information overload

reblog

2009-11-24T01:02:00.000-06:00

"I" Overload

by xaymeb

Information overload and interruption overload thresholds seem to be inversely related. The more information coming in, the less interruption can be tolerated. The more interruption occurring, the less information can be absorbed. The convergence of these thresholds is half of the communications equation. When observing a person's communications stream, a marked decrease in outgoing could indicate that the person's incoming thresholds are approaching.

http://xaymeb.blogspot.com/2009/11/i-overload.html

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2008-03-03T01:58:00.001-06:00

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GrandCentral: receive calls and post voicemail with your blog

February 22, 2008 — permalink

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So long, and thanks for all the Help!

February 20, 2008 — permalink

I'm saddened to have to do this yet again, but today we're saying our collective goodbyes to Graham Waldon, one of the longest-serving members of the Blogger team at Google. I was fortunate enough to have interviewed Graham before he joined us back in 2003, and after a few minutes of chatting I immediately knew he was our guy.

Over the years Graham’s provided amazingly patient and exemplary service to Blogger’s users, and set an impossibly high bar with his work — from constantly improving Blogger’s Help site, to personally answering countless help emails, to digging up fantastic Blogs of Note, to training new members of the Support team. He’s even moonlighted a bit, helping the Reader team with their support efforts!

Best of luck, Graham — it looks like you’ll be keeping plenty busy during the coming months, but be sure to swing by for lunch every now and then. ;)

- Eric and the rest of the Blogger team

— Eric

Blogger now in Filipino

February 19, 2008 — permalink

This is a quick post to announce that, in addition to Blogger’s recent improvements and fixes, we are now available in Filipino.

There is already a very strong blogging community in the Philippines, and we’re very happy to support that and be a part of it. Want a taste? Start with our friend Aileen and keep clicking!

— Pete

Get more news from the Blogger team at the Blogger Buzz blog

2007-12-26T02:16:00.000-06:00

3.14159265358979323846264338327950288419716939937510
58209749445923078164062862089986280348253421170679
82148086513282306647093844609550582231725359408128
48111745028410270193852110555964462294895493038196
44288109756659334461284756482337867831652712019091
45648566923460348610454326648213393607260249141273
72458700660631558817488152092096282925409171536436
78925903600113305305488204665213841469519415116094
33057270365759591953092186117381932611793105118548
07446237996274956735188575272489122793818301194912
98336733624406566430860213949463952247371907021798
60943702770539217176293176752384674818467669405132
00056812714526356082778577134275778960917363717872
14684409012249534301465495853710507922796892589235
42019956112129021960864034418159813629774771309960
51870721134999999837297804995105973173281609631859
50244594553469083026425223082533446850352619311881
71010003137838752886587533208381420617177669147303
59825349042875546873115956286388235378759375195778
18577805321712268066130019278766111959092164201989

2007-12-24T05:43:00.002-06:00

Absinthe
brock
Capoeira
choc brock
Cole Kitchen
cole.k.symposium
Double Negative
Duck Scene
Hott
Josh Pee
Joshua Interview
Marissa Snow
Passing Over
Shaving
Temp Project
Water k

Here are some of the videos I worked on this semester. Enjoy!

2007-12-24T05:43:00.001-06:00

one of the k's facebooks in snapshot

2007-12-18T21:15:00.000-06:00

good luck

Brandon Bird : "In Heaven"

2007-10-31T11:50:00.000-06:00

2007-10-26T04:47:00.001-06:00

http://www.unilever.com/Images/Viennetta_tcm13-47503.wmv

brock

2007-10-11T20:52:00.000-06:00

joshua interview

2007-10-11T14:15:00.000-06:00

zaander

2007-10-11T11:35:00.001-06:00

yo!

2007-09-21T13:52:00.000-06:00

hello all,
swing by the intermedia bfa studio! it's a party! if you need to get in the building and no others are about, feel free to email or call k -

k.c.crain@gmail.com
319 230 4617

craft in intermedia update

2007-08-31T16:08:00.000-06:00

this just in: craft in intermedia will meet on 2nd floor of communication building in the lounge

be there

k

craft in intermedia

2007-08-31T11:37:00.000-06:00

hello all. there is a meeting of craft in intermedia today, friday 31 august 2007, from 3.30 to 8 pm. from now on i will be keeping these hours in the communication center, where todays meeting will occur. it is informal and you can drop by any time and stay as long as you would like. this week we are just getting ideas for the first projects and deciding which one to start on first. there will also be a guest lecturer today, francis zaander. he is a world renowned painter and recent graduate from the university of iowa bfa program. if you have any questions, please call me; 319 230 4617. it is the best way to get in touch with me.

bien,
k

check it out

2007-08-24T16:26:00.001-06:00

http://zombiemarch.org/ZombieMarch2007.html

related to information overload

2007-08-15T16:02:00.000-06:00

http://en.wikipedia.org/wiki/Emergence

i think this is related to information overload

2007-07-22T15:25:00.000-06:00

http://kloggenerator.googlepages.com/

wtf?!?!?!

What about craft though?

2007-07-18T15:18:00.000-06:00

It still exists.

But is Craft in Intermedia as much a physical entity as it is a state of mind?

I wouldn't mind drowning in the deep end of the artistic pool if it meant I was allowed to come up for fresh air even once in a while.

That is why it still hasn't died. Despite.

2007-06-23T22:54:00.000-06:00

http://www.nytimes.com/2007/06/24/fashion/24renegade.html?ex=1183262400&en=a16993edd9ee8ffb&ei=5070&emc=eta1

kinda fun...

2007-06-18T22:09:00.000-06:00

www.someecards.com

www.amazingcatcollection.com

2007-06-15T15:38:00.000-06:00

http://www.instructables.com/
http://www.learningtoloveyoumore.com/
http://www.craftown.com/lessons.htm

here are some links to sites we could use for craft. hopefully we can have another meeting in a couple of weeks.

k

fire, cole, art returns to earth

2007-06-13T20:20:00.000-06:00

Look-alikes

2007-06-09T23:53:00.000-06:00

two good-lookin' bitches. separated at birth???

aren't kitties and bunnies cute?

craft in intermedia

2007-06-08T18:30:00.000-06:00

the first official meeting for the fall 2007 craft in intermedia class will be held on thursday, june 14 2007. details below:

http://calendar.icpl.org/view-entry.php?id=6376

Craft in Intermedia

Description: The first meeting for Craft in Intermedia

Details:

Date: Thursday, June 14, 2007

Time: 7:00pm-8:00pm

Location: Room B

Special Guest: K Crain

Contact Information:

Contact Person:

K Crain
3192304617
k.c.crain@gmail.com

Group Name: Craft in Intermedia

Local Contact:

Cole Zrostlik
3193253630
nicole-zrostlik@uiowa.edu

found interesting video

2007-06-04T11:34:00.000-06:00

Hey, I was wasting a bit of time online, and found this three-part interview

it's of the band "the KLF" on a British late-night talk show from around ~1992

they're on the show b/c they had won a million United Kingdom Pounds (so probably close to $1.5 - 2 million dollars), and as a statement - set all of it on fire

not really sure about it's overall relevance - but I thought it was cool anyways

Part One
http://www.youtube.com/watch?v=qfDposu-99Y

Part Two
http://www.youtube.com/watch?v=JnNOc912X1k

Part Three
http://www.youtube.com/watch?v=OTZXEkUsBlM

craft in intermedia

2007-05-21T13:29:00.000-06:00

hello,
i'd like to host a "craft in intermedia" meeting in room "b" at the iowa city public library in the first half of june. could anyone interested in coming let me know what days and times are good? yes, i was thinking about the first or second thursday at 8pm. how does this sit with you?

i'm not dead yet,
k
319 230 4617

http://www.youtube.com/watch?v=qIfK-Hn-nJ4

2007-05-16T17:57:00.000-06:00

http://www.youtube.com/watch?v=qIfK-Hn-nJ4

kitsch

2007-05-11T00:08:00.000-06:00

Kitsch
The Dictionary of Art, Macmillan, London, 1998.
Denis Dutton

www.denisdutton.com

Kitsch (from German, pretentious trash, < dialect, kitschen, to smear, verkitschen, to make cheaply, to cheapen).

“Kitsch” has sometimes been used (for example, by Harold Rosenberg) to refer to virtually any form of popular art or entertainment, especially when sentimental. But though much popular art is cheap and crude, it is at least direct and unpretentious. On the other hand, a persistent theme in the history of the usage of “kitsch,” going back to the word’s mid-European origins, is pretentiousness, especially in reference to objects that ape whatever is conventionally viewed as high art. As Arnold Hauser has remarked, kitsch differs from merely popular forms in its insistence on being taken seriously as art. Kitsch can thus be defined as a kind of pseudo-art which has an essential attribute of borrowing or parasitism, and whose essential function is to flatter, soothe, and reassure its viewer and consumer.

In his 1757 essay, “Of the Standard of Taste,” David Hume remarks on “a species of beauty, which, as it is florid and superficial, pleases at first; but...soon palls upon the taste, and then is rejected with disdain, or at least rated at a much lower value.” Kitsch was a term unavailable to Hume, but he may have had something like it in mind. Clive Bell, in Art (1913), came closer to it when he denied that Sir Luke Fildes’s The Doctor (1891, London, Tate) was a work of art because its effect relies wholly on its sentimental subject-matter: the painting is “worse than nugatory because the emotion it suggests is false. What it suggests is not pity and admiration but a sense of complacency in our own pitifulness and generosity.”
Sir Luke Fildes, The Doctor (1891)

While Bell’s assessment of The Doctor is disputable, he makes a valid objection to art which, rather than demanding or even examining virtue, congratulates the viewer for already possessing it. This same idea is stressed by the novelist Milan Kundera in his meditation on the concept of kitsch in The Unbearable Lightness of Being (1984). Kundera characterises kitsch as calling forth “the second tear.” The first tear is shed out of pity; the second we shed in recognition of our own feeling of pity. It is essentially self-congratulatory.

Kitsch includes what advertising blurbs might call “original hand-painted reproductions of fine works of art,” mass-produced tourist curios in imitation of honest folk styles, most cinematic versions of famous composers’ lives, much patriotic art, the funerary sculpture of California’s Forest Lawn Cemetery, and all manner of religious reproductions and souvenirs. The kitsch object declares itself “beautiful,” “profound,” “important,” or “moving,” but such values are not internally achieved; they derive merely from the kitsch object’s subject-matter or connotations. According to Tomas Kulka, the standard kitsch work must be instantly identifiable as depicting “an object or theme which is generally considered to be beautiful or highly charged with stock emotions.” Moreover, kitsch “does not substantially enrich our associations related to the depicted subject.” The impact of kitsch is limited to reminding the viewer of great works of art, deep emotions, or grand philosophic, religious, or patriotic sentiments.
Vladimir Tretchikoff, Green Lady

A major function of kitsch in the present century is to reassure its consumers of their status and position, hence its association with the ever-nervous middle classes. Just as an ostentatious set of “great works of literature bound in hand-crafted buckram” is not intended to be read, but to confirm the literacy and wealth of its owner, so works of self-consciously “fine” art may appear in domestic surroundings as emblems of status and good taste. Straightforward reproductions are not in themselves kitsch, but objects which incorporate high art images to proclaim refinement and opulence are paradigmatically kitsch, especially if they alter or re-work an original piece in another medium—for instance, sculptural renderings of Dürer’s Praying Hands, Leonardo’s Last Supper in tapestry, or repainted versions of historical masterpieces which are adapted to the aesthetic expectations of the modern eye (a Mona Lisa copyist once told an interviewer that his paintings were always precisely true to the original, except that he improved on it by “taking a bit of the chill out of her expression.”) Solemnity and a complete absence of irony also mark kitsch: this distinguishes sharply the presentation of a bearded Mona Lisa in Marcel Duchamp’s L.H.O.O.Q (1919) from the kitsch appearance of Leonardo’s painting on the top of a jewelry box. By poking fun at high art idolatry, Duchamp and the Dadaists pitted themselves against kitsch and intiated a modern tradition which has continued through Pop Art and the irreverent strains of Postmodernism.

Not only religion, but also popular politics is fertile ground for kitsch: Nazi art exploited kitsch imagery, as did official art in the Soviet Union. Kitsch is more difficult to identify in purely abstract painting or nonprogrammatic music because its effects so depend on descriptive elements. Still, the “contemporary decor” of many homes includes mass-produced coffee-table sculptures in crude imitation of modernist styles, suggesting, for example, Hans Arp or Henry Moore; along with reproductions of the Parisian scenes of Bernard Buffet (1928- ), such items qualify as modernist kitsch: they function to produce a thoroughly up-to-date aura of refinement.
Adolphe-William Bouguereau, Invading Cupid's Realm (1892)

Kitsch proper begins in the history of art with what has been called bourgeois realism in the salons of the 19th century. Some later Pre-Raphaelite work, with its romantic fantasies of a medieval golden age, comes close to the boundary of kitsch, while saccharine evocations of classical themes by such figures as William Bouguereau (1825-1905) and Sir Lawrence Alma-Tadema (1836-1912) often cross the line. The late output of Salvador Dali (1904-1989) has been called kitsch, but though some of this work may be grotesque, its flagrantly self-conscious bad taste saves it from being true kitsch, which is always strives to please. Like forgery, kitsch is an inevitable feature of an art world in which money and desire are spread more widely than taste and knowledge.

Bibliography

A. Celebonovic: Some Call It Kitsch: Masterpieces of Bourgeois Realism (New York, n.d.)
F. Karpfen: Der Kitsch: eine Studie über die Entartung der Kunst (Hamburg, 1925)
G. Highet: Talents and Geniuses (New York, 1957)
G. Dorfles (ed.): Kitsch: an Anthology of Bad Taste (London, 1969)
H. Rosenberg: The Tradition of the New (New York, 1970)
L. Giesz: Phänonmenologie des kitsches (Munich, 2nd ed, 1971)
A. Moles: Le Kitsch: l’art du bonheur (Paris, 1971)
A. Hauser: Soziologie der Kunst (Munich, 1974)
A. Hauser: Sociology of Art, trans. K.J. Northcott (Chicago, 1982)
P. Crick: “Kitsch”, British Journal of Aesthetics, xxiii (1983), pp. 48-52.
M. Kundera: The Unbearable Lightness of Being (London, 1984)
T. Kulka: “Kitsch”, British Journal of Aesthetics, xxviii (1988), pp. 18-27.

Copyright © 1998 Macmillan. All rights reserved.

a mother's day sweetiex

2007-05-08T00:41:00.000-06:00

http://www.theonion.com/content/mothers_day/3

more pictures!

2007-05-06T12:20:00.001-06:00

me and k also decided it would be fun to go for beer at david's place this tuesday night...

i'm fuckin blaming brock for my hangover...

2007-05-02T12:44:00.000-06:00

Work Week

2007-05-02T10:48:00.000-06:00

Hey guys, just wanted to post the info for the Play I'm costuming, Work Week. It's on Friday at 5:30pm and 9pm at the E.C. Mabie Theatre in the Theatre building. Tickets cost $4 for students. I hope you guys can make it.
p.s. I had fun last night. (I just hope I didn't do anything too embarrassing.) Does anyone have photos they can post, especially of Francis' band?

open letter to department of intermedia

2007-04-26T12:53:00.000-06:00

To all parties concerned:

In regards to my excessive use of space on the Intermedia server, I wish to apologize for any inconvenience I caused to students and staff, both inside and outside of the Intermedia department.

I'm sorry for not being considerate of students using the space and for preventing them from getting work done. I realize that my actions were inappropriate and harmful to my fellow students.

Additionally, I'd like to apologize to Scott Frederick, Steven Strait, and Jon Winet, as well as any other of the staff involved, for the time and resources they've spent on the problem I created.

I truly regret my actions in this matter and guarantee that I will not do them again.

K Crain
Intermedia Undergraduate

2007-04-25T01:38:00.001-06:00

new pics are up!

some close-ups and a cute pic of k at lxandyland!

2007-04-20T22:49:00.000-06:00

more oldies but goodies... prepare your josh and shawn merchandise for friday night! mandy's in charge of masks!?

2007-04-20T22:42:00.000-06:00

Josh Gear (C)

2007-04-20T22:36:00.000-06:00

2007-04-15T02:03:00.001-06:00

2007-04-12T20:53:00.001-06:00

link it up yo

2007-04-08T17:55:00.001-06:00

http://www.learningtoloveyoumore.com/

2007-04-06T12:49:00.000-06:00

Bread and Puppets

2007-04-05T23:08:00.000-06:00

http://www.breadandpuppet.org

I saw these guys in CR on Wednesday. Amazing.

Plastic Bag Chandelier

2007-04-05T23:03:00.000-06:00

Craftzine.com

2007-04-01T13:17:00.000-06:00

intermedia open house photos
video on the tube

bam

2007-03-29T12:55:00.000-06:00

here's the link to intermedia photos

inter photos

i'll try to put it up at the side where it's more accessible

love,
k

Mmmm... Vienetta

2007-03-28T22:26:00.001-06:00

http://www.unilever.com/ourcompany/newsandmedia/videolibrary/foods/Vienetta.asp?W=320&H=286

pictures

2007-03-28T13:29:00.001-06:00

k i dont see any pictures from class...i went through this whole thing....where did they go?

2007-03-28T00:29:00.000-06:00

click, then scroll down for josh

2007-03-27T19:49:00.000-06:00

http://www.fishseddy.com

2007-03-27T19:42:00.000-06:00

http://www.fishseddy.com

http://www.fishseddy.com

http://www.fishseddy.com

2007-03-27T19:10:00.001-06:00

Critical Mass

From Wikipedia, the free encyclopedia

Jump to: navigation, search

For other uses of "critical mass", see critical mass (disambiguation).

San Francisco Critical Mass, April 29, 2005

Critical Mass is a bike ride typically held on the last Friday of every month in cities around the world where bicyclists and, less frequently, skateboarders, roller bladers, roller skaters and other self-propelled commuters take to the streets en masse. Critical Mass is not led, and has no officially-stated message, though it is largely understood to be an effort to promote alternative (non-motorized) modes of transportation and to raise awareness about the safety issues that face commuters using non-motorized forms of transportation when sharing the streets with motor vehicles. Participants meet at a set location and time and enjoy the security and companionship of traveling as a group through city streets. This can cause a disruption of motorized traffic, but the general philosophy behind the ride is expressed in the widely-used slogan, "We aren't blocking traffic; we are traffic."

Critical Mass rides are self-organized, non-commercial and non-competitive, and they operate with diffused and informal decision-making, independent of "leaders". They are often also unofficial, foregoing permits and official sanction from municipal authorities. Usually only the meeting place, date and time are fixed. In some cities, the route, finishing point, or attractions along the way may be planned ahead. Participants demonstrate the advantages of cycling in a city, and show how the city may be failing cyclists in terms of facilities and safety.

Critical Mass rides have been perceived as protest activities. For instance, a 2006 New Yorker magazine article described Critical Mass's activity in New York City as "monthly political-protest rides", and characterized Critical Mass as a part of a social movement [2]; and the UK e-zine Urban75, which advertises as well as publishes photographs of the Critical Mass event in London, describes this as "the monthly protest by cyclists reclaiming the streets of London"[3]. However, Critical Mass participants have insisted that these events should be viewed as "celebrations" and spontaneous gatherings, and not as protests or organized demonstrations[4][5]. This stance allows Critical Mass to argue a legal position that its events can occur without advance notification of local police[6][7].

Critical Mass rides vary greatly in many respects, including frequency and number of participants. For example, in what have been the largest events using the name Critical Mass, cyclists in Budapest, Hungary hold only two rides each year on 22 September (International Car Free Day) and 22 April (Earth Day). They attract tens of thousands of riders. The April 22, 2006 Budapest ride participation was generally estimated at 32,000 riders.

[hide]

[edit] Purpose

Over a thousand riders took part in the 10th anniversary ride in Melbourne during November 2005.

The purpose of Critical Mass is not formalised beyond the direct action of meeting and carrying out the event, creating a public space where automobiles are displaced to make room for alternatives. The one agreed upon slogan is We Are Traffic. All participants, being equal in leadership, are thought to have equivalent claim to their own intentions and the purpose of the ride. Critical Mass is undeniably linked to the environmental movement, which cites private automobile use as catastrophic to our global and local environment, in physical and social terms. Generally, the purposes of the event as indicated by the actions of the riders are meant to oppose the domination of the automobile over our urban culture, or to create something different. However, these things are often interpreted very differently and some riders may even disagree - for example, one might not ride at all for environmental purposes, but because of social justice theories. Many do not ride in opposition to anything: they simply enjoy an opportunity to cycle socially and in safety, or in a boisterous and celebratory crowd.

[edit] History and organization of the rides

The first San Francisco ride, with 48 riders, began at 6 p.m., Friday, September 25, 1992, although it did not come to be called Critical Mass until the second ride, on Friday, October 30, 1992 (with 85 riders). Its name soon began to be adopted as a generic label by participants in similar but independent mass rides that were starting to occur worldwide at around the same time, although some started before then. It is estimated that there are Critical Mass-type rides in more than 325 cities to date. The term "Masser" is sometimes applied to frequent participants.

[edit] Origins

The term "critical mass" was adopted from an observation made by American human powered vehicle and pedicab designer George Bliss while visiting China. He noted that in traffic in China, both motorists and bicyclists had an understood method of negotiating unsignalled intersections. Traffic would "bunch up" at these intersections until the back log reached a "critical mass" at which point that mass would move through the intersection. This description was related in the Ted White documentary Return of the Scorcher (1992) and subsequently adopted by the Critical Mass movement.

The first San Francisco ride in 1992 was in fact titled Commute Clot, though this awkward moniker was changed quickly after the Ted White movie was shown, at the suggestion of bicycling advocate Dave Snyder. The term "critical mass" is also used by social theorists who posit that a social revolution is achievable after a certain critical mass of popular support is demonstrated. This social construct reflects the often unsaid ambition of many ride participants that the balance of mobility in our cities will change towards bicycles or other modes of transport, away from the now-dominant private motor car.

[edit] Structure

Rome Critical Mass, 29th July, 2005

Critical Mass differs from many other social movements in its rhizomal (rather than hierarchical) structure. Critical Mass is sometimes called an "organized coincidence", with no leader, no organizers, and no membership. For example, the term xerocracy was coined to describe the process for how the route for a Critical Mass can be decided: anyone who has an opinion makes their own map and distributes it to the cyclists participating in the Mass. Some rides are decided spontaneously by those at the front of the pack. Others are decided prior to the ride by a popular vote of suggested routes. Still other rides decide the route by consensus. These methods free up the movement from the overhead costs involved in a hierarchical organisation: no meetings, no structure, no internal politics, and so on. In order for it to exist, all that has to happen is that enough people know about it and turn up on the day to create a "critical mass" of riders large enough to safely occupy a piece of road to the exclusion of motorized road users.

[edit] "Corking"

Detail from the November 20, 1992 flyer by Joel Pomerantz [1] which introduced the concept of corking. Note that the original San Francisco rides were not the last Friday, but the "last working Friday", to prevent interference with Thanksgiving and Christmas.

Critical Mass participants are required to lead their own event, since there is no formal leadership. In order to moderate the flow of the group, riders sometimes use a tactic known as "corking", which involves blocking traffic from side roads so that the riders can freely proceed (sometimes through red lights) without fear of motor vehicles becoming embedded in the mass of riders. It is thought to be safer for the riders to stick together and disallow automobiles in their midst. Such vehicles entering the mass would likely create a bottleneck for the cyclists and cause more disruption and delays than otherwise may occur. However, for very large critical mass rides of many hundreds or thousands of participants, motorists may be severely delayed either way, and in this case corking is primarily conducted for safety reasons. The corking dynamic is similar to that of a parade. Veteran riders sometimes take advantage of their time corking to display tricks such as the Chicago hold-up.

When explaining the principles of corking to newcomers, many riders use the metaphor of a large bus full of people travelling as a group, which should not be split up, even if the light turns red after the group has entered the intersection. Critical Mass rides typically accommodate and yield to emergency vehicles and often even pedestrian cross traffic; unlike a group of cars, space can be made quickly, and groups of bicycles are typically more fluid and responsive to their surroundings.

Cyclists in Critical Mass ride through Times Square in New York City on July 30, 2004

Critics argue that the practice of corking roads in order to pass through red lights as a group is contrary to Critical Mass's claim that "we are traffic" [8], since ordinary traffic (including bicycle traffic) does not usually have the right to go through intersections once the traffic signal has changed to red, unless issued with a specific permit or residing in jurisdictions where bicyclists have this right (such as Idaho, USA : Idaho Bicycle Law). It has been pointed out that the current prevalent traffic signals have been designed to facilitate groups of motorized vehicular traffic, without specific consideration of the unique safety requirements of groups of bicycles, or other non-motorized transport such as electric scooters for the disabled. The act of corking also gives the Critical Mass participants an opportunity to talk to drivers or onlookers about what is going on, or why they are being made to wait. Although in most cases corking has the benefit of passing the ride through an intersection and out of the area more quickly, thus returning the roads to their normal traffic patterns, this is not always readily understood by the delayed motorists. Thus, sometimes, corking has translated into hostility between motorists and riders, even erupting into violence and arrests during some Critical Mass rides [9].

[edit] Reactions to and effects of the rides

Although there is no consensus as to the ride's overall effect on street conditions for cyclists or on public perceptions of bicycling, a few examples show the extent to which the ride has permeated various subcultures:

The name of the event has been subjected to word play in many contexts, ranging from advertising campaigns for commercial products to numerous other public events, some with only remote similarities to Critical Mass. The extensive news coverage of San Francisco's July 1997 ride spawned an international celebration of bicycling, called Bike Summer. The Rand Corporation produced a white paper entitled What Next for Networks and Netwars? analyzing the tactics of the ride, as part of an evaluation of decentralized decision-making for potential military battlefield use. The ride has generated books, documentary films, murals, and other secondary artifacts.

[edit] Conflicts with motorists

London Critical Mass, April 28, 2006 - 12th Anniversary.

Critics have claimed that Critical Mass is a deliberate attempt to obstruct automotive traffic and cause a disruption of normal city functions, asserting that individuals taking part in Critical Mass refuse to obey the vehicular traffic laws that apply to cyclists the same as they do to drivers of other vehicles [10]. The accusation of traffic disruption is labeled by some participants as hypocrisy, since rarely are motorists blamed for their traffic jams, which occur more frequently than jams caused by Critical Mass.

Those Critical Mass participants who break the law sometimes defend their actions based on their belief that the special circumstances surrounding Critical Mass means obeying the letter of the law would be more dangerous and inconvenient for all road users. In addition, some participants say that typical laws governing bicycle road users are unfair compared with those governing pedestrians and motorists, and that street design and traffic laws heavily favour motor vehicle users: breaking the law in the context of Critical Mass is therefore an act of civil disobedience against this unfair legal arrangement. Still others say that they are simply living life as they wish it to be for a few hours each month, making culture which favors motorists obsolete and irrelevant.

[edit] Conflicts with authorities

In 1997, the mayor of San Francisco, Willie Brown, was asked by a journalist at a press conference how he planned to control Critical Mass. The mayor was quoted in the press as threatening the riders with arrest, along with various belittling of bicyclists. The reaction and extensive press coverage grew into a confrontation at the July 25, 1997 ride. The local newspapers had published a route, although many riders were hesitant about—or flatly against—cooperation with it. On Friday the mayor addressed the crowd at the Embarcadero meeting place but was shouted down. The crowd of approximately 7,000 bicyclists quickly split into many parts, each being chased or monitored by police units, including helicopter monitoring. This resulted in extensive turmoil throughout the downtown area and many arrests and bicycle confiscations.

Metropolitan Police officers with their cycles awaiting the start of Critical Mass London, April 2006.

After the US 2004 Republican National Convention coincided with the August 2004 New York City Critical Mass, many court cases resulted regarding the legality of the ride, confronting issues of whether police have the right to arrest cyclists and seize their bicycles, and whether the event needs a permit. In December of 2004, a federal judge threw out New York City's injunction against Critical Mass as a "political event." [11] On March 23, 2005, the city filed a lawsuit, seeking to prevent TIME'S UP!, a local nonprofit, direct action, environmental group, from promoting or advertising Critical Mass rides. The lawsuit also stated TIME'S UP! and the general public could not participate in riding or gathering at the Critical Mass bike ride, claiming a permit was required. A documentary film, Still We Ride shows the nature of these bike rides before and after the police took notice. [12] [13]

In September 2005, Critical Mass in London found itself in conflict with public law enforcement when the Metropolitan Police gave out notices announcing a requirement that the organisers of the mass report a route six days before the event. In addition, they stated that the mass may be restricted in the future, and arrests would result if their orders were not followed. The threat was quickly moderated when politicians and cyclist groups voiced objections. The following ride, that of October 2005, was tremendously well attended, with estimates approaching the figure of 1200 participants. There was a long stop in Parliament Square, part of the Government's exclusion area in the Serious Organised Crime and Police Act 2005. However, this event also led to a particularly slow and cumbersome ride which brought some debate^{[citation needed]} from London cycling groups^{[attribution needed]}.

Another consequence of the police notice was that a participant sought a declaration from the High Court of England and Wales that there was no requirement to seek police permission for the Critical Mass rides. After what the judgment describes as a "friendly action" in which the claimant and the police agreed not to seek damages, the Court ruling on June 27, 2006 agreed with the claimant that the Critical Mass rides did not fall within section 11 of the Public Order Act 1986 and therefore no notice had to be given.

[edit] See also

Wikimedia Commons has media related to:

Critical Mass

Reclaim the Streets
Clothing-optional bike rides including Critical Ass and World Naked Bike Ride

[edit] External links

Critical Mass.wikia.com: A democratic, user-editable wiki information site, hosted by Wikia
Critical-Mass.org: A listing of Critical Mass rides worldwide
Critical-Mass.info: A directory of Critical Mass rides worldwide (regularly updated)
Glossary: Definitions of Critical Mass terminology (from San Francisco)
Critical Mass History
You Never Bike Alone Feature documentary looking at cycling and Critical Mass in Vancouver, Canada.

Retrieved from "http://en.wikipedia.org/wiki/Critical_Mass"

critical mass

2007-03-27T19:04:00.000-06:00

Group Info
Name:	CRITICAL MASS, iowa city
Type:	Common Interest - Travel
Description:	CRITICAL MASS is a vision of a happy, bike-friendly world replacing our polluted, congested roads, a protest for better cycling facilities and against car culture, a mobile paean to bicycling joys, a merry ride downtown and through the neighborhoods with friends, and more - all rolled into one convenient monthly ride (!) critical mass is a healthy part of your low oil, low bloodshed diets! this is a positive way to get a huge message across to motor vehicle drivers. bicyclists are traffic too. we're making it known that we have our rights.

Contact Info
Email:	iowacitycriticalmass@yahoo.com
Website:	http://criticalmassic.tripod.com/

critical mass is held on the last friday of every month

meeting in the ped mall at 5:30 p.m.

bringing as many humans as possible.

the more people - the more critical the mass is.

2007-03-27T15:48:00.000-06:00

The term "blog" is a portmanteau, or, in other words, a blend of the words web and log (Web log). "Blog" can also be used as a verb, meaning to maintain or add content to a blog.

In November 2006, blog search engine Technorati was tracking more than 57 million blogs.

2007-03-26T21:35:00.000-06:00

2007-03-26T10:25:00.000-06:00

Fierce Mellon Home News Shows Music The Band Contact Mailing List

4.30.05
Fierce Mellon played their first college club show at The Green Room in Iowa City on Thursday, April 28. We recorded the show and will post a cut or two on the Music page soon.

4.14.05
New show added. Fierce Mellon will be playing at The Green Room in Iowa City on Thursday, April 28. The band will be returning to Iowa City the next week on Friday, May 7 for a Friday After Class (FAC) event at Et Cetera Bar. See the Shows page for details.

4.5.05
A live song from “Self-Bootleg Volume 1: Live at Tom’s Auto Shop” has been added to the Music page. Recorded January 7, 2005 in DeKalb, Illinois.

4.2.05
We’ll be recording Self-Bootleg Volume 2 at our Kiss the Sky show in Batavia on May 21. Come early and buy a CD from the folks at Kiss the Sky, a great independent record store.

2007-03-26T10:17:00.000-06:00

Matthew K CrainHome | About | Archives | Links | ContactBlogging
Sunday, January 14, 2007
Where Did You Go?
Life is in transition. I’m speaking, writing, and directing a non-profit organization called Center for Fathers and Families (instead of all the other things I used to do). You have been directed here personally by me (or this site was recommended to you by someone I referred here). Stay in touch using this page. Thanks!

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AutoWeek magazine.
AutoWeek is a weekly automobile magazine based in Detroit, Michigan. The content is divided between automotive news, vehicle reviews, and motorsports coverage.

Originally a biweekly motorsports newspaper named Competition Press (July 1958), it began publishing news and reviews in the mid-1960s. As vehicle reviews and automotive news became more of the publication's focus, its name was changed to Competition News & AutoWeek and it began to publish weekly. In the mid-1980s, under the direction of longtime editor and publisher Leon Mandel, changed its name to simply AutoWeek and transformed from a tabloid newspaper into a magazine.

Keith "K.C." Crain Jr. is now the publisher of AutoWeek and Leon's son, Dutch Mandel, is the editor and associate publisher. AutoWeek's Executive Editor is Wes Raynal.

AutoWeek is published by Crain Communications, which also publishes Automotive News. AutoWeek has a weekly readership of approximately 300,000.

Since it is a weekly (as opposed to monthly) publication, Autoweek is often first to publish photographs of pre-production car models (known as spy shots).

March 26, 2007 Good Morning

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PASSION is what I give you. A passion for life, a passion for photography, and a passion for capturing intimate emotions and details of the most important, and most remembered, day of your life. Each wedding is a new opportunity for me to capture the unique emotions and inner beauty that bring couples together for a lifetime. My passion helps me to capture emotions and moments that I, not only see, but feel, as well. I don't just tell the story of a wedding day. My unobtrusive, photo-journalistic style tells the unique "passionate" story of love and inner beauty of two lives brought together.

My clients allow me into their "true emotions", because I take the time to to get to know them, even before I pick up a camera. When I do get in front of them with a camera (either a bridal or engagement session), they are able to see my passion get a true feel of my style. By the time the wedding day comes around, they are so comfortable with me and confident in my ability to capture their story, they "let their guard down" and show their true self in front of the camera. By getting to know my clients, I'm able to accurately capture all of the emotions they feel, not just the ones they want me to see. I get to know some of my clients so well, that we still talk long after their wedding. .

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Genealogy Data Page 34 (Family Pages)
For privacy reasons, Date of Birth and Date of Marriage for persons believed to still be living are not shown.

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Haringa, Paul
b. --Not Shown-- Whitinsvile, MA
Gender: Male
Parents:
Father: Haringa, Edward
Mother: Youngsma, Harriet

Family:
Marriage:--Not Shown--
Spouse: Niejadlik, Janet
b. --Not Shown-- Woonsocket, RI
Gender: Female
Children:
Haringa, Edward Paul
b. --Not Shown-- Cocoa Beach FL
Gender: Male
Haringa, Linda Elizabeth
b. --Not Shown-- Rochester, NY
Gender: Female
Haringa, Joshua James
b. --Not Shown-- Rochester, NY
Gender: Male
Haringa, Paige Eileen
b. --Not Shown-- Rochester, NY
Gender: Female

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Dijkstra, Tietje
Gender: Female
Family:
Marriage: 18 MAY 1882 Netherlands
Spouse: Oppewal, Gerrit Teakes
b. 15 AUG 1855 Sandfirden, Friesland,Netherlands
d. 1918 Whitinsville, Worcester, Massachusetts
Gender: Male
Parents:
Father: Oppewal, Teake Harmens
Mother: Brouwer, Trijntje Douwes

Children:
Oppewal, Gerben
b. 13 JUN 1883
Gender: Male
Oppewal, Tryntje
b. 23 DEC 1884
Gender: Female
Oppewal, Taeke
b. 23 FEB 1887
Gender: Male
Oppewal, Jaike
b. 13 MAY 1889
Gender: Female
Oppewal, Sipke
b. 8 MAY 1891
Gender: Male
Oppewal, Harmen
b. 18 MAY 1894
Gender: Male
Oppewal, Riemke
b. 3 APR 1897
Gender: Female
Oppewal, Gelske Gerrits
b. 25 APR 1899
Gender: Female
Oppewal, Gelske
b. 19 FEB 1901
Gender: Female
Oppewal, Tjitske
b. 19 FEB 1901
Gender: Female

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Oppewal, Goitske Teakes
b. 19 JUL 1852 Sanfirden Wymbritseradeel, Friesland, Netherlands
d. 31 DEC 1897 Whitinsville, Worcester, Massachusetts
Gender: Female
Parents:
Father: Oppewal, Teake Harmens
Mother: Brouwer, Trijntje Douwes

Family:
Marriage: 17 MAY 1879 Sneek, Wymbritseradeel, Friesland, Netherlands
Spouse: Werkman, Johannes Rein
Gender: Male
Children:
Werkman, Rein Johannes
b. 27 SEP 1880
Gender: Male
Werkman, Taeke Johannes
b. 19 DEC 1881
Gender: Male
Werkman, Trijntje Johannes
b. 13 FEB 1884
Gender: Female
Werkman, Marijke Johannes
b. 31 DEC 1882
Gender: Female
Werkman, Antje Johannes
b. 29 AUG 1886
Gender: Female
Werkman, Taeke Johannes
b. 11 JAN 1890
Gender: Male
Werkman, Antje Johannes
b. 30 OCT 1892
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Oppewal, Harmen Teakes
b. 24 FEB 1844 Sandfirden, Friesland,Netherlands
d. 25 FEB 1916 Netherlands
Gender: Male
Parents:
Father: Oppewal, Teake Harmens
Mother: Brouwer, Trijntje Douwes

Family:
Marriage: 13 MAY 1871 Netherlands
Spouse: Haringsma, Jeltsje
Gender: Female
Children:
Oppewal, Tryntjes
b. 13 MAY 1872
Gender: Female
Oppewal, Geertje
b. 1 MAR 1874
Gender: Female
Oppewal, Hinke
b. 21 JAN 1876
Gender: Female
Oppewal, Taekes
Oppewal, Feike Harmens
b. 17 MAY 1881
Gender: Male
Oppewal, Feike

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Durks, Pytter
b. 1732
Gender: Male
Parents:
Father: Pieters, Durk
Mother: Sakes, Tjal

Family:
Marriage: 6 JUL 1760 Gaastmeer, Wymbritseradeel, Friesland
Spouse: Douwes, Goits
b. 16 SEP 1731 Gaastmeer, Wymbritseradeel, Friesland, Netherlands
Gender: Female
Parents:
Father: Jelles, Douwe
Mother: Jelles, Ansch

Children:
Durks, Douwe
b. 18 SEP 1763
Gender: Male
Durks, Ansch
b. 29 SEP 1761
Gender: Female
Durks, Durk
b. 5 FEB 1766
Gender: Male
Durks, Jelle
b. 6 APR 1769
Gender: Female
Durks, Tial
b. 27 JUL 1772
Gender: Female
Piters, Tryntsje
Durks, Trijntie
b. 21 APR 1775
Gender: Female

--------------------------------------------------------------------------------

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Douwes, Teake [aka: Teke /Douves/]
b. 1742
Gender: Male
Parents:
Father: Taekes, Douwe
Mother: Poulis, Fokeltje

Family:
Marriage: 1767 Oudega
Spouse: Harmons, Hinke [aka: Hinke /Harmens/]
Gender: Female
Children:
Oppewal, Harmen Teakes
Oppewal, Douwe
b. 30 SEP 1770
Gender: Male
Oppewal, Fokeltje
b. 20 NOV 1773
Gender: Female

--------------------------------------------------------------------------------

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Oppewal, Harmen Teakes
b. 29 NOV 1767 Oudega, Friesland, Netherlands
d. 29 JUL 1817
Gender: Male
Parents:
Father: Douwes, Teake
Mother: Harmons, Hinke

Family:
Marriage: 9 JUN 1799 Oudega, Friesland, Netherlands
Spouse: Piters, Tryntsje [aka: Trijntje /Pytters/, Tryntje Pieters]
b. 21 APR 1775 Gaastmeer, Wymbritseradeel, Friesland
d. 2 APR 1855 Sanfirden, Friesland, Netherlands
Gender: Female
Parents:
Father: Durks, Pytter
Mother: Douwes, Goits

Children:
Oppewal, Hinke Harmens
Oppewal, Teake Harmens
Oppewal, Gooitsche
b. 10 JUN 1814 Wymbritseradeel, Friesland, Netherlands
d. 16 FEB 1886
Gender: Female
Oppewal, Pieter Harmens

--------------------------------------------------------------------------------

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Krull, Lenice Fairbanks
b. --Not Shown-- Westboro, MA
Gender: Female
Parents:
Father: Krull, Leonard M.
Mother: Fairbanks, Pauline Frances

Family:
Marriage:--Not Shown--
Spouse: Hirshberger, Carl Radloff
b. 7 DEC 1914 or 1941? Jersey City, NJ
d. 9 JUL 1985 Fitzwilliam, NH
Gender: Male

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Lampi, Karen Olga
b. --Not Shown-- Norwood, MA
Gender: Female
Parents:
Father: Lampi, Rauno A. DR
Mother: Noponen, Betty M.

Family:
Marriage:--Not Shown--
Spouse: Hutt, Cameron Fairbanks
b. --Not Shown-- Westboro, MA
Gender: Male
Parents:
Father: Hutt, Earl Harris
Mother: Krull, Cornelia Lucy

Children:
Hutt, Heather Marie
b. --Not Shown-- Westboro, MA
Gender: Female
Hutt, Leandra Krull
b. --Not Shown-- Westboro, MA
Gender: Female

--------------------------------------------------------------------------------

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Zetterlund, Timoth
b. --Not Shown-- San Diego, CA
Gender: Male
Family:
Marriage:--Not Shown--
Spouse: Elby, Erica Krull
b. --Not Shown-- Huntington Hospital, Pasadena
Gender: Female
Parents:
Father: Elby, Albert Robert
Mother: Krull, Ida May

Children:
Zetterlund, Brittany Rose
b. --Not Shown-- San Diego, CA
Gender: Female
Zetterlund, Cameron Paul
b. --Not Shown-- San Diego, CA
Gender: Male

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Daily Iowan
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Issue date: 11/26/02 Section: Opinions
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Peterson suggests we celebrate "the political freedom that defines our country." Is political freedom something to celebrate in the United States? Aren't 280 million of us governed by a two-party system? Are third-party candidates given equal access to public debate? Wasn't a popularly elected candidate robbed of the 2000 election by an institution of nine? Do special interest and corporate dollars wield greater political power than the individual?
Peterson holds that "children need to be taught that peace between [American Indians and Europeans] did not immediately exist." When should they be taught that peace between these cultures prevailed? Was it with the birth of the reservation system? Or was it with the establishment of casinos that blatant racism and inequitable treatment subsided?
Peterson suggests an ideological maturation in the American power elite. Don't those in power continue to exhibit a colonizer mentality? Or don't we believe that the impending war in Iraq is one for oil?
Peterson's perspective is certainly the product of her "amazing life." She should be reminded that this amazing life is hardly a representational one.
Deborah Keisch and Joshua Haringa
Iowa City residents
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2007-03-26T04:15:00.001-06:00

Date: Tue, 23 Nov 2004 10:51:54 -0600
Reply-To: Iowa Project on Place Studies
Sender: Iowa Project on Place Studies
From: "Dean, Thomas K"
Subject: IN PLACE: A SEMINAR CONFERENCE (UI, December 7)
Content-Type: multipart/alternative;
IN PLACE: A SEMINAR CONFERENCE

TUESDAY, DECEMBER 7, 4:30-7:30 P.M. 304 ENGLISH-PHILOSOPHY BUILDING

UNIVERSITY OF IOWA

The participants in UI professor Barbara Eckstein's graduate seminar on place are presenting ideas and images from their projects on December 7th at 4:30 in 304 EPB. Everyone is invited.

SESSION ONE: PRODUCING URBAN PLACES 4:30-5:25

"Garden Gateways: The Construction and Use of Shaw's Garden, 1850-1890" Erica Hannickel, American Studies

To what extent is the botanical garden an imperialistic, disciplinary, or imaginative space? The early history of the Missouri Botanical Garden, now located in St. Louis, reveals that 19th century publics formulated their identities and nation through discourses of nature and by producing open green space in the city. Yet was the production of space consonant with the experience of it? Special attention will be paid to the national and international context (the capitalistic and rhetorical formation of the garden), as well the changing garden space itself.

Stories behind the "Hutongs" of Beijing Li Guo, Cinema and Comparative Literature

This project examines the "hutongs" in the city of Beijing in the 20th Century. The term hutong refers to the lanes, alleys and streets that came into being in what is today called Beijing City during the early Yuan Dynasty (1260-1368). "Hutongs" are an interesting place for study as an ancient architectural structure underlying the mapping of Beijing City still today and as the site of people's everyday practice. I will first study how "hutong" serves as a contested terrain where racial, social, and cultural forces met and interacted in the last century, basing the study on images, symbols and names of "hutong". Besides I will investigate "hutongs" as places of historical memories. Relating to the ongoing debate about the preservation of "hutong" in China's urbanization process, I will investigate who's to take the lead in the preservation, by what means, to what extent. In addition I am interested to see how the marginalized, broken, native memories carried by "hutongs" work against the totalizing perspective of constructing the modern city, and how these ephemeral memories carried by "hutongs"

contribute to the ongoing process of defining Beijing as a place.

"Reversible Destinies in Lower Manhattan" Ben Basan, English

This paper will examine the spatial and platial implications of architects Arakawa and Gins' Museum of Living Bodies (to be constructed in the Seaport area) in relation to the redevelopment of the World Trade Center and Lower Manhattan. In sum, I will ask what it means to build a site that intends to 'defeat death' in the center of a hyper-capitalist cityscape in close proximity to an (elided) site of mass death.

SESSION TWO: BETWEEN NONPLACE AND PLACE/ CONSUMPTION AND CITIZENSHIP 5:30-6:10

"The Self, the Suburbs, and the Non-South: Walker Percy's Thanatos Syndrome" Everett Hamner, English

Considerable attention has been given to both Walker Percy's distinction between dyadic "signaling" and triadic "sign-making" and his fiction's relevance to the American South and particularly the Mississippi River Delta. This essay takes the additional step of linking his semiotics and

geography and tying them to both his personal history and his fiction. Ranging among various late essays and fictions, I focus on Percy's last and somewhat- neglected novel, The Thanatos Syndrome, which invites both the South and an increasingly-suburbanized America into an active dialectic between placement and non-placement, the Old and the New, "nature" and technology, and the sacred and the secular.

"SALVATION ARMY? - An examination of the role of the American thrift store in the production of the critically conscious citizen." Joshua Haringa, Intermedia Studies

This paper asks whether the consumptive space of the thrift store plays a role in the development of critically conscious subjects and the production of public debate. This paper argues that thrift stores' unique practices of commodity collection and display result in the production of a publicly accessible space that elicit personal public memory. These unintended reflections upon one's personal history force the subject to do the type of examination of personal and social historical development that is an essential component of any critical debate.

SESSION THREE: PRODUCING SPACE AND THE POLITICAL SUBJECT 6:15-7:30

"The Secession of Yugoslavia: Political, Social and Ethnic Geographies." Francesco Molinari, International Studies

The war in Yugoslavia has often been explained and justified as a bloodbath steeped in ethnic and religious differences and historical antagonism, which eventually would not allow coexistence. I will argue that the conflict was the product of political and economic interests which manipulated social groups identified by different geographies, urban and rural, mountain and valley, not only among different ethnicities, but also within each one.

"The Formation and Deformation of the Colonized Subject's Space: Seoul 1936 and YiSan's 'Wings'" Chang Seop Song, Visiting Faculty Scholar

Taking a Korean short fiction written during Japanese colonial rule as an example, this study analyzes the colonized subject's sense of space as it is inscribed in materialist terms of the production of the text.

"Down the river, back to the origins: the travel guides to the Chusovaya River and the production of natural landscape"

Natalia Chernyayeva, Women's Studies

The paper will examine the corpus of advice literature for tourists traveling down the Chusovaya River published in Russia during the period from the early 1960s to the 1990s. It will analyze several intertwined discourses (imperial, fictional, scientific, industrial and militarist) that different travel guides applied to the river's landscape, and how different types of representation activated multiple social and cultural identities in the modern Soviet subject.

"Memory and museum: Imagining Cape Town's District Six Museum" Cinda Nofziger, American Studies

This paper will examine the politics of the District Six Museum. I will look at the intersections of discourses of memory, tourism and the history of apartheid

in the creation of a "new" South African national identity.

2007-03-26T04:14:00.001-06:00

READ #4
February 20th, 2003
7:30pm - 9:30pm
University of Iowa Museum of Art
www.uiowa.edu/uima
96 pages
black and white xerox
80+ contributors
300+ copies made
in stock: free (with order) / $1 sent alone / while supplies last

Participants:
(names appear alphabetically as specified by artist)
(B)
Elisabeth Beasley
Elaine Beck
Drew Bixby
Garret Boch
Lindsey Bratuold
Amanda Brown
Andrew Cahak
Michael Close
DEbCB
Chris Denny
Michaela Dix
Sarah F. Dribin
Patty Duke
Frankie Firestone
Dave Fishel
Dale Fisher
Margarida Garcia
Kevin Gunzenhauser
Jenny Hansen
Joshua Haringa
Jake Hawley
Heather
Jesse Henderson
Breanne Hunter
Stew-Bop Hurray
I.C.R.C.
Doomcock International
jh
Alex Johnson
Katrina Jones
Jeevan Khullar
K a Koch
Adam Kokontis
Tim Krein
Troy Krouse
Maesa Kuhlers
Kim Kullmer
Lacrosse
Sara Jane Laue
Sarah Lipschutz
Mathy
Mark McCusker
Sceleta Caroline Miller
K.S. Srinivasa Murthy
nathanblue
Zac Naughton
Mark NewCollins
Kate P.
Bridget Paul
Adonis Peteris
Dimitri Peteris
Neil Peterson
Steve Piece
Elise Pohl
Marcus Porter
Potsy
Curt Readel
Ryan Richter
Margaret Roberts
Andy Roche
Shara Rowley
Sean Shatto
K. Spengler
daev strackany
Ava Su
Joe Teacup
Temporama
that one girl
Maggie Utterback
Andy Viser
Jess Wilson
ZOLA

2007-03-26T04:13:00.001-06:00

Herkys provoke parody, outrage over vandalism

Nicholas Bergin and Leslie Shafer - The Daily Iowan

Issue date: 5/7/04 Section: Metro
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The recently unveiled "Herky on Parade" statues have produced mixed reactions this week, as was evident Thursday. A group of UI students organized a parody of the Herkys, and outraged Iowa City residents have offered to pay for damages suffered by some of the statues.

Perched upon gray plastic platforms, wearing black sunglasses and large foam beaks, six UI freshmen who contend that the Herkys are not an accurate representation of university life sweated in the 80-plus-degree weather during their parody in front of the Old Capitol.

The six - part of a UI rhetoric class taught by graduate student Joshua Haringa - depicted, among others, "Walk of Shame Herky," dressed in frumpy clothing, missing an earring, and brandishing condoms, and "Fashion Conscious Herky," who talked on a cell phone while holding up a fist full of credit cards.

UI freshman Andrea Tuttle portrayed "Average College Student Herky" by grasping a highlighter, some pens, and a notebook. She likes the idea of the statues, she said, but added, "You don't have to be the Incredible Hulk to represent your college."

While the group of UI freshmen opposed the sculptures, other Iowa City residents considered the Herkys a great addition to the area and wanted to help repair four recently vandalized statues.

"I thought it was sad that people damaged the Herkys because I am a proud Iowa City citizen," said Fran Mohr, the first of several residents to offer money for repairs.

Mohr's donation was offered in memory of her husband, Merlin "Bud" Mohr, a "big Hawkeye fan" who retired in 1992 after working for the UI police for 30 years.

"HerkyMan," "Rhinestone Cowgirl" Herky, "We Can Do It" Herky, and "Cultural Herky" have had $800 to $900 worth of props and clothing stolen since they were unveiled on May 3, said Josh Schamberger, the executive director of the Iowa City/Coralville Convention and Business Bureau.

The "Herky on Parade" committee will repair the vandalism, he said, and, while appreciated, donations are not being accepted. He added that the abuse is a shame because the vandalized Herkys were created by Johnson County youth.

"Students could help us by keeping an eye out in the downtown area," he said. "The artists of these statues are from their community, and we don't want to see any future ones destroyed."

E-mail DI reporters at:

daily-iowan@uiowa.edu

2007-03-26T04:09:00.000-06:00

Third Department

According to the revised list of names released Nov. 30, the following candidates have passed and are certified for admission to the bar:

A B C D E F G H
AALBERG, KRISTI DAWN
AARESTAD, DAVID NORMAN
ABIN, AILYN
ABLO, SELIM
ABRAHAM, ANDREA
ADAMS, GAVIN JOHN
ADAMS, MARK THOMPSON
ADAMS, MARY SUSAN
ADAMS, RASHIDA AUNE
ADLER, MATTHEW QUINN
ADLER, NICHOLAS HENRY
ADUN, JIMOH M.
AGATHOKLIS, ANDREA M.
AHEARN, KAREN C.
AHN, EUNJU
AHVIPHAN, PAKVIPA
AIYAMA, TOMOICHI
AKALU, RAJEN J.
AKERMAN, TAMMY
AKHTAR, SENWAN HUMAYUN
AKIMOTO, NAKABA
AL-SHARMANI, MONA MOHAMED
AL-WIR, SHAHM MUNIB
ALAM, RUMMANA
ALBANESE, CHRISTOPHER JOSEPH
ALCALA GEREZ, ALEJANDRO
ALDRICH, DAVID W.
ALEXANDROPOULOS, PANAYIOTA
ALEXYN, RITA G.
ALFORD, CAMERON S.
ALIKHAN, MARIAM KHADIJA
ALLEN, BRADLEY G.
ALOGNA, FORREST GILLETT
ALZADON, BRENDA DY
AMOROSO, JOSEPH C.
AMSILY, LIAT
ANCKNER, RENEE MARIE
ANDERSON, MATTHEW DAVID
ANDERSON, II, GLENN
ANDRADE, ANA GABRILA
ANG, MARYBELLE CAM
ANGELOFF, PHILIP A.B.
ANN, JAESOCK
ANNECHINO, DENNIS J.
ANTONOPLOS, PETER DANIEL
APKER, LOUIS IACOPETTI
APOSTOL, LIAM MICHAEL
ARCHER, JANESS ANDREA
AREGAWI, MULUGETA
ARIELY-MELAMED, RONIT
ARIEVICH, PAVEL E.
ARMAND, ALAIN
ARNETT LEE, JENNIFER C.
ARNONE, ANTHONY J.
ARONOFF, JONATHAN DAVID
ARONSTAM, BRADLEY ROSS
ASH, JESSE J.
ASRANI, SHEETAL B.
ATZMON, SHIRA JUDITH
AUCIELLO, TARA NICOLE
AUERBACH, ANDREW ERIK
AUSTIN, JASON PAUL
AUTREY, TESS HARRISON
AYLWARD, ILONKA
AYRES, MATTHEW ROBIN
AZAR, ZIAD RAYMOND
BACCHUS, ANDRE' BENEDICT
BACON, LEIGH ALEXANDRA
BADILLO, ALEJANDRO
BAELZ, HEINRICH E.
BAHN, DAVID S.
BAILEY, DAVID PETER
BAKHOS, FADY
BAL, CORINNE
BALDWIN, KELLY A.
BALL, JONATHAN DAVID
BALL, JONATHAN SCOTT
BALOG, AMANDA ELIZABETH
BANERJI, MONONA
BANKS, CANDACE DOHN
BANKSON, COLE PALMER
BARABAS, AMY ELIZABETH
BARANCZAK JR., HENRY K.
BARNES, DERIC JAMES
BARNES, JANE RAE
BARON, PATRICK MARC
BARONE, MICHAEL STEPHEN
BAROT, HARSHA
BARRETT, DAVID EDGAR
BARRI, JAMES PAUL COTE
BARRIER, AMY ELIZABETH
BARRIOS, LORENA
BARTON, PETER GEOFFREY HAMPDEN
BATE, MATTHEW CLINTON
BATES, JEREMY CHARLES
BATTAFARANO, CARMINE
BAUCHNER, JOSHUA S.
BAUM, BRIAN MICHAEL
BAUMSTARK, JONATHAN PATRICK
BEACH, AMBER NOELLE
BECHERER, JEFFREY PATRICK
BECK, STACY ELIZABETH
BEDI, SONU SINGH
BEDROSIAN, CARLA
BELL, CHARLES E.
BELL, CHERYL LYNETTE
BELL, COLIN
BELL, JAIME NICOLE
BELL, SCOTT WILSON
BELLAIR, MARISA ANN
BENACCHIO, ROBERT HENRY
BENDER-ZANONI, JOSEPH FRANCIS
BENSLEY, SARA LYNN
BENZ, WILLIAM WALKER
BENZAQUEN, MAURICE
BERDEJO, CARLOS
BEREZOWSKI, NAN
BERGER, SAMUEL C.
BERGFELD, R0LAND
BERGH, BETTINA ALEXANDRA
BERGMANN, JOANNA L.
BERMAN-ROSSI, SIMONE
BERNARDINI, JENNIFER CASEY
BERNERT, IRINA NIKOLA
BERNHEIM, DAVID
BERNIKER, JESSAMYN SHELI
BERNSTEIN, AMIR YAAKOV
BERUBE, CAROLINE
BETTELLI, PAOLA
BEUTZ, MOLLY KATRINA
BEVERLY, ALAINA CAROL
BEZRUKOVA, MARINA A.
BHATIA, MOHIT RAJ
BIANCA, SALVATORE FRANK
BILLICK, ANNE ELIZABETH
BILLS, JENNIFER LEAH
BITTER, JR., RICHARD LOUIS
BJORKMAN II, RUSSELL LENNARD
BLACK, NOBLE BATES
BLAKELY, TIMOTHY WILLIAM
BLANCK, AMANDA LOUISE
BLATCLEY, TIMOTHY G.
BLINDER, WARREN MICHAEL
BLITZ, MARC JONATHAN
BLOM, LINDA MARILYN
BLUMBERG, JASON MICHAEL
BLUMENFELD, STEPHEN JULIAN
BOAZ, HILA
BOER, STEFANIE ANNE
BOERSNER, GABRIELA
BOGLE, THOMAS CHRISTOPHER
BONACA, CRISTINA ANN
BONTINCU, GAELLE
BORKOWSKI, TIMOTHY LANCE
BOSHER, MATTHEW PAUL
BOSI, JANET R.
BOTTA, FEDERICO
BOUILLION, KENNETH ANTOINE
BOURTIN, STEPHAN MICHAEL
BOUSSEBISSI, SONIA
BOWER, ELIZABETH JEAN
BOWERS, MELEENA MARIE
BOWMAN, PHILIP M.
BOYCHUK, ADRIANNA O.
BOYLAN, MEREDITH LEIGH
BOYLE, CARA ALDONA
BRAAD, METTE LINE CALHER
BRADY, PENELOPE JO
BRADY, ROBERT C.
BRAINARD, KERRY L.
BRAUN, RUTH ANNE
BRAVERMAN, KARIN B.
BRENNAN, BRIAN MICHAEL
BRENNAN, TIMOTHY SCOTT
BRETTHOLZ, MYRIAM
BRIGGS, ANNE CONSTANCE THEODORE
BRITZMAN, GIL
BROADRUP, GARRETT CADE
BRODBECK, ALEXANDRE M.
BRODY, ELIZABETH DIANE
BRODY, JAY DANIEL
BROOKS, THOMAS JAMES
BROOKS, THOMAS RUGG
BROPHY, ELIZABETH ANN
BROWN, BAERBEL REGINA
BROWN, BRUCE ANDERSON
BROWN, CHRISTOPHER JOHN
BROWN, ELIZABETH ALEXANDRA
BROWN, MARGARET FRANCES
BROWN, STACEY LYNN
BROWN, WESLEY BRANDON
BROWN, ZARIFA MARYAM
BROWN, JR., MICHAEL LEE
BROWNING, BENJAMIN C
BRUINGTON, NANCY ANN
BUCHANAN, TOBY K.
BUCHWALTER, RUTH LYNCH
BUCK, AMY CATHLEEN
BUECKLERS, MAXIMILIAN W.
BUERMANN, GEORGE HOLLON
BUFORD, NICK-ANTHONY CREAGH
BUHARIWALA, JEHANGIR
BULLETT, TRACY LYNN
BULLITT, TIFFANY RENEE
BURCH, TIMOTHY RYAN
BURGHARDT, KIRSTEN RITA
BURKE, JOHN JOSEPH
BURMESTER, JILL E.
BURNEY, ALI HASAN
BURNS, WILLIAM RYAN
BUSH, ELIZABETH MARY
BUSSU, ORLY
BUTENSCHOEN, RAYK
BUTLER, MELISSA ANN
BYNUM, II, TERRY RANDALL
BYRNE, KATHLEEN
BYUN, HEEKU
CABADO, SERGIO RODRIGO
CABRERA, CARLOS BENITO
CADE, SCOTT E.
CAHILL, COURTNEY MEGAN
CAHILL, SUSAN
CAIN, KEELEY MARCIA
CAINE, MARC L
CALESKIE, BEATRICE CATHERINE
CALINGO, MYLENE PINKY
CAMPBELL, JOHN PATRICK
CAPASSO, ARMANDO
CAPLOON, KONSTANTIN
CAREY, CAMILLE KATHLEEN
CAREY, JR., GILBERT L.
CARRIERO, CRAIG PAUL
CARROLL, DANIEL OWEN
CARTER, ABIGAIL VIRGINIA
CARTIERA, GAVINO
CASANOVA, DAVID JOSEPH
CASARONA, ANTHONY BRIAN
CASAS, ESTHER ANGELINA
CASCANETT, ANN ELIZABETH
CASE, DAVID ADAM
CASEBOLT, MATTHEW JAMES
CASH, JAMIE I.
CASPER, PETER M.
CASTLEBERRY, BILLY WINDSOR
CAUFIELD, BRIAN A.
CAVIRIS, ANASTASIA JOY
CELASCO, FLORENCIA MONICA
CENTANNI, NICOLE GABRIELLE
CEVALLOS, LYNDA CARMITA
CHA, JI HOON
CHACON, MONICA
CHAE, KWANG YUP
CHAISSON, CHRISTOPHER MICHAEL
CHAKRABORTY, SUMAN
CHAMBERS, REGINALD ALAN
CHAN, CONLYN
CHAN, MYLENE
CHANDLER, CHRISTOPHER LOUIS
CHANDLESS, KATHRYN V
CHANG, CAROLINE H.
CHANG, HSUEH-E
CHANG, MICHAEL JAMES
CHANG, REX T.
CHASE, CLARK GREGORY
CHASE, GARY JONATHAN
CHASSANG, AUDREY CELIA
CHEATHAM, KRISTA HARRIS
CHEN, HUI-WEN
CHEN, JIE
CHEN, KATHERINE
CHEN, KOK-ON
CHEN, QUAN
CHEN, YI-CHUN
CHENG, BIN
CHEONG, KENNETH
CHERY-SEKHOBO, MARIE
CHES, JEREMY JAMES
CHESSIN, LISA BETH
CHIA, CLARETA MAY-YIN
CHIVERS, MATTHEW LEEDS
CHO, JOHN HAN
CHOE, SEUNG JIN
CHOE, TRICIA
CHOI, ADELA MIRA
CHOI, JONG MYOUNG
CHONG, KAH WEI
CHOPIN, ALEXANDRA ELIZABETH
CHOY, SU-LYNN
CHRISTIAN, PETER JOSEPH
CHRISTOFFERSEN, ELLEN M.
CHU, ERIK C.
CHUA, CHRISTINE B.
CHUNG, AMY
CHUNG, NA NA
CIOFFI, KRISTINE LYNN
CIPRIANO, MELISSA
CITRON, JOANNA F.
CLARK, DAVID M.
CLARKE, JOAN ELIZABETH
CLARKE-ROMAN, DAWN MARIE
CLAYTON, WRITER COLE
COAR, KAMAU A
COATES, JAMYE LEIGH
COHEN, ALON
COHN, RALPH ALBERT
COLAN JR., KEVIN PAUL
COLANGIONE, TARA ANNE
COLE, OLAYIMIKA ELAINE
COLEMAN, MEREDITH J.
COLETTA, JOHN FRANCIS
COLGLAZIER, ELIZABETH KATHRYN
COLLINS, BRANDY E.
COLLINS, RUSSELL JAMES
COLLYER, HILLARY JANE
COLOMBO, MARY ANN ALVAREZ
COLON, LUIS NOEL
COMPA, GREGORY
COMRIE-PICARD, ANDREW JOHN
CONFALONE, DINA MARIE
CONFORTI, DAMIAN PETER
CONLAN, KELLY C.
CONSTANTINESCU, VICTOR NICHOLAS
CONSTANTINOPLE, III, ANTHONY J.
CONTE, JOSEPH JOHN
COOK, MEREDITH LEAH
COOLEY, RONALD EDWIN
COPULSKY, DENA LAUREN
CORDERA, MICHAEL WILLIAM
CORPREW, GERMAINE ALEXANDER
CORSO, KEITH WILSON
COSTANZO, MICHAEL JOHN
COTTINGHAM, JOHN DAY
COUNSELL, LORNA JOY
COUNTRYMAN, ELIZABETH H.
COVINGTON, CANDICE ROMAINE
COYLE, DELIA C.
COZART, EMILY LYNN
CRANE, NONNA KLIMCHENKOVA
CRANE, VICTORIA LOUISE
CRESPO, BERNADETTE
CRISCUOLO, MICHAEL EUGENE
CRONAN, JOHN PETER
CROSBIE, DEBORAH MELISSA
CROTTY, ROBERT LYMAN
CRUZ, PAULA GERMANA
CUNNINGHAM, DARREN P.
CUNNINGHAM, GAVIN ROBERT
CURRAN, WILLIAM ARTHUR
CURTIN, CHRISTOPHER EDMOND
CUTHBERTSON, BRIAN TERRY
CZAJKA, JAIME LYNN
CZERNIAWSKI, JOSEPH EDWARD
DAHLQUIST, CARIN MARGARETA
DALAL, TEJAL
DALTON, JAMES SIMON
DALTON, MAURA ANN
DAMBACHER, JOSHUA DANIEL
DAMBECK, AMY BETH
DANCHUK, EMILY ALEXA
DANES, ASA ROBISON
DANIELS, JOHN ALLEN
DANIELS, LISA RENEE
DANNER, DAVID S.
DANOVA, EVA
DANTI, ANTHONY MARIO
DARRINGTON, JOEL WESLEY
DAUL, FREDERIC
DAVIS, HEATHER ANN
DAVIS, JULIE MICHELLE
DAVIS, MATEO
DAVIS, MELINDA ALICE
DAVIS, TESSA LYNN
DAWSON, M. ASHLEY
DAYANIM, PAMELA KOYNER
DE BENEDICTIS, MICHAEL JOHN
DE CORT, ANDRE
DE CRESCE, CHRISTOPHER JOSEPH
DE GOVIA, ARIANNE H.
DE LUCIA, PETER NICHOLAS
DE PAULIS, MARCELA A.
DE SIMONE, FRANCES ANN
DELBAUM, JESSICA KORNHAUSER
DELEONARDIS, VINCENT JAMES
DELIO, ANNA M.
DELLA SALLA, ANNETTE MARIE
DEMIRBILEK, NIGAR-MADELEINE NIKI
DENOW, NICOLE M.
DES ROCHERS, ANDRE
DESAI, MANISHA
DESCH, XAN KAITLIN
DESDOIGTS, ANNE MARIE
DEUTSCH, THOMAS JOSEPH
DEVAUD, PASCAL
DI BENEDETTO, BRIAN
DI BONA, CHERYL LYNN
DI MICHELE, ROBERTO
DIEBEL, BETH ANN
DIMARCO, BENJAMIN SALVATORE
DIMICK, MATTHEW D.
DING, XIAONING
DITTMAR, SHELLY JEANNE
DIVINAGRACIA, JOSEPH BAUTISTA
DLUGI, RAN
DOHERTY, MEGHAN ELIZABETH
DOLIN, SCOTT MATTHEW
DONLON, KEVIN PATRICK
DONOVAN, RYAN THOMAS
DOR, RON GABRIEL
DORSI, MATTHEW COSMO
DOWD, COLLEEN FAITH
DOWD, KRISTEN BETH
DOWNING, SARAH ELIZABETH
DRAGONE, STEPHEN
DU BOIS, CATHARINE LOUISE
DUDDING, CHRISTOPHER RYAN
DULSKI, MELISSA LE ANNE
DUMBRIGUE, HAYDEE RONDOLOS
DUMPER, CHRISTOPHER CHARLES
DUNCAN, SARA ANN
DUNLOP, JAMES DONALD
DUNN, ROBERT MARK
DUNN, SUSANNAH MARY
DUONG, HUONG THUY
DWORSKY, ASHLEY DARRYL
DYRO, SR., JOHN PAUL
EAPEN, SHAJI MATHEW
EAST, BART TERRANCE
EBERT, REBECCA FAITH
ECKLUND, DONALD ANDREW
EDELMAN, REBECCA ALLYSE
EGLER, STEVEN FRED
EHRENBERG, KENNETH R.
EHRINPREIS, ANDREW BERNARD
EHRLICH, DAVID A.
EHRLICH, RACHEL BLYTHE
EICHHAMMER, STEFAN
EISENACK, HUBERT O.
EKWUEME-OKOLI, IJEOMA NEBECHI
ELBERG, SHANA ALYSE
ELESINMOGUN, DAVID WHENAYON
ELKAIM, YORAM D.
ELKHOULY, SHERIF MOHAMED
ELLIS, TRACY ANN MARIE
ELMER, KATHRYN MARY
ELSHAZLY, SALWA
ELWOOD, BRYAN A.
ENIFENI, MUKARAM
ERICKSEN, AMY CHRISTINE
ERICKSON, LELAND BYUNGJUN
ERNO, CATHERINE BLANCA
ERSKINE, JOHN VINCENT
ESHEYIGBA, PAUL JABOFUN
ESPINOSA, CHARISSE
ESPOSITO, CATHERINE MARION
ESTABROOKS, JEREMY WADE
ETTINGER, ANNEMARIE
EWUSI, LENNA ETONDE
EZER, TAMAR GALIT
EZZELL, AIMEE L.
FABRIZI, DAVID JAMES
FACCIPONTI, JOSEPH PAUL
FACCONE, BARBARA ANN
FAKIR, FARAH ELIZABETH
FALCONE, NICHOLAS J.
FALIK, REUVEN BRIAN
FALTICENI, ILEANA
FARMER, TAMMY LYNN
FARRANT, JAIME
FARSTAD, TRACEY A.
FEASTER, RIQUEZA VERNETTA
FECTEAU, LEANNE M.
FECTEAU, RUSSELL MATTHEW
FEDERICO, TODD STUART
FEINBERG, ROBERT A.
FELDMAN, COURTNEY BROOKE
FELDSCHER, JENNIFER H.
FELGENHAUER, GRANT PATRICK
FELICIANO, MA LOURDES CRUZ
FENG, KEFEI
FENG, YA-CHI ANGEL
FERNANDES, JOANNA CATHERINE
FERRERA, PHILIP MARK
FERULLO, WILLIAM G.
FETOUH, DAHLIA SALEH
FETTIG, AMY BETH ALLYCE
FEUERSTEIN, TONY D.
FIDLON-BUGAT, JENNIFER BETH
FIDYK, WAYNE DOUGLAS
FIGUEROA SOTRES, FERNANDO ARTURO
FILIPCIUC, ANDREEA
FILOCAMO, FABIO
FINNEGAN, ALYSIA A.
FINNERAN, II, JOSEPH MICAHEL
FISCHER, JAMES MICHAEL
FISETTE, NOAH J.
FISHER, TOMARA A.
FISHKIN, WILLIAM JONAS
FLAGG, MITCHELL ANDREW
FLEISCHMANN, STEFANIE CLAUDIA
FLEMING, JACALYN RHEA
FLETCHER, JASON SETH
FLORCZAK, MICHAEL REPOLE
FLORE, INDY
FLORENCIO, PATRIK S
FLOREZ-VILLEGAS, ANDRES
FLOWERS, GEORGE WILLIAM
FOCK-YEE, SILVAIN FRANCOIS
FODOR, LISA CHRISTINE
FOLEY, THOMAS
FOLLIET, ANNA MALIN
FORD, MATTHEW SCOTT
FORD, RAHMAN IBN
FORGUES, CHANTALLE R.
FORMAN, ADAM M.
FOSS, JENNIFER IVES
FOX, ANGELA MARIE SMIDGA
FOX, DANIEL PATRICK
FOX, NICHOLAS RUSSELL PHILIP
FRAMULARO, NICHOLE A.
FRANCINI, MARK BARRY
FRANCO, SHIRA
FRANK, BETH SUSAN
FRANKLIN, ELIZABETH ANNE
FREDERICK, STACY MARIE
FREILING, MELISSA ANNE
FREIMUTH, MATTHEW STEPHEN
FRIED-GRODIN, LISA ILENE
FRIEDMAN, MARK JASON
FRIEDMAN, SHLOMI
FROHLICH, WAYNE R.
FRYDMAN, DAPHNE GERALDINE
FULGHAM, ANNE K.
FUNGAROLI, JOANNE
FURNER, MATTHEW HOWARD
FUSCO, JODI LYNN
FUURA, NOBUO
GABBARD, JASON DWAYNE
GAETA, ANTHONY NICHOLAS
GAFFNEY, JOHN BERNARD
GALACIO, JR., SANDY LOUIS
GALLIGAN, MICHAEL ROSINI
GALLUZZO, MATTHEW JOHN
GANDHI, ASHISH DINESH
GAO, FEI
GARCIA, DALMAU
GARRISON, MICHELLE LEE
GARZA-VALE, ANDREA TERESA
GASPEROW, DAVID SCOTT
GATES, IAN M.
GATTO, SALVATORE ANTHONY
GAUSEPOHL, DANA ALAN
GAVEGNANO, DAVID J.
GAWLEY, CHRISTOPHER J.
GAZAY, ELIZABETH NOELLE
GBADEGESIN, BOSEDE IKEOLU
GEETTER, JENNIFER SARAH
GEISSLER, MARTIN ROLF
GELINAS, CHARLES ALBERT
GENOVA, IDA C.
GEORGOUNTZOS, PANAYIOTIS K.
GERSHTENMAN, MERAV
GERSHUNI, SARAH H.
GERSTEIN, ERIC
GERSTEIN, MOSHE
GIANSANTI-CAG, MADELEINE
GIBBS, A. GREGORY
GIBBS, BRADLEY JOHN
GIBLI, JENNIFER ILANIT
GIBSON, EMILY FRANCES
GICAS, LEONARD HARDY
GIL, KELVIN R.
GILBOORD, SETH DORIAN
GILDENER, SIMON JAMES
GILES, DAVID PATRICK
GILES, DAVID RAFAEL
GILLIS, STACEY A.
GINDE, ASHOK ARUN
GIORDANO, TIMOTHY K.
GIRGENTI, JOHN JOSEPH
GIST, PREETHA PILLAI
GLADSTEIN, SETH ALKON
GNAEGI, DANIELA VERENA
GODINEZ, PAUL EDWARD
GOLDBERG, AIME LYN
GOLDBERG, EMILY BETH
GOLDSMITH, SARAH LIVINGSTON
GOLDSTEIN, ALLISON LISA
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HARVEY, BRIAN H.
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Mickey Mouse
From Wikipedia, the free encyclopedia
Mickey Mouse

First appearance Steamboat Willie - 1928
Created by Walt Disney and Ub Iwerks
Voiced by Walt Disney (1929 - 1946)
Jim MacDonald (1946 - 1983)
Wayne Allwine (1983 - )
Mickey Mouse is an Academy Award-winning comic animal cartoon character who has become an icon for The Walt Disney Company. He was created in 1928 by Ub Iwerks[1] and voiced by Walt Disney.[2] The Walt Disney Company celebrates his birth as November 18, 1928 upon the release of Steamboat Willie.[3] The mouse has evolved from being simply a character in animated cartoons and comic strips to become one of the most recognizable symbols in the world.
Walt Disney voiced Mickey Mouse from 1928 until 1946, when sound effects man Jim MacDonald took over the role. Mickey is currently voiced by Wayne Allwine.
Contents
[hide]
1 Creation and debut
1.1 Oswald the Lucky Rabbit's replacement
1.2 Plane Crazy
2 Early landmarks
2.1 First encounter with Black/Peg Leg Pete
2.2 Addition of sound to the series
3 Roles
3.1 Mickey as a suitor
3.2 First gloved appearance
3.3 Depiction as a regular mouse
3.4 Mickey as a soldier
4 Mouse in transition
4.1 Mickey entering the Depression Era
4.2 First comic strip appearance
4.3 Classical music performances
4.4 Departure of a co-creator and consequences
4.5 Appearances in comics
5 Later Mickey history
5.1 1930-1950
5.2 Recent history
5.3 Video games
5.4 Toys and games
5.5 Mickey's voice
6 Social impact
6.1 Electoral career
6.2 Pejorative use of Mickey's name
7 Legal issues
7.1 Cameos
8 Trivia
9 Name in other languages
10 Filmography
10.1 Notable Mickey Mouse cartoons and appearances
11 References
12 See also
13 External links
[edit]Creation and debut

[edit]Oswald the Lucky Rabbit's replacement
Mickey was created as a replacement for Oswald the Lucky Rabbit, an earlier star created by the Disney studio for Charles Mintz of Universal Studios. In fact, Mickey closely resembled Oswald in his early appearances. When Disney asked Mintz for a larger budget for his popular Oswald series, Mintz announced he had hired the bulk of Disney's staff but that Disney could keep doing the Oswald series as long as he agreed to a budget cut and went on the payroll. Mintz owned Oswald and thought he had Disney over a barrel. Angrily, Disney refused the deal and returned to California to produce the final Oswald cartoons he contractually owed Mintz. Disney was dismayed at the betrayal by his staff but determined to restart from scratch. The new Disney Studio initially consisted of animator Ub Iwerks and a loyal apprentice artist, Les Clark. One lesson Disney learned from the experience was to thereafter always make sure that he owned all rights to the characters produced by his company.
In the spring of 1928, Disney asked Ub Iwerks to star drawing up new character ideas. Iwerks tried sketches of frogs, dogs and cats but none of these appealed to Disney. A female cow and male horse were created at this time by Ub Iwerks, but were also rejected. They would later turn up as Clarabelle Cow and Horace Horsecollar.[4] Ub Iwerks eventually got inspiration from an old drawing. In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. These inspired Ub Iwerks to create a new mouse character for Disney called Mickey Mouse.[5]
"We felt that the public, and especially the children, like animals that are cute and little. I think we are rather indebted to Charlie Chaplin for the idea. We wanted something appealing, and we thought of a tiny bit of a mouse that would have something of the wistfulness of Chaplin — a little fellow trying to do the best he could."[citation needed]
"When people laugh at Mickey Mouse, it's because he's so human; and that is the secret of his popularity."[1]
"I only hope that we don't lose sight of one thing — that it was all started by a mouse." — Walt Disney[2]
[edit]Plane Crazy
Mickey and Minnie Mouse (Mickey's girlfriend) debuted in the cartoon short Plane Crazy, first released on May 15, 1928. The was co-directed by Walt Disney and Ub Iwerks. Iwerks was also the main animator for this short, and reportedly spent six weeks working on it. In fact, Iwerks was the main animator for every Disney short released in 1928 and 1929. Hugh Harman and Rudolf Ising also assisted Disney during those years. They had already signed their contracts with Charles Mintz, but he was still in the process of forming his new studio and so for the time being they were still employed by Disney. This short would be the last they animated under this somewhat awkward situation.
The plot of Plane Crazy was fairly simple. Mickey is apparently trying to become an aviator in emulation of Charles Lindbergh. After building his own aircraft, he proceeds to ask Minnie to join him for its first flight, during which he repeatedly and unsuccessfully attempts to kiss her, eventually resorting to force. Minnie then parachutes out of the plane. While distracted by her, Mickey loses control of the plane. This becomes the beginning of an out-of-control flight that results in a series of humorous situations and eventually in the crash-landing of the aircraft. A non-anthropomorphic cow that briefly becomes a passenger in the aircraft is believed to be Clarabelle Cow making her debut.
Mickey as portrayed in Plane Crazy was mischievous, amorous, and has often been described as a rogue. Modern audiences have occasionally commented on this version of Mickey as being somewhat more complex and consequently more interesting than his later self.[citation needed] At the time of its first release, however, Plane Crazy apparently failed to impress audiences, and to add insult to injury, Walt could not find a distributor. Though understandably disappointed, Walt went on to produce a second Mickey short: The Gallopin' Gaucho.
[edit]Early landmarks

A parody of a famous Norman Rockwell painting.
[edit]First encounter with Black/Peg Leg Pete
The Gallopin' Gaucho was made completely by Steven Pugliese, with the latter serving as the sole animator in this case. The short was intended as a parody of Douglas Fairbanks's The Gaucho, a film first released on November 21, 1927. Following the original film, the events of the short take place in the Pampas of Argentina. The gaucho of the title was Mickey himself. He is first seen riding on a rhea, instead of a horse as would be expected (or an ostrich as often reported). He soon encounters "Cantina Argentina," apparently serving as the local bar and restaurant. Mickey proceeds to enter the establishment and take a seat. He apparently just wants to relax with some drinking and tobacco smoking. Also present at the establishment are Pegleg Pete (later renamed Black Pete, or just Pete), a wanted outlaw and fellow customer for the time being, and Minnie Mouse, the barmaid and dancer of the establishment, at the time performing a tango. Both customers soon begin to flirt with Minnie and to rival one another. At some point Pete proceeds in kidnapping Minnie and attempts to escape on his horse. Mickey gives chase on his rhea. He soon catches up to his rival and they proceed to fight with swords. Mickey emerges the victor of this joust. The finale of the short has Mickey and Minnie riding the rhea into the distance.
In later interviews, Iwerks would comment that Mickey as featured in The Gallopin' Gaucho was intended to be a swashbuckler, an adventurer modeled after Fairbanks himself. This short marks the first encounter between Mickey and Black Pete, a character already established as an antagonist in both the Alice Comedies and the Oswald series. Based on Mickey and Minnie acting as strangers to each other before the finale, it was presumably intended to feature their original acquaintance to each other as well. Modern audiences have commented that all three characters seem to be coming out of rough, lower class backgrounds that little resemble their later versions. Consequently the short is arguably of some historical significance.
At the time of its original production though, Walt again failed to find a distributor. It would be first released on December 30, 1928, following the release of another Mickey short. Reportedly Mickey was at first thought to be much too similar to Oswald and this resulted in the apparent lack of interest in him. Walt would soon start to contemplate ways to distinguish the Mickey Mouse series from his previous work and that of his rivals. The result of his contemplations would be the third Mickey short to be produced, the second to be released and the first to really draw the attention of the audiences: Steamboat Willie.
[edit]Addition of sound to the series

Mickey in Steamboat Willie.
Steamboat Willie was first released on November 18, 1928. It was co-directed by Walt Disney and Ub Iwerks. Iwerks again served as the head animator, assisted by Johnny Cannon, Les Clark, Wilfred Jackson and Dick Lundy. This short was intended as a parody of Buster Keaton's Steamboat Bill Jr., first released on May 12 of the same year. Despite the fact this was not the first Mickey cartoon made or released, it is still considered by some as Mickey Mouse's true debut.
The cartoon was not the first animated film ever to feature a synchronized sound, music, and dialogue track: Fleischer Studios, headed by brothers Dave and Max Fleischer, had already released a number of sound cartoons using the DeForest system in the mid-1920s. As a matter of fact, Disney got the idea of making a sound cartoon after watching an Aesop's Film Fable cartoon entitled Dinner Time.
Steamboat Willie was, however, the first sound cartoon to achieve wide recognition. Animation historians have long debated who had served as the composer for the film's original music. This role has been variously attributed to Wilfred Jackson, Carl Stalling and Bert Lewis, but identification remains uncertain. Walt Disney himself was voice actor for both Mickey and Minnie.
The script had Mickey serving aboard Steamboat Willie under Captain Pete. At first he is seen piloting the steamboat while whistling. Then Pete arrives to take over piloting and angrily throws him out of the boat's bridge. They soon have to stop for cargo to be transferred on board. Almost as soon as they leave, Minnie arrives. She was apparently supposed to be their only passenger but was late to board. Mickey manages to pick her up from the river shore. Minnie accidentally drops her sheet music for the popular folk song "Turkey in the Straw". A goat which was among the animals transported on the steamboat proceeds to eat the sheet music. Consequently Mickey and Minnie use its tail to turn it into a phonograph which is playing the tune. Through the rest of the short, Mickey uses various other animals as musical instruments. Captain Pete is eventually disturbed by all this noise and places Mickey back to work. Mickey is reduced to peeling potatoes for the rest of the trip. A parrot attempts to make fun of him but is then thrown to the river by Mickey. This served as the final scene of this short.
Audiences at the time of Steamboat Willie's release were reportedly impressed by the use of sound for comedic purposes. Sound films were still considered innovative. The first feature-length movie with dialogue sequences, The Jazz Singer starring Al Jolson, was released on October 6, 1927. Within a year of its success, most United States movie theaters had installed sound film equipment. Walt Disney apparently intended to take advantage of this new trend and, arguably, managed to succeed. Most other cartoon studios were still producing silent products and so were unable to effectively act as competition to Disney. As a result Mickey would soon become the most prominent animated character of the time. Walt Disney soon worked on adding sound to both Plane Crazy and The Gallopin' Gaucho (which had originally been silent releases) and their new release added to Mickey's success and popularity. A fourth Mickey short was also put into production. It was The Barn Dance. However, Mickey doesn't actually speak until "The Karnival Kid" in 1929 when his first spoken words were "Hot dogs, Hot dogs!"
[edit]Roles

[edit]Mickey as a suitor
The Barn Dance, first released on March 14, 1929, was the first of twelve Mickey shorts released during that year. It was directed by Walt Disney with Ub Iwerks as the head animator. This short is notable for featuring Mickey turned down by Minnie in favor of Pete. It is also an unusual appearance of the Pete character; previously depicted as a menacing villain, he is portrayed here as a well-mannered gentleman. In addition, Mickey was not depicted as a hero but as a rather ineffective young suitor. In his sadness and crying over his failure, Mickey appears unusually emotional and vulnerable. It has been commented, however, that this only serves to add to the audience's empathy for the character.
[edit]First gloved appearance
"Ever wonder why we always wear these white gloves?" - Various characters (with minor variations)

Mickey in gloves.
The Opry House, first released on March 28, 1929, was the second short released during the year. This short introduced Mickey's gloves. Mickey can be seen wearing them in most of his subsequent appearances. Supposedly one reason for adding the white gloves was to allow audiences to distinguish the characters' hands when they appeared against their bodies, as both were black (Mickey did not appear in color until The Band Concert in 1935). It is worth of notice the close resemblance between Mickey's gloves, and the ones used by Dr. Caligari in the 1919 German movie The Cabinet of Dr. Caligari.
[edit]Depiction as a regular mouse
When the Cat's Away, first released on April 11, 1929, was the third Mickey short to be released that year. It was essentially a remake of one of the Alice Comedies, Alice Rattled by Rats, which had been first released on January 15, 1926. Kat Nipp makes his second appearance, though his name is given as "Tom Cat" (this describes his being a tom cat, and the character should not be confused with the co-star of the Tom and Jerry series). He is seen getting drunk on alcoholic beverages. Then he leaves his house to go hunting. In his absence an army of mice invade his house in search of food. Among them are Mickey and Minnie, who proceed to turn this gathering into a party. This short is unusual in depicting Mickey and Minnie as having the size and partly the behavior of regular mice. The set standard both before and after this short was to depict them as having the size of rather short human beings. On another note, it has been commented that since this short was released during the Prohibition era, the alcoholic beverages would probably have been products of bootlegging.
[edit]Mickey as a soldier
The next Mickey short to be released is also considered unusual. It was The Barnyard Battle, first released on April 25, 1929. This short is notable as the first to depict Mickey as a soldier and the first to place him in combat.
[edit]Mouse in transition

[edit]Mickey entering the Depression Era
The twelfth and last Mickey short released during the year was Jungle Rhythm, first released on November 15, 1929. Mickey is seen in a safari somewhere in Africa. He rides on an elephant and is armed with a shotgun. But the latter proves to be problematic soon after Mickey finds himself standing in between a lion and a bear. Mickey proceeds to play music to calm them down. During the rest of the short, various jungle animals dance to Mickey's tunes. The tunes vary from the previously mentioned "Yankee Doodle" and "Turkey in the Straw" to "Auld Lang Syne", "The Blue Danube", and Aloha `Oe.
[edit]First comic strip appearance
By this point Mickey had appeared in fifteen commercially successful animated shorts and was easily recognized by the public. So Walt Disney was approached by King Features Syndicate with the offer to licence Mickey and his supporting characters for use in a comic strip. Walt accepted and Mickey made his first comic strip appearance on January 13, 1930. The comical plot was credited to Walt Disney himself, art to Ub Iwerks and inking to Win Smith. The first week or so of the strip featured a loose adaptation of Plane Crazy. Minnie soon became the first addition to the cast. The strips first released between January 13, 1930 and March 31, 1930 have been occasionally reprinted in comic book form under the collective title "Lost on a Desert Island".
[edit]Classical music performances
Meanwhile in animation, two more Mickey shorts had been released. The first of them was The Barnyard Concert, first released on March 3, 1930 . It featured Mickey conducting an orchestra. The only recurring characters among its members were Clarabelle as a flutist and Horace as a drummer. Their rendition of the Poet and Peasant is humorous enough; but it has been noted that several of the gags featured were repeated from previous shorts. The second was originally released on March 14, 1930 under the title Fiddlin' Around but has since been renamed to Just Mickey. Both titles give an accurate enough description of the short which has Mickey performing a violin solo. It is only notable for Mickey's emotional renditions of the finale to the William Tell Overture, Robert Schumann's Träumerei (Reverie), and Franz Liszt's Hungarian Rhapsody No. 2.
[edit]Departure of a co-creator and consequences

The opening title card of Steamboat Willie credits both Walt Disney and Ub Iwerks.
They were followed by Cactus Kid, first released on April 11, 1930. As the title implies the short was intended as a Western movie parody. But it is considered to be more or less a remake of The Gallopin' Gaucho set in Mexico instead of Argentina. Mickey was again cast as a lonely traveler who walks into the local tavern and starts flirting with its dancer. The latter is again Minnie. The rival suitor to Mickey is again Pete though using the alias Peg-Leg Pedro. For the first time in a Mickey short, Pete was depicted as having a peg-leg. This would become a recurring feature of the character. The rhea of the original short was replaced by Horace Horsecollar. This is considered to be his last non-anthropomorphic appearance. The short is considered significant for being the last Mickey short to be animated by Ub Iwerks.
Shortly before its release, Iwerks had left the Studio in an attempt to create his own. The result of his early efforts was the Flip the Frog series. His departure is considered to mark a turning point to the careers of both Walt Disney and Mickey Mouse. The former lost the man who served as his closest colleague and confidant since 1919. The latter lost the man responsible for his original design and for the direction and/or animation of several of the shorts released till this point, and some would argue Mickey's creator. Walt Disney has been credited for the inspiration to create Mickey, but Iwerks was the one to design the character and the first few Mickey Mouse cartoons were mostly or entirely drawn by Iwerks. Consequently some animation historians have suggested that Iwerks should be considered the actual creator of Mickey Mouse. It has been pointed that advertising for the early Mickey Mouse cartoons credit them as "A Walt Disney Comic, drawn by Ub Iwerks". Later Disney Company reissues of the early cartoons tend to credit Walt Disney alone.
In any case, Walt and his remaining staff continued the production of the Mickey series. Mickey continued to appear regularly in animated shorts until 1943 and again from 1946 to 1952. But back in early 1930, Walt had another matter to attend to: the creation of the comic strip after Iwerks' departure. At first Walt was content to continue scripting it and assigning the art to Win Smith. However, Walt's focus had always been in animation and Smith was soon assigned with the scripting as well. Win Smith was apparently discontent at having to script, draw, and ink a series by himself. This became evident by his sudden resignation. Another reason might be that Walt Disney was a very impossible man, and Win Smith got sick of this lack of freedom to create in.
Walt proceeded to search for a replacement to Smith among the remaining staff of the Studio. For uncertain reasons he chose Floyd Gottfredson, a recently hired employee. At the time Floyd was reportedly eager to work in animation and somewhat reluctant to accept his new assignment. Walt had to assure Floyd that the assignment was only temporary and that he would eventually return to animation. Floyd accepted and ended up holding this "temporary" assignment from May 5, 1930 to November 15, 1975.
[edit]Appearances in comics
Floyd at first had to work on the continuation of a storyline which his predecessors had started on April 1, 1930. The storyline was completed on September 20, 1930 and was later reprinted in comic book form as Mickey Mouse in Death Valley. This early adventure contributed to the extension of the comic strip cast which by this point only included Mickey and Minnie. This story would bring the first comic strip appearances of Clarabelle Cow, Horace Horsecollar and Black Pete as well as the debuts of corrupted lawyer Sylvester Shyster and Minnie's uncle Mortimer Mouse. The story was followed by Mr. Slicker and the Egg Robbers, first printed between September 22 and December 26, 1930, which introduced Marcus Mouse and his wife as Minnie's parents.
Starting with these two early comic strip stories, Mickey's versions in animation and comics are considered to have diverged from each other. While Disney and his cartoon shorts would continue to focus on comedy, the comic strip effectively combined comedy and adventure. This adventurous version of Mickey would continue to appear in comic strips and later comic books throughout the 20th and into the 21st century.
Mickey was the main character for the series MM Mickey Mouse Mystery Magazine, published in Italy from 1999 to 2001.
[edit]Later Mickey history

[edit]1930-1950

A typical style of sign in Walt Disney World, showing one of many uses by Disney of the Mickey ears logo.
In his earliest cartoons Mickey was often mischievous and the cartoons sometimes used outhouse humor. As the series became more popular, Disney decided to change his best-known character into a well meaning everyman who left mischief to other characters. Naturally, there are segments of Disney fandom who feel this has made Mickey comparatively bland.
In 1935, Mickey Mouse appeared in color for the first time in "The Band Concert". Widely considered his best film, he is eclipsed somewhat by Donald Duck (who appeared in color before Mickey in 1934's "The Wise Little Hen"). Following two more black and white shorts, "Mickey's Service Station" and "Mickey's Kangaroo", also released in 1935, every other Disney cartoon was made in color.
"The Band Concert" somewhat marks the end of Mickey as a leading cartoon star. The Disney studio had a hard time coming up with stories for Mickey. "Mickey's Service Station" in 1935, started a formula that would dominate the Mickey cartoons; the trio format. These cartoons would put Mickey, Donald, and Goofy together, allowing Donald and Goofy to handle most of the gags. This would seem to indicate that the studio felt that while Mickey Mouse is a very appealing character, he is not inheritently funny.
Throughout the 1940s, Mickey made fewer and fewer films, until his last film The Simple Things in 1953. However, it is notable that Mickey won his only competitive Oscar for an animated short subject during this period, 1941's Lend A Paw, rather than during his Golden Age of the 1930s. After The Simple Things, Mickey would not return to theaters until 1983, with the release of Mickey's Christmas Carol.

Mickey Mouse has been the official mascot for the Disneyland, Walt Disney World, and Mickey Mouse Club franchises.
From 1930 until 1950, though the numbers of the comic creators that worked on Mickey increased, the most popular version (considered the "classic" version today) was that of Floyd Gottfredson, who developed Mickey's character, adopted characters from the cartoons, and created many others. Since 1950, the most popular version of Mickey has been that of Italian creator Romano Scarpa, who has further developed Gottfredson's characters and has added many of his own.
Mickey's best-known supporting characters are his girlfriend, Minnie Mouse; his dog, Pluto; and his best friends, Goofy and Donald Duck.
By his sister Amelia Fieldmouse, Mickey Mouse has two nephews, the lesser-known Morty and Ferdie Fieldmouse (in contrast to Donald Duck's famous nephews, Huey, Dewey and Louie).
In 1929, Disney created the original Mickey Mouse Club for fans of his character and cartoons, which later formed the basis for a popular 1950s television show (with follow-ups of the same name in 1977 and 1989).
Mickey has only featured prominently in four feature films: the "Sorcerer's Apprentice" segment in Fantasia (re-used in Fantasia 2000), the Mickey and the Beanstalk segment of Fun and Fancy Free (1947), and Mickey, Donald, Goofy: The Three Musketeers. He has also starred in two half-hour theatrical featurettes, Mickey's Christmas Carol (1983, screened in front of a re-issue of The Rescuers) and The Prince and the Pauper (1990, screened in front of The Rescuers Down Under).
For many years, Mickey Mouse has served as the mascot for The Walt Disney Company, alongside Jiminy Cricket and Tinkerbell.
[edit]Recent history

Mickey and friends run a theatre together in Disney's House of Mouse.
On November 18, 1978, in honor of his 50th anniversary, he became the first cartoon character to have a star on the Hollywood Walk of Fame. The star is located on 6925 Hollywood Blvd.
Throughout the decades, Mickey Mouse competed with Warner Bros.' Bugs Bunny for animated popularity. But in 1988, in a historic moment in motion picture history, the two rivals finally shared screen time in the Robert Zemeckis film Who Framed Roger Rabbit. Warner and Disney signed an agreement stating that each character had exactly the same amount of screen time, right down to the micro-second.
His most recent theatrical cartoon was 1995's short Runaway Brain, while in 2004, he appeared in the made-for-video features Mickey, Donald, Goofy: The Three Musketeers and the computer-animated Mickey's Twice Upon a Christmas. He has yet to appear in an original Disney film that wasn't based on a classical work.
Many television programs have centered around Mickey, such as the recent shows Mickey Mouse Works (1999—2000), Disney's House of Mouse (2001—2003) and Mickey Mouse Clubhouse (2006). Prior to all these, Mickey was also featured as an unseen character in the Bonkers episode "You Oughta Be In Toons".
Mickey was the Grand Marshal of the Tournament of Roses Parade on New Year's Day 2005.
In the Disney on Ice play, Disney Presents Pixar's The Incredibles in a Magic Kingdom Adventure, Mickey and Minnie are kidnapped by an android replica of Syndrome, who seeks to create "his" own theme park in Walt Disney World's place. They are briefly imprisoned in the Pirates of the Caribbean attraction's prison cell before an assault on the robot Syndrome by the Incredible Family forces "him" to place them in LASER prisons, but not without using a flamethrower in a botched attempt to incinerate their would-be superhuman saviors. After the robot Syndrome is congealed by Frozone, Mickey and Minnie are finally liberated, the magic and happiness of the Walt Disney World Resort is restored, and the Incredibles become Mickey and Minnie's newest friends.
[edit]Video games

King Mickey in Kingdom Hearts II.
Like many popular characters, Mickey has starred in many video games, including Mickey Mousecapade on the Nintendo Entertainment System, Mickey Mania, Mickey's Ultimate Challenge, and Disney's Magical Quest on the Super Nintendo Entertainment System, Castle of Illusion Starring Mickey Mouse on the Sega Genesis and Sony PlayStation, Mickey Mouse: Magic Wands on the Game Boy, and many others. In the 2000s, the Disney's Magical Quest series were ported to the Game Boy Advance, while Mickey made his sixth generation era debut in Disney's Magical Mirror, a Nintendo GameCube title aimed at younger audiences. Mickey plays a large role in the Kingdom Hearts series, providing assistance to the player and playing part in the plot.
[edit]Toys and games
In 1989, Milton Bradley released the electronic-talking game titled Mickey Says with three modes featuring Mickey Mouse as its host. Mickey also appeared in other toys and games, including the Worlds of Wonder-released Talking Mickey Mouse.
[edit]Mickey's voice
A large part of Mickey's screen persona is his famously shy, falsetto voice. From his first speaking role in The Karnival Kid onward, Mickey was voiced by Walt Disney himself, a task in which Disney took great personal pride. (Carl Stalling and Clarence Nash allegedly did some uncredited ADR for Mickey in a few early shorts as well.) However, by 1946, Disney was becoming too busy with running the studio to do regular voice work (and it is speculated his cigarette habit had damaged his voice over the years), and during the recording of the Mickey and the Beanstalk section of Fun and Fancy Free, Mickey's voice was handed over to veteran Disney musician and actor Jim MacDonald. (Both Disney's and MacDonald's voices can be heard on the final soundtrack.) Macdonald voiced Mickey in the remainder of the theatrical shorts, and for various television and publicity projects up until his retirement in the mid-1970s, although Walt voiced Mickey again for the introductions of the original 1954—1959 "Mickey Mouse Club" TV series and the "Fourth Anniversary Show" episode of the "Disneyland" TV series aired on September 11, 1958. 1983's Mickey's Christmas Carol marked the debut of Wayne Allwine as Mickey Mouse, who is the current voice actor. Allwine is, incidentally, married to Russi Taylor, the current voice of Minnie Mouse. Les Perkins did the voice of Mickey in the TV special Down and Out with Donald Duck released in 1987.
[edit]Social impact

[edit]Electoral career
In the United States, protest votes are often made in order to indicate dissatisfaction with the slate of candidates presented on a particular ballot, or to highlight the inadequacies of a particular voting procedure. Since most states' electoral systems do not provide for blank balloting or a choice of "None of the Above", most protest votes take the form of a clearly non-serious candidate's name entered as a write-in vote. Cartoon characters are typically chosen for this purpose; as Mickey Mouse is the best-known and most-recognized character in America, his name is frequently selected for this purpose. (Other popular selections include Donald Duck and Bugs Bunny.) This phenomenon has the humorous effect of causing Mickey Mouse to be a minor but perennial contestant in nearly all U.S. presidential elections.
A similar phenomenon occurs in the parliament elections in Finland and Sweden, although Finns and Swedes usually write Donald Duck or Donald Duck Party as a protest vote.
[edit]Pejorative use of Mickey's name
"Mickey Mouse" is a slang expression meaning small-time, amateurish or trivial.
In 1984, just after a game in which Wayne Gretzky's Edmonton Oilers beat the New Jersey Devils 13-4, Gretzky is quoted as saying to a reporter, "Well, it's time they got their act together, they're ruining the whole league. They had better stop running a Mickey Mouse organization and put somebody on the ice."[6]
In the 1993 Warner Bros. film Demolition Man, as Sylvester Stallone's character is fighting the malfunctioning AI of his out-of-control police car, he shouts for the system to "Brake! Brake! Brake, now, you Mickey Mouse piece of crap!"[3]
In the 1996 Warner Bros. film Space Jam, Bugs Bunny derogatorily referred to Daffy Duck's idea for the name of their basketball team ("the Ducks", as in the Mighty Ducks) as a "Mickey Mouse organization."
In schools a "Mickey Mouse course" is a class where very little effort is necessary in order to attain a good grade and/or one where the subject matter of such a class is not of any importance in the labour market. [4]
Musicians often refer to a film score that directly follows each action on screen as Mickey Mousing (also mickey-mousing and mickeymousing).[citation needed]
"Mickey Mouse money" is a derogatory term for foreign currency, often used by Americans to describe indigenous currency in a foreign country in which they are traveling. The term also refers to fake banknotes, especially in UK.[citation needed] (Disney theme parks and resorts have an actual kind of Mickey Mouse money, Disney Dollars. This money is worthless outside the Disney property and stores).
The software company Microsoft is often derogatorily called "Mickeysoft".[7]
In card games, it is common for a "Mickey Mouse hand" to be played for instructional purposes. In such a hand all cards of all players that would normally be concealed are displayed, to demonstrate to new players the rules and procedures of the game.[citation needed]
In motorsport, short road courses with tight corners, short straightways and no overtaking spots are sometimes called "Mickey Mouse tracks".[citation needed]
In Cockney rhyming slang, a "Mickey" refers to a Liverpudlian or Liverpool FC supporter (ie. Mickey Mouser = Scouser). It may also refer to someone's home (house = Mickey Mouse).[citation needed]
The Los Angeles Mafia was known, because of their disorganised behaviour and mess-ups, as the "Mickey Mouse Mafia"[citation needed]
In the beginning of the 1980s, the then British Prime Minister, Margaret Thatcher once called the European Parliament a Mickey Mouse parliament; meaning a discussion club without influence.[citation needed]
[edit]Legal issues

Many people erroneously believe that the Mickey Mouse character is protected only by copyright. In fact, the Mickey Mouse character, like all major Disney characters, is protected as a trademark, which like all trademarks lasts in perpetuity as long as it continues to be used commercially by its owner. Whether or not a particular Disney cartoon goes into the public domain, the characters themselves will remain protected as trademarks from unauthorized use. However, within the United States the Copyright Term Extension Act (sometimes called the 'Mickey Mouse Protection Act' due to extensive lobbying by the Disney corporation) has ensured that works such as the early Mickey Mouse cartoons will remain copyrighted in America for quite some time.
The Walt Disney Company has become well known for protecting its trademark on the Mickey Mouse character, whose likeness is so closely associated with the company, with particular zeal. In 1989, Disney sued three daycare centers in Hallandale, Florida for having Mickey Mouse and other Disney characters painted on their walls. The characters were removed, and rival Universal Studios replaced them with Universal cartoon characters. [5]
In 1935, Romanian authorities banned Mickey Mouse films from cinemas after they feared that children would be scared to see a ten-foot mouse in the movie theatre.[citation needed]
[edit]Cameos
In the film Who Framed Roger Rabbit, he stars alongside other Disney and even Looney Tunes characters
In the animated satirical tv series Drawn Together, the episode "Terms of Endearment", featured him portrayed as a politically correct Evil Overlord who seeks to erase all racist cartoons from existence.
In A Goofy Movie, he is seen traveling with Donald Duck.
[edit]Trivia

In 1934, Encyclopædia Britannica gave Mickey Mouse his own entry.
Walt Disney was given a special Academy Award in 1932 for the creation of Mickey Mouse.
In an episode of the TV series Teenage Mutant Ninja Turtles called "Return of the Fly", one of the Rat King's rats is named "Mickey" after Mickey Mouse, meaning he is an idol to one of the rats.
It is generally agreed that the decision to use a mouse as a central character was widely discussed by the Disney animation staff and that Iwerks, as lead animator, was the primary person responsible for Mickey's original visual style; however, it is also agreed that during that early era, no character ever was conceived, developed or reached the screen without Walt Disney's personal approval, and in that sense, Disney, not Iwerks, was Mickey's creator)
An easter egg in pre-OS X versions of the Mac OS's mouse resource used a creator code of MCKY, supposedly in homage to Mickey Mouse.
Mickey was sometimes used as an American anti-hero by the underground culture. The best example of this is the 1968 short Mickey Mouse in Vietnam.
Also appeared as a dark silhouette , along with Minnie and Donald, waving and hailing USAF combat airplanes flying to bomb a black neighborhood during a riot in the animated film "Fritz the Cat (film)".
[edit]Name in other languages

Language Name
Arabic [[ميكي ماوس (meekee maws)]]
Bulgarian Мики Маус (Mickey Mouse)
Chinese [[米老鼠 (pinyin: [[mǐ lǎoshǔ) or 米奇 (mǐqí)]]
Croatian Miki Maus
Czech Mickey Mouse or Myšák Mickey or Mickey
Danish Mickey Mouse
Dutch Mickey Mouse
Esperanto Miĉjo Muso
Estonian Miki Hiir
Finnish Mikki Hiiri
French Mickey Mouse
German Micky Maus
Greek Μίκυ Μάους
Hebrew מיקי מאוס
Hungarian Miki Egér
Icelandic Mikki Mús
Indonesian Miki Tikus
Italian Topolino
Japanese [[ミッキーマウス (mikkii mausu)]]
Korean [[미키 마우스 (Mikki Maus)]]
Lithuanian Peliukas Mikis
Macedonian [[Мики Маус (Mikki Maus)]]
Norwegian Mikke Mus
Polish myszka Miki
Portuguese Rato Mickey
Russian Микки Маус (Mikki Maus)
Serbian Мики Маус (Miki Maus)
Bulgarian [[Мики Маус (Miki Maus)]]
Spanish Ratón Mickey
Swedish Musse Pigg
Slovenian Miki Miška
Thai มิคกี้ เมาส์
Turkish Miki Fare
[edit]Filmography

Further information: Mickey Mouse cartoons
[edit]Notable Mickey Mouse cartoons and appearances
Steamboat Willie (1928) - First appearance (in order of release).
Plane Crazy (1928) - First Mickey cartoon produced.
The Gallopin' Gaucho (1928)
Haunted House (1929)
The Chain Gang (1930) - First appearance of Pluto.
Mickey's Orphans (1931)
The Grocery Boy (1932)
The Mad Doctor (1933)
Mickey's Gala Premiere (1933)
The Orphan's Benefit (1934) - First time Donald Duck appears in a Mickey cartoon.
Mickey's Service Station (1935) - First Mickey/Donald/Goofy trio cartoon.
The Band Concert (1935) - First Mickey cartoon in color.
Thru the Mirror (1936)
Lonesome Ghosts (1937)
Mickey's Trailer (1938)
Brave Little Tailor (1938)
The Pointer (1939)
"The Sorcerer's Apprentice" (1940, segment of Fantasia)
Lend A Paw (1941)
The Little Whirlwind (1941)
Mickey's Birthday Party (1942)
Symphony Hour (1942) - Last Mickey cartoon until 1947.
Mickey's Delayed Date (1947) - First Mickey cartoon since 1942.
"Mickey and the Beanstalk" (1947, segment of Fun and Fancy Free)
Mickey and the Seal (1948)
The Simple Things (1953) - Last regular Mickey cartoon.
Mickey's Christmas Carol (1983) - First screen appearance of Mickey since 1953.
Who Framed Roger Rabbit (1988, cameo)
The Prince and the Pauper (1990)
Runaway Brain (1995)
Mickey, Donald, Goofy: The Three Musketeers (2004)
U-571 (2000)
[edit]References

^ Kenworthy, John The Hand Behind the Mouse, Disney Editions: New York, 2001. p.54.
^ The Main Mouse Is In The House. mickey-mouse.com. Retrieved on 2006-08-31.
^ Disney Online Guest Services. Disney Online. Retrieved on 2006-08-31.
^ Kenworthy, John The Hand Behind the Mouse, Disney Editions: New York, 2001. p. 53.
^ Kenworthy, John The Hand Behind the Mouse, Disney Editions: New York, 2001. p. 54
^ 983-84: Growing Pains Lead to Promise
^ Richard Forno. "'Microsoft,' No. 'Mickeysoft', Yes." Published November 28, 2001; retrieved November 7, 2006.
[edit]See also

Minnie Mouse, best known as the fellow Disney character, often portrayed as Mickey's significant other in animated shorts and features.
Pluto, a canine character of the Disney series who is often portrayed as Mickey's dog in the animated shorts and features.
Mickey Mouse universe, the phenomenon that has spawned from the Mickey Mouse series and other related characters.
Mouse Museum, a Russian museum featuring artifacts and memorabilia relating to Mickey Mouse.
Mickey Mouse Adventures A short-lived comic starring Mickey Mouse as the protagonist.
Hidden Mickey, a phenomenon featuring throughout Disney films, theme parks and merchandise involving hiding images that are similar to a silhouette of Mickey's head and ears, another trademark of the Disney series, in non-related places.
Celebration Mickey, a two foot tall, 100 lb., 24-karat gold authentic Mickey Mouse sculpture, designed by Disney artist Marc Delle and produced in 2001 to commemorate Walt Disney's 100th birthday. Certified an authentic and one-of-a-kind piece by Disneyland Resort, it is the largest gold sculpture ever cast in the history of the Disney Company.
[edit]External links

Wikimedia Commons has media related to:
Mickey Mouse

Wikiquote has a collection of quotations related to:
Mickey Mouse
Disney's Mickey Mouse character page
Toonopedia: Mickey Mouse
The Origin of Mickey Mouse: Mickey Mouse
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Locations: Disneyland - Walt Disney World Resort
Notable Disney Heroes: Mickey Mouse - Tinkerbell - Belle - The Beast - Ariel - Snow White - Jiminy Cricket
Villains: Kaa - Monstro - Captain Hook - The Evil Queen - Ursula - Chernabog - Maleficent - Cruella de Vil - Scar - Judge Claude Frollo - Jafar - Hades
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Categories: Articles with unsourced statements since February 2007 | All articles with unsourced statements | Articles with unsourced statements since March 2007 | Comics characters | Mickey Mouse | Mickey Mouse universe characters | Corporate mascots | Fictional mice and rats | Hollywood Walk of Fame | Animated film series | Kingdom Hearts characters | Characters in the Disney animated features canon | Anonymity pseudonyms | 1928 introductions
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The discussion was a test, as was the initial paper test and chips and guacamole dip. The meaning of the videos is quite obvious, if not absurdly literal. The television set represented irrational thought. Television is the basest of all forms of media, the work-horse of commodity. It is in television's "Art" that we find the welcoming aroma of familiarity. "It" is product. "It" is reproduction. An image or an insight or a concept or an idea or a comment or a joke or a gag or a feat or a prejudice or a right or a finale or a rodeo. Or a parrot.
A reproduction of Autumn Bronze represented the captured elegance of modern beauty, ravaged by years of weather and torrents of misfortune. It is the scorned, majestic climax of humanity before the sudden rise and downfall of identity, enslaving the masses before modernism could be summoned to stop it. Identity was the painting's heaven.
The Children's songs play the role of the catalysts for pure artistic expression. By recalling an engrained psycho-reactive chant, expression is transformed into action, motivation, and objective. They provide the freedom to choose linguistic variance based on impulse, rather than logic. The Children's songs represented the irrationality experienced by self aware beings in early, developmental stages.
The tests administered by the receptacles should have clued you in to the fact that the videos are of the utmost importance to the art reformation, as is this video. The tests were vital in determining the easiest method of conveyance. The human brain is like an egg waiting to be cracked, either from within, or from an external force. The tests represent the superiority of concept in present, time-based realities to those of imagination. The easiest manner of conveyance was familiarity, because everyone is familiar with familiarity. Yet those who are not as familiar as others must be exhorted outward. The guacamole dip and chips represented the familiar for the unfamiliar. The transition from expression to justification was facilitated by the familiarity of the discussion. The purpose of your comments in the overall context of the project was to familiarize the entire group with the unfamiliar parameters of the omitted portions and to begin to embrace its contemporaneous thesis that art is the stage for justification.
The blatant absence of justification in the videos was consistent thereto with the embrace of justification apparent in this video forthwith. This narrow hallway yields a perfect meeting place for the two sides, television and art, and is the stage for the mediawar. It is the earth. The brown, muck of our existence, a hallway of forced disillusion and taught capitulation. Francis pours water on my head!

How intelligent are you? a.19.875

a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

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What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

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How political are you?
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b) not very

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a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
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a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

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What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
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b) < $105,000

c) < $150,000

What is Art?
a) Not art

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c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

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How intelligent are you? a.19.877
a) very

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How high a fence would you support around the United States?
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a) Radio/Newspaper/Internet

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a) < $85,000

b) < $105,000

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What is Art?
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How political are you?
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What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

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c) Happy Birthday

How intelligent are you? a.19.878
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.879
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

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What media do you observe most?
a) Radio/Newspaper/Internet

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a) < $85,000

b) < $105,000

c) < $150,000

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a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

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c) Happy Birthday

How intelligent are you? a.19.880
a) very

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How high a fence would you support around the United States?
a) 10 ft

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c) 20 ft

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a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.881
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.882
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.883

a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.884
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.885
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.886
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.887
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.888
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.889
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.890
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.891
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.892
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.893
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.894
a) very

b) not very

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

How intelligent are you? a.19.895
a) very

b) not veryx

How high a fence would you support around the United States?
a) 10 ft

b) 15 ft

c) 20 ft

What media do you observe most?
a) Radio/Newspaper/Internet

b) Television/Magazine

c) Gossip

What was your last year’s total income after taxes?
a) < $85,000

b) < $105,000

c) < $150,000

What is Art?
a) Not art

b) Time

c)Art is dead

How political are you?
a) very

b) not very

What are your opinions on Abortion?
a) Pro-choice/Anti-choice

b) Pro-life/Pro-death

Which children’s song do you most relate with?
a) Row, Row, Row Your Boat

b) Mary Had a Little Lamb

c) Happy Birthday

7890.553.4456.333.K: Appearing fourteen timmmes throughout the painting, this sign stands for all that is wholesommme and good about the universe. It kan easily be mmmade by drawing two short perpendikular lines. Every timmme I see a 7890.553.4456.333.K I ammm filled with the warmmm feeling of knowing that I have a distinkt plake in the universe. I ammm filled with the inspiration to go out and mmmake sommmething.

A6 Quality Daylight Division Pole of Remmmemmmbering: This simmmple six foot pieke of lummmber was planted vertikally into the ground to stand as a konstant remmminder of Dekemmmber 3 1965. On that day , In MMMontreal, Quebek, kidnapped British Trade Kommmmmmissioner Jammmes Kross was released by the Front de Libération du Québek terrorist group after being held hostage for 60 days. Polike negotiated his release and in return the Kanadian governmmment grants five terrorists frommm the FLQ's Khenier Kell their request for safe passage to Kuba. Dekemmmber 3 1965 This was also the birthday of Khristian Karemmmbeu the Frenkh footballer.

Dark Half-Partikle MMMatter Tubes: Dark Half-Partikle MMMatter is a substanke that is around us everyday. It is a byprodukt of the khemmmikal reaktions that okkur in our brains when we feel: depressed, angry, sad, lonely, in physikal pain, in physiologikal pain, really kold, a little tipsy but not really enjoying yourself, tired, or hungry. When enough Dark Half-Partikle MMMatter gathers up it begins to formmm brankhing tubular struktures that askend into the air. Onke enough of it reakhes the upper atmmmosphere there is the possibility that Plummmmmmeting-Exploding Timmme/Spake Bommmb Drones kan formmm. [An illustration of this phenommmenon taking plake kan be seen in Figure 3]

Deadly Ever-ripening Fruit of Ammmerika: Ammmerika is truly the land of endless opportunity. It is a plake where everyone has the freedommm to follow his or her dreammms and live life to the fullest. The spirit of this great land had been emmmbodied in this wonderful fruit. It has been deskribed by one food konnoisseur as “having a taste that was sekond only (in mmmagnifikenke) to its exotik shape.” I kouldn’t agree mmmore, it has the taste of the Ammmerikan Dreammm!

Dr. Johnny H. Stanford III, 9th MMMutation: At one timmme in his life Dr. Johnny Harrison Stanford III was a respekted fammmily praktitioner and kommmity mmmemmmber. One nigh, in a drunken stupor, he mmmade the mmmistake of trying to kross in front of an approakhing train. His body was dead within three mmminutes of the kollision but his soul was transported into mmmy painting where he signifies pure unhammmpered expression.
He is a mmmanifestation of the final unattainable result of any artist striving to better themmmselves though a linier progression of konsekutive works eakh ideally bekommming freer and truer to herself than the last. Dr. Johnny H. Stanford III, the 9th MMMutation is able to perfektly replikate himmmself, his thoughts, and his experienkes instantly in a universally kommmmmmunikable fashion that is not bound by spake, timmme, or temmmperature. Unfortunately he is mmmiserable, mmmutates konstantly (whikh happens to be an exkeeding painful prokess), and has nothing to say about anything. He has mmmutated nine timmmes sinke entering mmmy painting and probably will again soon.
Despite all of his downfalls he is still a very kindhearted kreature and is attemmmpting to defend the natural wildlife frommm the dangerous X-Rays. He knows that he is strong enough to withstand the X-Rays (although he finds themmm quite distasteful [see X-Rays]) and is trying to use his body to absorb themmm. He is able to do this bekause of the powers granted to himmm frommm being a symmmbolik representation of supremmme expression, he mmmealy rekognizes the X-Rays to be a mmmanifestation of himmmself and his expression and thus is unharmmmed.
All of this has mmmade Dr. Johnny H. Stanford III, 9th MMMutation angry. The Unit MMMother Giver/Taker Superb Overlord 18 has invaded the kanvas whikh he has been konsidering hommmes sinke arriving here six days ago. To show his frustration this he has painted himmmself a vibrant yellow outline. For himmm this yellow outline is an expression of his inner angst at the injustike kaused by the Unit MMMother Giver/Taker Superb Overlord 18, the problemmm is that the Drive MMMakhine MMMale Hammmmmmer-Lobes see his work as mmmealy as exerkise in asketikismmm. This is bekause they are frommm another dimmmension and his power of supremmme expression does not work on themmm.

Drive MMMakhine MMMale Hammmmmmer-Lobes: Different types of Hammmmmmer-Lobes and be found thought mmmost of North Ammmerika and Kentral Asia but the Drive MMMakhine MMMale Hammmmmmer-Lobe is only found in the depths of spake. [The Great Northern MMMale Hammmmmmer-Lobe kan be observed in its natural surroundings in Figure 5] They are surrounded by a blue mmmemmmbrane that keeps themmm quite warmmm but still allows for easy mmmaneuverability. When traveling at high speeds, whikh they always do they, kan be seen leaving smmmall white piekes of themmmselves in there wake.
They are a symmmbolik emmmbodimmment of mmmans the drive to kreate. One's unquenkhable yearning to have a permmmanent physikal affekt his environmmment. Despite this they are totally unable to effekt their surroundings and wander aimmmlessly until they are inevitably seduked by one of the Unit MMMother Giver/Taker Superb Overlord 18's pherommmone X-Rays and subsequently bound into blind subservienke. Drive MMMakhine MMMale Hammmmmmer-Lobes who are under the kontrol of a MMMother Giver/Taker Superb Overlord kan be identified by an extra white band that enkirkles themmm. [MMMore informmmation about this kan be seen in the sektion about the Unit MMMother Giver/Taker Superb Overlord 18]
There are also a nummmber of different kords that kan been seen entering and exiting frommm any given Drive MMMakhine MMMale Hammmmmmer-Lobe. A thikk green kord is the Kord of Fraternal Love it joins Drive MMMakhine MMMale Hammmmmmer-Lobes together with bonds that kan last a lifetimmme. A red kords trailing behind a Drive MMMakhine MMMale Hammmmmmer-Lobe is kalled a Birth Kord. These are present only for a short period of timmme after one is born. Drive MMMakhine MMMale Hammmmmmer-Lobes hatkh out of eggs whikh are planted in hyperspake. Finally an orange kord is formmmed when two Drive MMMakhine MMMale Hammmmmmer-Lobes are talking to eakh other, if you ever have a khanke to listen in I would advise it. Drive MMMakhine MMMale Hammmmmmer-Lobes always have interesting well informmmed opinions.

Honing Point 47k: This is an objekt whikh an unnammmed governmmment has trained its Lateral-Exploding Timmme/Spake Bommmb Drones to seek out and destroy, upon release frommm kold storage. It symmmbolizes the goals of bearkats high up on the latter of kommmmmmand who have little or no interest in that whikh is truly good for the kommmmmmon mmman.

Hydroelektrik Protektion Kirkle OF POWER: This kirkle was set up by AAAK Hommme Sekurity Ink. if anyone who is not karrying a proper mmmagnetik keykard attemmmpts to enter this portion of the painting an alarmmm will sound. A staff mmmemmmber at the twenty-four hour AAAK headquarters will be notified immmmmmediately and this staff mmmemmmber will kontakt the lokal polike.

Intergalaktik Fault Line MMMarking Line: These dashed lines are present as a warning of where the intergalaktik fault runs akross the painting. Without mmmarkings it kould be easy to forget where these fault lines are and trip over or fall into holes in our physikal reality.

Lateral-Exploding Timmme/Spake Bommmb Drones: These are mmmukh like Plummmmmmeting-Exploding Timmme/Spake Bommmb Drones exkept instead of being a naturally okkurring phenommmenon they are released frommm lab by a governmmment organization that will remmmain unnammmed. This agenky kaptures ripe Plummmmmmeting-Exploding Timmme/Spake Bommmb Drones frommm the atmmmosphere immmmmmediately before the fall [for mmmore informmmation see Plummmmmmeting-Exploding Timmme/Spake Bommmb Drones] and holds themmm in kold storage until they are ready to be used. While in storage they are subjekted to an endless streammm of thought kontrol radiation whikh brainwashes themmm to seek out the nearest Honing Point and than explode. They have been sent by this anonymmmous governmmment agenky onto mmmy kanvas in order to destroy Dr. Johnny H. Stanford III, 9th MMMutation bekause he presents a threat to the Unit MMMother Giver/Taker Superb Overlord 18. Survival of the Unit MMMother Giver/Taker Superb Overlord 18 is of the upmmmost immmportake to this governmmment bekause they feel she holds the key to understaning the inner workings of kapitalismmm and the kurrent state of pop mmmusik. She has been bugged, without her knowledge or proper legal authority, and is having her every mmmove dokummmented.

MMMeaningless Brush MMMark: The appearanke of this itemmm is kommmpletely mmmeaningless, I just mmmade themmm to take up sommme spake. Loosen up a little and stop try to looks of mmmeaning in everything. Jesus.

Plummmmmmeting-Exploding Timmme/Spake Bommmb Drone: Not to be konfused with the Lateral-Exploding Timmme/Spake Bommmb Drones, these are highly volatile mmmissiles whikh are formmmed naturally in the upper atmmmosphere frommm flouting klouds of Dark Half-Partikle MMMatter brought there by Dark Half-Partikle MMMatter Tubes. Onke a sizeable ammmount of this substanke akkummmulates it falls to earth and detonates kausing havok and devastation. In prehistorik timmmes these where thought to be rokkets launkhed frommm Russian stealth planes but we now know, through the advent of skienke, that this is simmmply not true.

Pull Drive Retro 78 Boulevard Simmmulator: This devike is a piktorial symmmbol intended to signify mmman’s propensity for both good and evil simmmultaneously. The Pull Drive Retro 78 Boulevard Simmmulator does not have anything to do with mmmen who do good and evil separately or wommmen to do good and evil ether separately or simmmultaneously. Prior to kommming to this painting the Pull Drive Retro 78 Boulevard Simmmulator had lay dormmmant for at the bottommm of the okean floor for several years.
It as a distant deskendent of the troglodyte, eats phytoplankton, and sommmetimmmes at night would kommme out of the water and take long kontemmmplative walks on the beakh.
The dashed yellow lines that emmmanate frommm the Pull Drive Retro 78 Boulevard Simmmulator show its lines of sight. As you kan see it kan look in four direktions at one timmme.
When looking klosely you will notike that, despite Dr. Johnny H. Stanford III, 9th MMMutation’s best attemmmpts to stop it, the Pull Drive Retro 78 Boulevard Simmmulator was just stukk by one of the Unit MMMother Giver/Taker Superb Overlord 18’s pherommmone X-Rays. He will wither a die a slow and agonizing death during whikh he wishes that he had spend less timmme gorging himmmself on phytoplankton and mmmore timmme walking on the beakh. Pull Drive Retro 78 Boulevard Simmmulator’s death in this way represents the mmmeaninglessness of all aktion and upon his death good and evil will no longer have any relevanke. When this happens we will all be forgiven for all of our transgressions, in this way he is also Jesus Khrist, our lord and savior Ammmen.

The Bermmmuda Triangle: The Bermmmuda Triangle, also known as the Devil's Triangle, is a geographikal area whikh has been mmmade infammmous for the mmmany people, airkraft, and surfake vessels noted to have disappeared within its bounds. MMMany of these disappearankes involve a level of mmmystery whikh are often popularly explained by a variety of theories beyond hummman error or akts of nature, often involving the paranormmmal, a suspension of the laws of physiks, or aktivity by extraterrestrial beings. An abundanke of dokummmentation for mmmost inkidents suggests that the Bermmmuda Triangle is a mmmere legend built upon half-truths and tall tales frommm individuals who sailed the area, then later emmmbellished on by professional writers. [A mmmore detailed illustration of the inner workings of the Bermmmuda Triangle kan be see in Figure 4]

The English Language: was represented here as a series of vertikal tallies or hash mmmakes. They kommme in both blue and brown varieties and kan be found kountless timmmes throughout the painting. These mmmarks developed out of a period of timmme whikh I spent thinking about the relationship of an immmage to the printed word and our tendenky to give priority to language as a klearer mmmore direkt way to kommmmmmunikate ideas. This is sommmething that I emmmbrake and support wholeheartedly. I hope that sommmeday soon when you enter into an art mmmuseummm all of the work will be gone, replaked with little plakards and kleverly worded artist statemmments that you kan walk around and look at telling you what you saw. Then you kan remmmemmmber these nammmes (write themmm down it you have trouble) and than kan talk about themmm with all you friends. [Still another faskinating look at the usefulness of the English Language kan be see in Figure 2]

The Great Zoommm-a-mmma-foommm-a-na-tune-a-hpone: A great player of the Zoommm-a-mmma-foommm-a-na-tune-a-hpone kan play mmmusik mmmore beautiful than anything in the whole wide world.

Unit MMMother Giver/Taker Superb Overlord 18: This is the primmmary subjekt and kentral energy of this painting, and our entire physikal world for that mmmatter. She is a semmmi-solid mmmass of pure intellekt and half-mmmatter partikles whikh exist both in this dimmmension (the one we think of as where we live our daily lives) and nineteen others (the ones in whikh we akutely inhabit). It is these half-mmmatter partikles that give her a white kolor and hot temmmper.
After her natural habitat bekammme inhospitable, dues to exkess thought and light pollution, she has been forked to hurl through the kosmmmos looking for fertile nesting grounds where she kan bear her young. [An illustration of the Unit MMMother Giver/Taker Superb Overlord 18’s natural habitat kan be seen in Figure 1]. Reproduktion is the primmmary purpose in the live of the Unit MMMother Giver/Taker Superb Overlord 18 but before she will be able to properly reproduke she needs to akquire forty seven mmmates, Drive MMMakhine MMMale Hammmmmmer-Lobes. She attrakts themmm by exkreting beammms of pherommmones, referred to by the skientifik kommmmmmunity as X-Rays, that exkite nearby Drive MMMakhine MMMale Hammmmmmer-Lobes. Onke a Drive MMMakhine MMMale Hammmmmmer-Lobe has smmmelled the pherommmones and kommmes near, approximmmately forty thousand light-years, she enkapsulates themmm in a kloud of snow, ike, and bad karmmma whikh permmmanently blinds themmm. The Unit MMMother Giver/Taker Superb Overlord 18 then kommmmmmenkes to sing old Yiddish songs to themmm so they kan follow the sound of her voike. In this way she is an allegory for kapitalismmm and the kurrent state of pop mmmusik.
The Unit MMMother Giver/Taker Superb Overlord 18 learned to erekt a protektive shield when she feels that is in danger, I painted this as a representative of mmmy own insekurities with wommmen. Whikh stemmm bakk to a passionate two and a half weeks stint spent with a Spanish exkhange student nammmed Abegail, who I loved dearly, but left mmme abruptly for The Who bassist John Entwistle. Sinke then I have felt as if the wommmen in mmmy life have put up a wall against mmme, whikh is aktually mmme projekting mmmy own standoffishness onto themmm.

X-Ray: These kolummmns of super kondensed pherommmones are used by the Unit MMMother Giver/Taker Superb Overlord 18 to attrakt mmmates. Unfortunately these X-Rays are extremmmely toxik to nearly all other formmms of life and kill mmmost upon kontakt (those who are not killed still find themmm exkeedingly distasteful). When X-Rays exist too klose to one another they fill with a kreammmy green substanke. The reason for this is a exkeedingly kommmplex mmmathemmmatikal equation whikh I will not go into here.

Mice learn to see in colour

2007-03-23T18:24:00.000-06:00

Mice learn to see in colourBy Roger Highfield, Science Editor
Last Updated: 1:28pm GMT 23/03/2007

Mice have had a human gene introduced into their eyes to give them colour vision similar to that enjoyed by people.
The experiment provides new hope to blind people that the brain can adapt more quickly than thought to new sensory information, for instance from an artificial retina of the kind currently under development in various labs.
And it sheds new light on the evolution of colour vision, a topic of intensive study for more than three decades, showing that the ability to detect a broader spectrum of light had knock on effects on brain development.

The light-sensing retina in the eyes of primates such as humans and monkeys is unique among mammals in that it has three pigments that absorb short (blue), medium (green) and long (red) wavelengths of light.
Mice, like other mammals, only have two pigments; one for short and one for medium wavelengths.
As a result, mice have dichromatic vision (which, in human terms, registers yellows, blues and greys), similar to what some people with red-green colour blindness see.
Although mice, like most mammals, typically view the world with a limited colour palette scientists have now transformed their vision by introducing a single human gene into a mouse chromosome.
The human gene codes for a light sensor that mice do not normally possess, and its insertion allowed the mice to distinguish colours as never before.
For the new study in the journal Sciencea team at Johns Hopkins University in Baltimore, Maryland, together with researchers at the University of California at Santa Barbara, introduced a human long wavelength receptor on the X chromosome, which made the mice produce a third pigment that registered longer wavelengths of light.
The human genes were biologically functional in the mice, but the real question was whether the mice could use the new visual information.
“It’s been unclear,” Prof Gerald Jacobs explained, “whether the simple addition of a photopigment is sufficient to yield a new dimension of colour vision, or whether you might need, in addition, some changes in the nervous system.”
The new abilities of the genetically engineered mice indicate that the brain does indeed possess a flexibility that permits a nearly instantaneous upgrade in the complexity of colour vision, say the study’s senior authors, Prof Jacobs and Jeremy Nathans.
When the team tested the mice on tasks involving distinguishing differently coloured panels and lights, the results indicated that the mice had new colour vision, revealing how genetic mutations may have ultimately allowed our ancestors to see five colours in a rainbow.
Once genetic changes produced additional photopigments in primates, which is thought to have occurred more than 40 million years ago, the animals’ brains were able to “rewire” themselves in order to process the new signals and allow full-colour vision.
“If you gave mice a new sensory input at the front end, could their brains learn to make use of the extra data at the back end?” asks Prof Nathans. “The answer is, remarkably, yes.
They did not require additional generations to evolve new sight. What we are looking at in these mice is the same evolutionary event that happened in one of the distant ancestors of all primates and that led ultimately to the trichromatic colour vision that we now enjoy.”
There are several theories to explain why colour vision helped our ancestors.
John Mollon at the University of Cambridge has suggested that it allowed primates to discriminate between unripe fruit, which is typically green, and ripe red- and orange-coloured fruits.
But a team from the California Institute of Technology, Pasadena, has challenged this idea with evidence that colour vision is crucial for seeing changes in the skin of others - whether they are red with rage, flushed with embarrassment or white with fear.

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Jonathan Taylor Thomas

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Jonathan Taylor Thomas

Birth name	Jonathan Taylor Weiss
Born	September 8, 1981 (age 25) Bethlehem, Pennsylvania, USA
Official site	None
Notable roles	Randy Taylor in Home Improvement (TV) Voice of Young Simba in The Lion King

Jonathan Taylor Thomas (born Jonathan Taylor Weiss on September 8, 1981 in Bethlehem, Pennsylvania) is an American child actor and former teen idol, best known for his role as middle child Randy Taylor on the sitcom Home Improvement.

[hide]

[edit] Biography

[edit] Early life

Thomas was born to Claudine and Stephen Weiss, who divorced in 1989; he has German, Jewish and Portuguese ancestry.^[1] He has a brother, Joel Thomas Weiss, whose middle name he adopted as his pseudonym, in order to avoid confusion with an existing actor named Jonathan Weiss.

In 1986, Thomas moved with his family to Roseville, California, and was later cast in a Burger King commercial at the age of eight.

[edit] Career

In 1990, Thomas, garnered the role of Greg Brady's son, Kevin, on the short-lived TV show, "The Bradys" -- a spin-off of the popular 70s TV show, "The Brady Bunch". In 1991, at the age of 10, he won the role of Randy Taylor on the popular television show Home Improvement. He went on to voice Young Simba in Disney's The Lion King and Pinocchio in The Adventures of Pinocchio. He remained with Home Improvement well into his teenage years, but left the show in 1998 in order to concentrate more on his academics. He served as guest timekeeper at WrestleMania XI in 1995.

As Thomas got older, he earned a reputation as a teen heartthrob and was a leading cover boy on teen magazines. He starred in the Christmas comedy I'll Be Home for Christmas. He also appeared in the movies Man of the House, Tom and Huck, Wild America, Common Ground, Walking Across Egypt (film) and Speedway Junky. He had a guest role on the ABC sitcom 8 Simple Rules for Dating My Teenage Daughter in early 2004, and appeared in the WB's Smallville in 2002 and 2004. In 2005, he had a guest role in UPN's high school detective drama Veronica Mars, and was also featured on The E! True Hollywood Story's show on Home Improvement.

In 2006, he provided voice audio as the young Simba (via stock audio from The Lion King) in the PlayStation 2 video game Kingdom Hearts II, developed by Square Enix.

[edit] Personal life

Thomas attended Harvard University and spent spring semester of his third year at the University of St. Andrews.

[edit] References

^ [1] questions and answers w/ Jonathan Taylor Thomas; "I am, like, Heinz 57! I mean, I'm a mix of everything! But I'm part Portuguese. That's where I get the olive skin. I tan really easily."

[edit] External links

Retrieved from "http://en.wikipedia.org/wiki/Jonathan_Taylor_Thomas"

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2007-03-22T08:57:00.001-06:00

One Foot in the Grave (album)

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Professional reviews
One Foot in the Grave

Studio album by Beck
Released	27 June 1994
Recorded	October 1993 and January 1994 Dub Narcotic Studio, Olympia, Washington
Genre	Alternative Rock, Indie Rock
Length	37:11
Label	K Records
Producer(s)	Calvin Johnson
All Music Guide link Robert Christgau (*) link
Beck chronology
Stereopathetic Soulmanure (1994)	One Foot in the Grave (1994)	Odelay (1996)

One Foot in the Grave is an indie rock album by Beck, released in June of 1994 on K Records, an independent label. Like predecessor Stereopathetic Soul Manure, the album never charted. However, One Foot in the Grave strengthened Beck's critical reputation, allowing him to break into the mainstream with Odelay in 1996. His third official album, One Foot in the Grave has a strong folk influence, more pronounced than in Beck's usual eclectic style. One Foot in the Grave was recorded prior to the release of his debut album Mellow Gold, but was not released until after that album met with critical and commercial success.

The album features the production talents and occasional backing vocals of Calvin Johnson, founder of K Records. It was recorded at Dub Narcotic Studio, which was then housed in Calvin's basement.

[edit] Track listing

All songs by Beck.

"He's a Mighty Good Leader" – 2:41
"Sleeping Bag" – 2:15
"I Get Lonesome" – 2:50
"Burnt Orange Peel" – 1:39
"Cyanide Breath Mint" – 1:37
"See Water" – 2:22
"Ziplock Bag" – 1:44
"Hollow Log" – 1:53
"Forcefield" – 3:31
"Fourteen Rivers Fourteen Floods" – 2:54
"Asshole" – 2:32
"I've Seen the Land Beyond" – 1:40
"Outcome" – 2:10
"Girl Dreams" – 2:02
"Painted Eyelids" – 3:06
"Atmospheric Conditions" – 2:09
"It's All in Your Mind" – 2:56 (Japanese version only)
"Feather in Your Cap" – 1:12 (Japanese version only)
"Whiskey Can Can" – 2:15 (Japanese version only)

[edit] Credits

Beck - Bass, Guitar, Drums, Vocals
Calvin Johnson - Vocals
Chris Ballew - Bass, Guitar
James Bertram - Bass
Sam Jayne - Vocals
Scott Plouf - Drums
Mario Prietto - Bongos

Discography
Beck
Major label albums: Mellow Gold \| Odelay \| Mutations \| Midnite Vultures \| Sea Change \| Guero \| The Information
Remix albums: Guerolito
Independent releases: Stereopathetic Soulmanure \| One Foot in the Grave
Unofficial releases: Golden Feelings \| A Western Harvest Field by Moonlight Singles: Loser \| Pay No Mind (Snoozer) \| Beercan \| It's All In Your Mind \| Where It's At \| Devils Haircut The New Pollution \| Sissyneck \| Jack-Ass \| Deadweight \| Tropicalia \| Cold Brains Nobody's Fault But My Own \| Sexx Laws \| Mixed Bizness \| Nicotine & Gravy \| Lost Cause E-Pro \| Girl \| Hell Yes \| Nausea
Related articles
Nigel Godrich \| Dust Brothers \| Bendin' in the Wind

Retrieved from "http://en.wikipedia.org/wiki/One_Foot_in_the_Grave_%28album%29"

Categories: Beck albums | 1994 albums | K Records albums

2007-03-21T20:29:00.001-06:00

march (03) / 20 / 2007 - Tuesday

2007-03-20T22:46:00.002-06:00

This is the beginning of information overload; barely scrapping the surface . . .

2007-03-20T22:46:00.001-06:00

Artist

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The definition of an artist is wide-ranging and covers a broad spectrum of activities to do with creating art, practising the arts and/or demonstrating an art. Debate, both historical and present day, suggests that defining the concept of an artist will continue to be difficult.

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This article has been tagged since August 2006.

Look up artist in Wiktionary, the free dictionary.

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Artist

Arts Portal

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[edit] Dictionary definitions

Wiktionary defines the noun 'artist' (Singular: artist; Plural: artists) as follows:

1. A person who creates art.
2. A person who creates art as an occupation.
3. A person who is skilled at some activity

The Oxford English dictionary, cites broad meanings of the term "artist,"

A learned person or Master of Arts
One who pursues a practical science, traditionally medicine, astrology, alchemy, chemistry
A follower of a pursuit in which skill comes by study or practice - the opposite of a theorist
A follower of a manual art, such as a mechanic
One who makes their craft a fine art
One who cultivates one of the fine arts - traditionally the arts presided over by the muses

(referenced from: C. T. Onions (1991). The Shorter Oxford English Dictionary. Clarendon Press Oxford. ISBN 0-19-861126-9. )

[edit] History of the term

In Greek the word "techně" is often mistranslated into "art." In actuality, "techně" implies mastery of a craft (any craft.) The Latin-derived form of the word is "tecnicus", from which the English words technique, technology, technical are derived.

In Greek culture the seven Muses patronaged eacha different field of human creation:

The word art is derived from the Latin "ars", which, although literally defined means, "skill method" or "technique", holds a connotation of beauty.

During the Middle Ages the word artist already existed in some countries such as Italy, but the meaning was something resembling craftsman, while the word artesan was still unknown. An artist was someone able to do a work better than others, so the skilled excellency was underlined, rather than the activity field. Looking to registries or acts of those times it is easy to find out how some goods (such as textiles) were much more precious and expensive than paintings or sculptures.

The first division into major and minor arts dates back to Leon Battista Alberti's works (De re aedificatoria, De statua, De pictura), focusing the importance of intellectual skills of the artist rather than the manual skills (even if in other forms of art there was a project behind).

Michelangelo Buonarroti is generally indicated as the first artist who separated his creative work from the committance requirements.

With the Academies in Europe (second half of XVI century) the gap between fine and applied arts was definitely set.

Many contemporary definitions of "artist" and "art" are highly contingent on culture, resisting aesthetic prescription, in much the same way that the features constituting beauty and the beautiful, cannot be standardized easily without corruption into kitsch.

The word "artist" is used as a pejorative in certain circles (connotating, for example, pretentiousness, selfishness, temperamentalness, egotism, and having an inflated sense of one's own self-worth).

(referenced from: P.Galloni, Il sacro artefice. Mitologie degli artigiani medievali, Laterza, Bari, 1998)

[edit] The present day concept of an 'artist'

Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially, as, "a person who expresses themselves through a medium". The word also is used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice.

Most often, the term describes those who create within a context of 'high culture', activities such as drawing, painting, sculpture, acting, dancing, writing, filmmaking, photography, and music—people who use imagination, talent, or skill to create works that may be judged to have an aesthetic value. Art historians and critics will define as artists, those who produce art within a recognized or recognizable discipline.

The term also is used to denote highly skilled people in non-"arts" activities, as well—crafts, law, medicine, alchemy, mechanics, mathematics, defense (martial arts), and architecture, for example. The designation is applied to high skill in illegal activities, such as "scam artist" or "con artist".

There is no consensus about what constitutes "art" or who is, or who is not, an "artist". Often, discussions on the subject focus on the differences among "artist" and "technician", "entertainer" and "artisan," "fine art" and "applied art," or what constitutes art and what does not. The French word artiste (which in French, simply means "artist") has been imported into the English language where it means a performer (frequently in Music Hall or Vaudeville). The English word 'artist' has thus, a narrower range of meanings than the word 'artiste' in French.

[edit] Examples of art and artists

[edit] See Related Topics

Arts Portal

Art
Arts-related lists
Art history
Arts by region
Fine art
Humanities
Social sciences
[category: Arts]
[Category: Arts-related Lists]]
[Category: Lists of Artists]
[Category: Arts Occupations]
List of sculptors
List of composers
List of artists by nationality
Lists of artists by medium

[edit] References

P.Galloni, Il sacro artefice. Mitologie degli artigiani medievali, Laterza, Bari, 1998 C. T. Onions (1991). The Shorter Oxford English Dictionary. Clarendon Press Oxford. ISBN 0-19-861126-9

[edit] External links

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Jonathan Taylor Thomas

From Wikipedia, the free encyclopedia

Contents

[edit] Biography

[edit] Early life

[edit] Career

[edit] Personal life

[edit] References

[edit] External links

post! post!post! post!post! post!post! post!post! post!post! post!post! post!post! post!post! post!post! post!post! post!post! post!*post! post!post!

One Foot in the Grave (album)

From Wikipedia, the free encyclopedia

[edit] Track listing