best Soundtrack of the Year and Best Handheld Audio . Dead Head Fred lost to BioShock and Syphon Filter : Logan 's Shadow , respectively . |
Al Wistert
| Albert Alexander " Ox " Wistert ( December 28 , 1920 – March 5 , 2016 ) was an All @-@ Pro American football tackle in the National Football League ( NFL ) for the Philadelphia Eagles . He played his entire nine @-@ year NFL career for the Eagles and became their team captain . He was named to play in the NFL 's first Pro Bowl as an Eagle . During most of Wistert 's career there were no football All @-@ star games , although he was named to the league All @-@ Pro team eight times . |
Al Wistert
| Wistert played college football at the University of Michigan . He is one of the three brothers — along with Whitey and Alvin — who were named All @-@ American tackles at Michigan and later inducted into the College Football Hall of Fame . He was the first Michigan alumnus to be selected to the National Football League Pro Bowl . The Wistert brothers all wore jersey No. 11 at Michigan and are among the seven players who have had their numbers retired by the Michigan Wolverines football program . Their number will be put back into circulation starting on November 10 , 2012 before a Michigan home game against Northwestern as part of the Michigan Football Legend program . |
Al Wistert, Early life
| Wistert , who was born in Chicago , Illinois , was from a Lithuanian family . His father , Kazimer Wistert , was a Spanish – American War veteran who was later killed in the line of duty while working for the Chicago Police Department . The story of the Wistert brothers at Michigan began when Whitey 's Carl Schurz High School classmate John Kowalik was invited to visit the University of Michigan . At the time , Whitey Wistert had a factory job where he was involved with building Majestic radios . Kowalik took Whitey with him on his visit to Ann Arbor , and according to Alvin , " that 's how it started : the Wisterts of Michigan . " |
Al Wistert, College football
| After graduating from Foreman High School , Wistert became the second of the Wistert brothers to play for Michigan where he wore number 11 like his brothers and played from 1940 to 1942 . He was a consensus All @-@ American and team MVP in 1942 . He played in the 1943 East – West Shrine Game . He is well remembered , among other things , for his exploits in a 1942 game against the Notre Dame Fighting Irish football team , and he was inducted into the College Football Hall of Fame in 1968 , one year after his brother Francis . In 1981 , he was named to the University of Michigan Hall of Honor in the fourth class of inductees alongside his brothers . Only five Michigan football players earned this honor before him . |
Al Wistert, College football
| Michigan posted a 20 – 5 – 1 record during Wistert 's three years on the team . In 1940 , the team 's only loss in its eight @-@ game season was to the eventual national champion Minnesota Golden Gophers football . The Wolverines followed that season with 6 – 1 – 1 and 7 – 3 marks in the next two years . Wistert served as captain of the College All @-@ star team that beat the Sammy Baugh @-@ led National Football League champion Washington Redskins , 27 – 7 , in Chicago . He was the only one of the three brothers not to play on a national championship squad at Michigan . |
Al Wistert, Professional football
| After being drafted in the fifth round by the Philadelphia Eagles and signing for $ 3800 ( $ 51 @,@ 965 today ) , he encountered animosity from veteran players for having signed such a large contract ( though they thought he signed for $ 4500 ) . He earned All @-@ Pro honors in eight ( five by consensus ) of his nine seasons . As a two @-@ way player , he played his entire nine @-@ year career for the Philadelphia Eagles ( who operated as a merged team with the Pittsburgh Steelers for one season during World War II . ) The National Football League had no All @-@ Star games between 1943 and 1950 . Thus , although Wistert was a perennial All @-@ Pro selection , it is difficult to compare him to more modern players who are often measured by Pro Bowl invitations . He served as Eagles captain for five consecutive seasons , from 1946 to 1950 , and was named All @-@ Pro in each season . In Wistert 's next to last season he was selected to the first Pro Bowl . In his final season , he recovered three fumbles . The Eagles won the 1948 and 1949 National Football League Championships with Wistert . These were the only consecutive National Football League champions to win by shutout . His number 70 was retired by the Eagles in 1952 . According to his College Football Hall of Fame biography , during his career he started every game the Eagles played except for the 1950 season opener against the Cleveland Browns . However , according to other statistical databases he only started about 2 / 3 of his career games . His is one of only seven retired Eagles Jerseys . Wistert lamented not having been enshrined in the Professional Football Hall of Fame and on Philadelphia Eagles Honor Roll : |
Al Wistert, Professional football
| Wistert was inducted into the Philadelphia Eagles Honor Roll on September 29 , 2009 along with Randall Cunningham . In 2003 , he was named to the Pro Football Researchers Association Hall of Very Good in the association 's inaugural HOVG class . |
Al Wistert, Later life and family
| After football Wistert became a successful life insurance salesman . He sold insurance for 40 years . Among the places he has lived since retirement are California and Grants Pass , Oregon . He was married to his late wife Ellie for 61 years and has three daughters ( Pam , Dianna and Kathy ) and three grandchildren . At one point he was both coaching football at Riverside High School in Riverside Township , New Jersey and playing professionally . According to brother Alvin , their father " was born Casmir Vistertus and he Anglicized it when he came to America to Wistert . " |
Al Wistert, Later life and family
| Wistert died on March 5 , 2016 in Grants Pass , Oregon at the age of 95 . |
Si Una Vez
| " Si Una Vez " ( English : If I Once ) is a song recorded by American recording artist Selena for her fourth studio album , Amor Prohibido ( 1994 ) . It was written by Pete Astudillo and produced by Selena 's brother @-@ producer A.B. Quintanilla . " Si Una Vez " is a mariachi fusion song and draws influence from cumbia and Latin dance music . Lyrically , Selena questions why she ever fell in love with an abusive partner , saying she will never repeat her mistakes . The lyrics suggest unrequited love and female empowerment . |
Si Una Vez
| " Si Una Vez " received positive reviews from music critics who found the song to have showcase the singer 's vocal abilities . The Broadcast Music Inc. recognized it as the Single of the Year at the 1996 BMI Pop Awards . Many musicians have since recorded the song and released it on their respective albums including Mexican mariachi singer Alicia Villareal , American reggaeton performer Ivy Queen , American indie rock band Girl in a Coma , and American salsa singer Manny Manuel . The latter 's version peaked at number one on the United States Billboard Tropical Songs chart , and ended 1995 as the fourteenth most successful U.S. tropical song . |
Si Una Vez, Background and composition
| " Si Una Vez " was written by Selena y Los Dinos backup dancer and vocalist Pete Astudillo . The song was co @-@ written by Selena 's brother @-@ producer A.B. Quintanilla who , along with Argentine musician Bebu Silvetti , served as producers . Keyboardist of the group , Ricky Vela retold in a 2002 interview how the band hired a professional trumpist to record parts of the song . " Si Una Vez " is a Spanish @-@ language mariachi fusion track with influences of cumbia and Latin dance music . Author Deborah Paredez called " Si Una Vez " as having punk music undertones . In 2002 , A.B. spoke on how Amor Prohibido was experimental music @-@ heavy and commented on how " Si Una Vez " was an example of his ideas of keeping the band 's image modern . The song makes use of the Guitarrón guitar under a cumbia beat . |
Si Una Vez, Background and composition
| " Si Una Vez " is written in the key of D minor and is played in a moderate groove of 84 beats per minute . It incorporates music from several musical instruments , including the piano and guitar . Lyrically , Selena reminiscences her failed relationship and wonders why she ever fell in love with an abusive partner who betrayed and left her , vowing to never allow a man like that back into her life . The lyrics suggest unrequited love and female empowerment . |
Si Una Vez, Critical reception and legacy
| " Si Una Vez " was named by the Latin Times as one of the top @-@ ten best karaoke songs sung in Spanish . Writing for the Latin Times , Maria Valdez called the song " fun " especially when running into your former partner at a karaoke party and found the track to showcases a singer 's vocal abilities . Texas Public Radio 's Nathan Cone , said " the song " resonates best " with South Texas " . Entertainment Weekly contributor David Browne , commented on Selena 's vocals as being " full @-@ throated , warbling " and that it " recalls Lydia Mendoza , conjunto 's leading lady . " A New University writer found the recording to have " showcase [ the singer 's ] passion with her vocals . " |
Si Una Vez, Critical reception and legacy
| Selena performed the song on her final performance on March 19 , 1995 during the Calle Ocho Festival in Miami , which attracted over 100 @,@ 000 fans . Selena was shot and killed by Yolanda Saldívar , her friend and former manager of the singer 's Selena Etc. clothing boutiques , on March 31 , 1995 . Selena 's performance of the song during her Houston Astrodome concert on February 26 , 1995 , was emulated by Jennifer Lopez as her role as the singer for the 1997 biopic film about Selena . " Si Una Vez " is considered by Billboard magazine to be one of Selena 's signature songs . Terra named " Si Una Vez " as one of Selena 's " most famous works " along with her other songs " El Chico del Apartamento 512 " , " Amor Prohibido " and " Fotos y Recuerdos " . The Broadcast Music , Inc . ( BMI ) recognized " Si Una Vez " at the BMI Pop Music Awards as Single of the Year in 1996 . |
Si Una Vez, Covers
| Mexican singer Mary Boquitas recorded the song for the tribute album Mexico Recuerda a Selena ( 2005 ) . Mexican mariachi singer Alicia Villareal performed and recorded " Si Una Vez " for the live televised tribute concert Selena ¡ VIVE ! in April 2005 . American reggaeton singer Ivy Queen covered " Si Una Vez " for her fifth studio album Flashback ( 2005 ) . She said in an interview how she felt " honored to be able to cover one of Selena 's songs " . Ivy Queen chose to cover " Si Una Vez " finding it to be identifiable to her and because of the song 's message which the singer stood for . Jonathan Widran of AllMusic called her versions a " reggaetón @-@ ed up twist " . In 2010 , indie rock group Girl in a Coma recorded a punk cover of " Si Una Vez " . The group decided to record the song because it was their favorite recordings of Selena . Girl in a Coma performed the song live during the 2010 Tejano Music Awards as a homage to Selena . In April 2011 , A.B. ' s band Kumbia All @-@ Starz performed their version of the song during their tour for La Vida De Un Genio ( 2010 ) in Bolivia . Colombian singer Kali Uchis performed " Si Una Vez " at the 2015 SXSW festival . Vibe magazine found Uchis ' performance to have given them " shivers " . |
Si Una Vez, Covers, Manny Manuel version
| American merengue musician Manny Manuel covered the song on his debut album , El Rey de Corazones ( 1995 ) . Out of the five singles released from the album , " Si Una Vez " was Manuel 's most successful single off of the El Rey de Corazones album . The song debuted at number 29 on the United States Billboard Hot Latin Tracks and number three on the U.S. Tropical Songs chart . The following week , " Si Una Vez " rose to numbers 22 and two on the Hot Latin Songs and Tropical Songs chart , respectively . On October 14 , 1995 , the track climbed to number 21 on the Hot Latin Songs chart , while it fell to number four on the Tropical Songs chart . In its fourth week , " Si Una Vez " jumped to number 18 on the Hot Latin Songs chart , while over at the Tropical Songs chart the song rose to number three . Despite increased airplay spins , " Si Una Vez " fell to number 20 on the Hot Latin Songs chart . On November 11 , 1995 , " Si Una Vez " peaked at number one on the Tropical Songs chart for one week , reeciving airplay honors that week . |
Si Una Vez, Credits and personnel
| All credits were taken from the album 's liner notes . |
Sicklefin lemon shark
| The sicklefin lemon shark , or sharptooth lemon shark ( Negaprion acutidens ) , is a species of requiem shark belonging to the family Carcharhinidae , widely distributed in the tropical waters of the Indo @-@ Pacific . It is closely related to the better @-@ known lemon shark ( N. brevirostris ) of the Americas ; the two species are almost identical in appearance , both being stout @-@ bodied sharks with broad heads , two dorsal fins of nearly equal size , and a plain yellow @-@ tinged coloration . As its common name suggests , the sicklefin lemon shark differs from its American counterpart in having more falcate ( sickle @-@ shaped ) fins . This large species grows up to 3 @.@ 8 m ( 12 ft ) long . It generally inhabits water less than 92 m ( 302 ft ) deep in a variety of habitats , from mangrove estuaries to coral reefs . |
Sicklefin lemon shark
| A slow @-@ moving predator feeding mainly on bony fishes , the sicklefin lemon shark seldom travels long distances and many individuals can be found year @-@ round at certain locations . Like other members of its family , this species is viviparous , with females giving birth to no more than 13 pups every other year , following a gestation period of 10 – 11 months . Although they are potentially dangerous to humans and known to respond vigorously to any provocation , under normal circumstances , sicklefin lemon sharks are cautious and tend to retreat if approached . The IUCN has assessed this species as Vulnerable ; its low reproductive productivity and rate of movement limits the capacity of depleted stocks to recover . Off India and Southeast Asia , this species has been severely depleted or extirpated by unregulated exploitation for its meat , fins , and liver oil . |
Sicklefin lemon shark, Taxonomy and phylogeny
| The sicklefin lemon shark was first described as Carcharias acutidens by German naturalist Eduard Rüppell , in the 1837 Fische des Rothen Meeres ( Fishes of the Red Sea ) . In 1940 , Australian ichthyologist Gilbert Percy Whitley moved this species to his newly formed genus Negaprion . The type specimen , designated in 1960 , is a 68 @-@ cm @-@ long individual caught in the Red Sea off Jeddah , Saudi Arabia . The specific epithet acutidens is derived from the Latin acutus meaning " sharp " , and dens meaning " teeth " . The sicklefin lemon shark may also be referred to as broadfin shark , Indian lemon shark , Indo @-@ Pacific lemon shark , or simply lemon shark . |
Sicklefin lemon shark, Taxonomy and phylogeny
| Based on microsatellite DNA evidence , the sicklefin lemon shark is thought to have diverged from its sister species N. brevirostris 10 – 14 million years ago , when the closure of the Tethys Sea separated lemon sharks in the Indian Ocean from those in the Atlantic . The ancestral lemon shark species may have been N. eurybathrodon , the fossilized teeth of which occur in both the United States and Pakistan . Morphological and molecular phylogenetic analyses suggest that Negaprion is grouped with the whitetip reef shark ( Triaenodon ) and the sliteye shark ( Loxodon ) in occupying an intermediate position on the carcharhinid evolutionary tree , between the most basal genera ( Galeocerdo , Rhizoprionodon , and Scoliodon ) and the most derived ( Carcharhinus and Sphyrna ) . |
Sicklefin lemon shark, Distribution and habitat
| The range of the sicklefin lemon shark extends from South Africa to the Red Sea ( including Mauritius , the Seychelles , and Madagascar ) , continuing eastward along the coast of the Indian subcontinent to Southeast Asia , extending as far north as Taiwan and the Philippines , and as far south as New Guinea and northern Australia . This species is also found around numerous Pacific islands , including New Caledonia , Palau , the Marshall Islands , the Solomon Islands , Fiji , Vanuatu , and French Polynesia . This species likely colonized the central Pacific by infrequently " hopping " from one island to the next . Significant levels of genetic differentiation between sicklefin lemon sharks in Australia and French Polynesia , 750 km ( 470 mi ) apart , suggest that little intermingling occurs between regional subpopulations . |
Sicklefin lemon shark, Distribution and habitat
| An inhabitant of coastal continental and insular shelves , the sicklefin lemon shark occurs from the intertidal zone to a depth of 92 m ( 302 ft ) . This species favors still , murky waters and is most common in bays , estuaries , and lagoons , and over sandy flats and outer reefs . Sometimes , an individual may venture into open water ; one was filmed in the 1971 documentary Blue Water , White Death , in the vicinity of a sperm whale ( Physeter macrocephalus ) carcass . Juvenile sicklefin lemon sharks are often found on reef flats or around mangroves , in water so shallow that their dorsal fins are exposed . In Herald Bight off Western Australia , a known nursery , juvenile sicklefin lemon sharks frequent open areas and mangroves in water under 3 m ( 9 @.@ 8 ft ) deep , but not areas covered by the seagrass Posidonia australis . |
Sicklefin lemon shark, Description
| The sicklefin lemon shark has a robust , stocky body and a short , broad head . The snout is rounded or almost wedge @-@ shaped , with small nostrils bearing triangular flaps of skin in front . The eyes are small , with no spiracles . Short furrows are present at the corners of the mouth . Thirteen to 16 ( usually 14 ) tooth rows occur on either side of both jaws , not including the tiny teeth at the symphysis ( the jaw midline ) . The upper teeth have a large cusp rising from a broad base , with a notch on each side ; these teeth become increasingly angled towards the corners of the mouth . The lower teeth resemble the upper teeth , but are narrower and more erect . The teeth of sharks over 1 @.@ 4 m ( 4 @.@ 6 ft ) long are finely serrated . |
Sicklefin lemon shark, Description
| The fins ( especially the dorsal , pectoral , and pelvics ) of the sicklefin lemon shark are more falcate ( sickle @-@ shaped ) than those of the otherwise very similar American lemon shark . The first dorsal fin is positioned closer to the pelvic than the pectoral fins . The second dorsal fin , nearly equal to the first in size , is located over or slightly forward of the anal fin . No ridge is seen between the dorsal fins . The pectoral fins are long and broad , originating below the space between the third and fourth gill slits . The anal fin has a strong notch in the rear margin . The precaudal pit ( a cavity just forward of the caudal fin ) is oriented longitudinally . The large dermal denticles are overlapping and bear three to five horizontal ridges each . The coloration is a plain yellowish brown or gray above and lighter below , with more yellow on the fins . This species attains a maximum known length of 3 @.@ 8 m ( 12 ft ) , though it typically does not exceed 3 @.@ 1 m ( 10 ft ) . |
Sicklefin lemon shark, Biology and ecology
| A sluggish species , the sicklefin lemon shark is usually seen cruising sedately just above the sea bottom or lying still on it , as unlike most requiem sharks , it is capable of actively pumping water over its gills . However , it will approach the surface in pursuit of food . This shark seldom undertakes long @-@ distance movements . A study at Aldabra Atoll in the Seychelles found , of the tagged sharks that were later recaptured , over 90 % were still within 2 km ( 1 @.@ 2 mi ) of their initial tagging location . Another study at Moorea in French Polynesia found that some of the local sharks were year @-@ round residents of the island , while others were more transitory and visited only occasionally . |
Sicklefin lemon shark, Biology and ecology
| Over 90 % of the sicklefin lemon shark 's diet consists of bottom- and shore @-@ dwelling teleosts , including herring , mullets , mackerel , silversides , needlefish , smelt @-@ whitings , porgies , sea catfish , triggerfish , parrotfish , and porcupinefish . Occasionally , they may also take cephalopods and crustaceans , and older individuals have been known to consume stingrays and guitarfish . This species may be preyed upon by larger sharks . Known parasites include the tapeworms Paraorygmatobothrium arnoldi , Pseudogrillotia spratti , Phoreiobothrium perilocrocodilus , and Platybothrium jondoeorum . Sicklefin lemon sharks have been documented resting on the bottom and eliciting cleanings by bluestreak cleaner wrasses ( Labroides dimidiatus ) , during which they may open their mouths and stop respiring for as long as 150 seconds to give the wrasses access to their mouths and gills . |
Sicklefin lemon shark, Biology and ecology
| As with other members of its family , the sicklefin lemon shark is viviparous ; the developing embryos are sustained by a placental connection formed from their depleted yolk sacs . Females give birth to one to 13 ( usually six to 12 ) pups every other year in shallow nursery areas , following a gestation period of 10 – 11 months . Unlike in the American lemon shark , cant evidence indicates this species is philopatric ( returns to the site of their birth to reproduce ) . Parturition occurs in October or November at Madagascar and Aldabra , and in January at French Polynesia ; ovulation and mating for nonpregnant females takes place at around the same time . The embryos develop a placenta after around four months of gestation , when they still possess vestiges of external gills . The young are born at a length of 45 – 80 cm ( 18 – 31 in ) . Juvenile sharks grow slowly , at a rate of 12 @.@ 5 – 15 @.@ 5 cm ( 4 @.@ 9 – 6 @.@ 1 in ) per year . Both sexes attain sexual maturity at a length of 2 @.@ 2 – 2 @.@ 4 m ( 7 @.@ 2 – 7 @.@ 9 ft ) . |
Sicklefin lemon shark, Human interactions
| Several apparently unprovoked attacks on humans have been attributed to the sicklefin lemon shark . Due to its formidable size and teeth , it is regarded as potentially dangerous , and certainly this species has been known to defend itself quickly and vigorously if touched , speared , or otherwise provoked or alarmed . Once agitated , this shark can be a persistent adversary ; in one case , a shark forced a swimmer to seek refuge atop a coral head , and circled for hours before giving up . However , observations by divers show that normally this shark is shy and hesitant to approach , even when presented with bait . Often , the shark will move away when a diver enters visual range . Young sharks are reportedly more aggressive and inquisitive than the adults . At Moorea , sicklefin lemon sharks are the main attraction of daily shark @-@ feeding ecotourism dives . This shark adapts well to captivity and is displayed in public aquariums . |
Sicklefin lemon shark, Human interactions
| The IUCN has assessed the sicklefin lemon shark globally as Vulnerable ; it is harvested using anchored and floating gillnets , beach nets , and longlines . The meat is sold fresh or dried and salted for human consumption , the fins used for shark fin soup , and the liver oil is processed for vitamins . The sicklefin lemon shark is highly susceptible to local overfishing , due to its slow reproductive rate and limited movements . Off Southeast Asia , this shark has become scarce under the pressure of expanding , unmonitored , and unregulated fisheries , and has been assessed there as Endangered by the IUCN . Widespread habitat degradation , including pollution and blast fishing on coral reefs and deforestation in mangroves , poses an additional threat to the survival of this species in the region . Already , the sicklefin lemon shark has been extirpated in parts of India and Thailand , and has not been reported from Indonesian markets in recent years despite being historically abundant there . Off Australia , the sicklefin lemon shark is taken in only small numbers intentionally and as bycatch , and has been listed under Least Concern . |
Flammulated flycatcher
| The flammulated flycatcher ( Deltarhynchus flammulatus ) is a species of bird in the Tyrannidae family and is the only species in the monotypic genus Deltarhynchus , although it is closely related to the birds of the genus Myiarchus . It is endemic to the dry deciduous forest , arid thorn forest , and scrubby woodland of Mexico ’ s Pacific coast . The flycatcher is an olive to gray @-@ brown bird with a streaked , pale gray chest , white throat , black bill , dark gray feet , and dark brown wings . It is a skulking bird that typically remains hidden in the underbrush . It feeds by gleaning insects off of leaves and twigs that it spots from an exposed perch . The female lays approximately three eggs in a nest made in a shallow tree cavity . |
Flammulated flycatcher, Taxonomy
| The species was first described in 1875 by ornithologist George Newbold Lawrence , who placed this species in the genus Myiarchus . However , in 1893 it was split from Myiarchus into the new , monotypic genus Deltarhynchus by Robert Ridgway because of its shorter and broader bill , more rounded wings , and partially streaked underparts . This change was upheld in 1901 by Richard Bowdler Sharpe and by subsequent authors . However , in 1977 ornithologist Melvin Alvah Traylor Jr . , while upholding its status as a monotypic genus , said that the species should be lumped back into Myiarchus if its nesting habits were similar to those of that genus . These doubts were put to rest by Wesley Lanyon 's research of the flycatcher in 1979 , which confirmed the bird 's placement in a monotypic genus . |
Flammulated flycatcher, Taxonomy
| Deltarhynchus is similar to the genus Myiarchus , but is distinguished from it by a broader and shorter bill , more rounded wings , a different face pattern , pale cinnamon wing and tail edgings , voice , streaking on the chest , and the bird 's skulking habits . The flammulated flycatcher 's generic name is derived from the Ancient Greek words delta , which means " delta @-@ shaped " or , in this case , " wedge " , and rhynchos , which means " beak " . Its specific epithet is derived from the Latin word flammula , which means " little flame " . The flycatcher has no subspecies . |
Flammulated flycatcher, Description
| The flammulated flycatcher is approximately 6 to 6 @.@ 5 inches ( 15 @-@ 16 @.@ 5 cm ) in length and has a chunky body . Adult males and females are similar in plumage , with each possessing olive to a worn gray @-@ brown upperparts and head . A whitish supraloral stripe and crescent are behind the bird 's eyes . It also has a dusky lore . The throat is whitish and the chest is a pale gray with inconspicuous dusky streaking , while the belly and undertail coverts are a pale yellow . Additionally , this species has dark brown , well @-@ rounded wings with pale cinnamon @-@ edged coverts and remiges . The wings are about 3 inches ( 76 mm ) long . The tail is also a dark brown edged with a narrow band of pale cinnamon . It is barely shorter than the wing and slightly rounded . The bird 's bill is black , broad , and triangular with a slightly paler base and about half the length of the its head . The legs are a dark gray and end with large , curved , and sharp claws . It has an orange mouth and a brown eye . The juvenile is similar to the adult , although the tail has a broad band of pale cinnamon . |
Flammulated flycatcher, Description, Vocalization
| The flammulated flycatcher mostly sings from April to August , which includes its breeding season , and tends to remain hidden while singing . The song of the flycatcher is a plaintive whistle followed by a short but quick roll . It can also give a plaintive and slurred chew call , which is often sung three to five times in a descending series , as well as a squeaky chatter . Calls are the same for males and females and are given throughout the day to give a location , identify an individual , sound an alarm , and mark the limits of a territory , among other functions . During the breeding season , males give what is known as a dawn song every morning , which includes the calls chee @-@ bee beet and churr @-@ r @-@ r @-@ bee bee in alternation . |
Flammulated flycatcher, Distribution and habitat
| This flycatcher is endemic to the Pacific lowlands of Mexico 's western coast from Sinaloa to western Chiapas , while possibly extending into Guatemala , although this has not been confirmed . The total area that it lives in is estimated to be 66 @,@ 000 km2 ( 25 @,@ 482 @.@ 7 sq mi ) . Its range is discontinuous and it is found in low densities when present . It lives in dry deciduous forest , arid and semi @-@ arid thorn forest , and scrubby woodland at about 1000 – 1400 meters ( 3280 – 4593 ft ) above sea level . This species is non @-@ migratory . |
Flammulated flycatcher, Distribution and habitat, Status
| The flammulated flycatcher is listed as being of least concern on the IUCN Red List due to its large range and the belief that the total population numbers over 10 @,@ 000 individuals ; however , no precise estimate on the bird 's population exists . While the species is known to be uncommon in parts of its range , its population is not believed to be declining enough to pass the threshold of 30 % in ten years or three generations necessary to be listed as near threatened , although the exact population trends also have not been quantified . |
Flammulated flycatcher, Ecology and behavior
| This flycatcher is a sluggish and skulking species that usually remains in the underbrush . When excited either by an intruder or when attempting to attract a mate , this species raises the feathers on its crown to form what appears to be a crest ; however , unlike the closely related genus Myiarchus , it does not bob its head while displaying the crest . |
Flammulated flycatcher, Ecology and behavior, Feeding
| The flammulated flycatcher forages by perching on an open branch and looking outward and downward for prey , which primarily consists of insects . Once it spots a potential meal , the flycatcher rapidly and directly flies at the insect , which is normally on the exposed upper surface of a leaf or twig . It hovers briefly before the insect before grabbing it in its beak and flying away to typically a new perch . |
Flammulated flycatcher, Ecology and behavior, Reproduction
| The flycatcher breeds around June of each year . It nests in shallow tree cavities that are surprisingly close to the ground , at approximately 90 centimeters above it . The nest is shaped like a cup and is composed of fine vegetable fibers , dried leaves , and shredded bark . Unlike the similar Myiarchus flycatchers , it does not use snakeskin or other materials to build its nest . The female lays three eggs that are creamy to pinkish in color and are decorated with brown and gray splotches . |
Ontario Highway 89
| King 's Highway 89 , commonly referred to as Highway 89 , is an east – west provincially maintained highway in the southwestern portion of the Canadian province of Ontario , stretching 107 kilometres ( 66 mi ) from the junction of Highway 9 and Highway 23 in Harriston in the west , to Highway 400 just east of Cookstown in the east . The principal urban centres along the highway include Alliston , Shelburne and Mount Forest . Outside of these towns , the highway travels through rural farmland across a large part of southwestern Ontario . |
Ontario Highway 89
| Highway 89 was established in 1937 as a result of the rerouting of Highway 9 between Orangeville and Highway 27 . In 1963 , the route was extended west to Palmerston and east to Highway 400 . Plans were conceived during the late 1970s to push the highway further east to Highway 12 via Ravenshoe Road , resulting in a brief extension to Highway 11 . However , environmental protest over the chosen route through the Holland Marsh resulted in the cancellation of plans in 1986 . In 1997 , the section between Highway 400 and Highway 11 was decommissioned . The most recent change to the route took place in 2003 , when the section of Highway 89 between Palmerston and Harriston was renumbered as part of Highway 23 , creating a shared terminus at a junction with Highway 9 . |
Ontario Highway 89, Route description
| The route forms the main streets of several of the small towns that dot the highway east to west , namely Cookstown , Alliston and Shelburne . The highway also forms the backbone of many small villages and hamlets between the larger centres , such as Conn , Keldon , Primrose , Violet Hill , Rosemont and Nicolston . |
Ontario Highway 89, Route description
| The highway formerly continued past its current eastern terminus at Highway 400 to Yonge Street , formerly Highway 11 , in the hamlet of Fennell . This section is now numbered as Simcoe County Route 3 and known locally as Shore Acres Drive . The highway also continued past its current western terminus in Harriston , taking the route to Palmerston that is now numbered as Highway 23 . |
Ontario Highway 89, Route description
| The highway mostly runs through farmland and small communities , although the route does pass by Earl Rowe Provincial Park and the Honda car manufacturing plant in the Alliston area . Other parks and natural areas that are close to the route are Boyne Valley Provincial Park and Mono Cliffs Provincial Park , both of which are located on the Niagara Escarpment . Further west is the Luther Marsh Conservation Area , a vast wilderness area that surrounds Luther Lake . |
Ontario Highway 89, History
| Highway 89 was created out of a highway rerouting in the late 1930s . Originally , it formed the routing of Highway 9 , which until then turned north at Orangeville , travelling concurrently with Highway 10 , then turning east to Cookstown . On February 10 , 1937 , Highway 9 was rerouted along its present course east of Orangeville . By 1938 , Highway 89 was designated along the former route of Highway 9 . |
Ontario Highway 89, History
| Highway 89 remained as @-@ is until the early 1960s , when it was extended west to Palmerston and east to Highway 400 . On April 1 , 1963 , the highway was assumed through the counties of Dufferin , Grey and Wellington . The section between Highway 27 and Highway 400 was assumed the following day . |
Ontario Highway 89, History
| During the mid @-@ 1970s , Highway 89 was extended east to Highway 11 at Fennell . This section was eventually returned to the jurisdiction of Simcoe County on April 1 , 1997 . During the spring of 2003 , the MTO renumbered several highways to improve route continuity . Among these was the renumbering of a section of Highway 89 between Harriston and Palmerston . The result of this renumbering was a shared terminus between Highway 89 and Highway 23 at an intersection with Highway 9 . |
Ontario Highway 89, History, Extension to Highway 12
| During the late 1970s , plans arose to create a new highway link on the south side of Lake Simcoe to connect Highway 400 and Highway 12 . The route for this extension was announced on June 30 , 1978 . It was to follow 11th Line from Highway 400 east to the Holland Marsh , where it would cross towards the northeast onto the alignment of Ravenshoe Road ( York Road 32 ) . The extension would traverse the length of Ravenshoe Road to Lakeridge Road ( Durham Road 23 ) , where it would zig @-@ zag onto Concession Road 7 to end immediately north of Sunderland . However , heavy environmental protests ensued over the chosen route through the marsh . Consequently , then Transportation Minister Ed Fulton officially cancelled the extension on April 21 , 1986 . The proposal has since been reborn as the Bradford Bypass . |
Ontario Highway 89, Major intersections
| The following table lists the major junctions along Highway 89 , as noted by the Ministry of Transportation of Ontario . |
Luke Smith ( writer )
| Luke Michael Smith is an American writer . He is a staff member at Bungie , a video game development company , and is a former video games journalist . Smith wrote for a college newspaper and weekly papers in Michigan before being hired as one of the first new freelance writers for Kotaku . At Kotaku , Smith developed his writing style but soon left the site for a staff position as 1UP.com 's news editor . Smith made a name for himself at 1UP , particularly through an article he wrote focusing on problems with the game Halo 2 . |
Luke Smith ( writer )
| Smith was known for his direct approach to game journalism and scathing criticism of the video game industry . During his time at 1UP the site developed a greater profile and stepped out of its sister publication 's shadow , but Smith grew frustrated with the contemporary state of gaming news and what he considered manipulation of journalists and readers into accepting promotional material as news . In April 2007 he left 1UP to become a Bungie writer and co @-@ host of the developer 's podcast . |
Luke Smith ( writer ), Early career
| Smith gradually entered into game journalism while working on an English Literature degree at the University of Michigan , writing about media in the college newspaper . After graduation , he worked for weekly papers in Dearborn and Detroit , Michigan , including Real Detroit Weekly . |
Luke Smith ( writer ), Early career
| Clive Thompson , a games writer with Slate , interacted with Smith over AOL Instant Messenger and the two began to bounce ideas off of each other for their respective writing projects ; when games blog Kotaku started to expand from one writer ( founder Brian Crecente ) , Thompson recommended Smith . Smith credits his time at Kotaku for helping him come into his own , develop his style and learn about attribution and citing sources , but he left after a short period of time . " At the time stories ( on Kotaku ) were unsigned . Kotaku was like the Brian Crecente vision . If I posted something or [ fellow writer Brian Ashcraft ] did people thought [ Crecente ] did . Also , there was no health insurance , it was just full @-@ time freelance . " |
Luke Smith ( writer ), 1UP.com journalism
| Smith served as the news editor for 1UP.com , the sister site to the now @-@ defunct magazine Electronic Gaming Monthly . During his tenure at 1UP , Smith wrote extensively about the Halo video game franchise , as was considered a leading fan voice ; in one article , he declared Halo was the only game series he cared about . Smith wrote a feature story for 1UP in 2005 called " Broken Halo " , in which he explained how developer Bungie could fix problems he perceived with the game ; Crecente said the article put Smith " on the map " . Smith also became one of the panelists of the 1UP Yours show , a weekly video games podcast featuring gaming editors and experts . In 2006 , Edge named him one of gaming 's top 50 journalists . |
Luke Smith ( writer ), 1UP.com journalism
| Play.d magazine credited Smith with inspiring gamers to learn more about the game industry and not accept company promotion , as well as turning 1UP from " the bastard child of EGM " to an important part of the Ziff Davis Internet company 's gaming network . His style has been described as a " robust , direct approach " to journalism and is known for his scathing attacks on the industry . Smith , however , felt disheartened by the state of game journalism . " Video game journalism is just weird . You have guys married to women in marketing for the games they cover . Video game journalism is still very young , very early , still trying to find out what it is , " he said . In an interview with Michael Zenke of The Escapist , Smith said he felt game journalists were treated by developers as another part of the PR plan , with developers sending out information and the journalists " regurgitating " it . Worse , Smith felt that gamers had become used to this sort of information ; " We have to be responsible for our actions and held accountable when we manipulate the expectations of gamers , " he told Zenke . |
Luke Smith ( writer ), 1UP.com journalism
| While he was becoming more frustrated with the field at 1UP , game developer Bungie contacted Smith about employment . After sending the company his resume , Smith stopped writing about Bungie and Microsoft to avoid a conflict of interest . Smith accepted a job offer a month later . |
Luke Smith ( writer ), Bungie
| In April 2007 , Smith announced on a 1UP podcast he was leaving the site to work for Bungie . Reaction to Smith 's announcement varied ; some were happy or sad to see him leave , while others felt he had " sold out . " Smith joined the ranks of other former game journalists who left to work for game companies , including 1UP expatriate Che Chou , who joined Microsoft Game Studios , and former GameSpot chief Greg Kasavin , who became an associate producer for Electronic Arts . |
Luke Smith ( writer ), Bungie
| Bungie staff hinted in a weekly update that Smith might play a role in the developer 's podcast . Smith officially began work on May 7 , 2007 , as content editor , providing fans and the Bungie readership with information about Bungie 's game and staff . Smith believed that there was a special opportunity for game developers , " for someone to come in and tell the stories that people want to know [ ... ] Right now you have four bridges between developer and reader : Developer to PR , to journalist to reader . [ This position ] could get rid of those middle two bridges . " |
Luke Smith ( writer ), Bungie
| While Bungie had historically been good at letting fans interact via forums and provided updates and artwork via their site , Bungie.net , the company 's releases had a " corporate and muted tone to it , " and made less effort and been less successful historically at providing access to the inner workings of the game studio . As part of a change to become more transparent , Bungie took steps repeated throughout the industry to allow fans more say and recruiting respected voices from the community — namely , Smith . Robertson credited Smith 's tenure as aiding Bungie 's greater focus on , " building , supporting and learning from the Halo 3 community . " He is credited as a writer on Halo 3 . |
Luke Smith ( writer ), Bungie
| Smith also hosted Bungie 's podcast show along with co @-@ host Brian Jarrard ; in an interview with his former coworkers at 1UP , Smith said of the Bungie podcast , " we [ Bungie ] are focusing on getting our listeners and fans familiar with a bunch of the different faces at Bungie studios . " Brought back after close to a year @-@ long hiatus , the podcast now features Bungie news and interviews with staff members about their jobs and working at the studio . Smith had the title of " Bungie Community Manager " at Bungie , and has given interviews with the press about the company 's recent products , including Halo 3 : ODST . Smith was among other writers @-@ turned @-@ game developers who held a discussion on the topic at the 2009 Game Developers Conference . Smith worked on player investment for Halo : Reach . |
Luke Smith ( writer ), Bungie
| He worked as design lead on Bungie 's 2014 video game Destiny . |