title: Gerry Cooney

text: Cooney trained at the Huntington Athletic Club in Long Island, New York, where his trainer was John Capobianco. His amateur record consisted of 55 wins and 3 losses.


title: Gerry Cooney

text: When he turned professional, Cooney signed with co-managers Mike Jones and Dennis Rappaport. He was trained by Victor Valle.


title: Gerry Cooney

text: Known for his big left-hook and his imposing size, the tall, lean Cooney had his first paid fight on February 15, 1977, beating Billy Jackson by a knockout in one round. Nine wins followed and Cooney gained attention as a future contender, although his opponents were carefully chosen. He moved up a weight class and fought future world cruiserweight champion S. T. Gordon in Las Vegas, winning by a fourth round disqualification. Cooney had 11 more wins, spanning 1978 and 1979. Among those he defeated were Charlie Polite, former US heavyweight champion Eddie Lopez, and Tom Prater. These were not rated contenders, however.


title: Gerry Cooney

text: By 1980, Cooney was being featured on national television. Stepping up, he beat one-time title challengers Jimmy Young and Ron Lyle, both by 'knockouts.' The Young fight was stopped because of cuts sustained by Young. By then Cooney was ranked number 1 by the WBC and eager for a match with champion Larry Holmes.


title: Gerry Cooney

text: In 1981, he defeated former world heavyweight champion Ken Norton by a knockout just 54 seconds into the first round with a blisteringly powerful attack. This tied the record set in 1948 by Lee Savold for the quickest knockout in a main event in Madison Square Garden. Since his management team was unwilling to risk losing a big future pay day with Holmes by having him face another viable fighter, Cooney did not fight for 13 months after defeating Norton.


title: Gerry Cooney

text: The following year, Holmes agreed to fight him with the fight held June 11, 1982. With a purse of ten million dollars for the challenger, it was the richest fight in boxing history to that time. The promotion of the fight took on racial overtones that were exaggerated by the promoters, something Cooney did not agree with. He believed that skill, not race, should determine if a boxer was good. However, if Cooney won, he would have become the first Caucasian world heavyweight champion since Swede Ingemar Johansson defeated Floyd Patterson 23 years earlier. Don King called Cooney "The Great White Hope." The bout, held June 11, 1982 drew attention worldwide, and Larry Holmes vs. Gerry Cooney was one of the biggest closed-circuit/pay-per-view productions in history, broadcast to over 150 countries.


title: Gerry Cooney

text: Cooney fought bravely after he was knocked down briefly in the second round. He was fined three points for repeated low blows. After 12 rounds, the more skillful and experienced Holmes finally wore him down. In round 13, Cooney's trainer Victor Valle stepped into the ring, forcing the referee to stop the fight. Two of the three judges would have had Cooney ahead after the 12th round if it weren't for the point deductions. Holmes and Cooney became friends after the fight, a relationship that endured for them. On December 14, 1982, Cooney fought Harold Rice, the heavyweight champion of Connecticut, in a four-round bout. No winner was declared, so Cooney told the crowd following the bout: "This is only an exhibition. I'm sorry if I disappointed anybody. I'm trying to work myself back in shape so I can knock out Larry Holmes. Everything is OK. I felt a little rusty, but that is normal. It has been a while. I felt good in front of the people."


title: Gerry Cooney

text: After a long layoff, Cooney fought in September, 1984, beating Phillip Brown by a 4th-round knockout in Anchorage, Alaska. He fought once more that year and won, but personal problems kept him out of the ring.


title: Gerry Cooney

text: Although Cooney had only fought three official bouts in five years following his loss to Holmes, in 1987 he challenged former world heavyweight and world light heavyweight champion Michael Spinks in a title bout. Cooney appeared past his prime and Spinks, boxing carefully with constant sharp counters, knocked him out in round 5. Cooney's last fight was in 1990. He was knocked out in a match-up of power-punching veterans in two rounds by former world champion George Foreman. Cooney did stagger Foreman in the first round, but he was over-matched, and Foreman knocked him out two minutes into the second round.


title: Gerry Cooney

text: The losses to Holmes, Spinks, and Foreman exposed Cooney's Achilles' heel: his inability to clinch and tie up his opponent when hurt. In the Foreman fight, he rose from a second-round knockdown and stood in the center of the ring as Foreman delivered the coup de grâce.


title: Gerry Cooney

text: Cooney compiled a professional record of 28 wins and 3 losses, with 24 knockouts. Not a single one of his fights ever went the distance in a 12 or 15-round match. He is ranked number 53 on "The Ring"<nowiki>'</nowiki>s list of "100 Greatest Punchers of All Time".


title: Gerry Cooney

text: Cooney, who is naturally left-handed, used an orthodox stance like Oscar De La Hoya. This provided him with a powerful jab and a lethal left hook, but a comparatively weaker right, which he seldom used except in combinations. Most of his fights ended in quick knockouts; while this benefited him in the beginning of his career, it left him unprepared for his fight against world heavyweight champion Larry Holmes. Despite his devastating punching power, Cooney's moderate stamina and lack of experience proved to be his downfall.


title: Gerry Cooney

text: Cooney was known for not throwing punches at the head, aiming instead for his opponent's chest, ribs, or stomach. This made him vulnerable at times, the fight against Holmes being an example.


title: Gerry Cooney

text: According to George Foreman, Gerry Cooney was one of the three hardest punchers he had faced in his career along with Ron Lyle and Cleveland Williams.


title: Gerry Cooney

text: Cooney founded the "Fighters' Initiative for Support and Training", an organization which helps retired boxers find jobs. He did not encourage the racist tilt of promotion of the "Holmes vs. Cooney" match and became good friends with his former rival Holmes in the years afterward.


title: Gerry Cooney

text: Cooney is deeply involved in J.A.B., the first union for boxers. He became a boxing promoter for title bouts featuring Roberto Durán, Héctor Camacho, and George Foreman. Cooney is a supporter of the "hands are not for hitting" program, which tries to prevent domestic violence. He guides young fighters in the gym.


title: Gerry Cooney

text: Cooney resides in Fanwood, New Jersey, with his wife Jennifer and two of their three children, Jackson and Sarah. His son Chris resides in New York.


title: Sudarshana Chakra

text: Sudarshana Chakra (Sanskrit: सुदर्शन चक्र, lit. "disc of auspicious vision", IAST: Sudarśana Chakra) is a spinning, celestial discus with 108 serrated edges, attributed to Vishnu and Krishna in the Hindu scriptures. The Sudarshana Chakra is generally portrayed on the right rear hand of the four hands of Vishnu, who also holds the Panchajanya (conch), the Kaumodaki (mace), and the Padma (lotus).


title: Sudarshana Chakra

text: While in the Rigveda, the Chakra was Vishnu's symbol as the wheel of time and by the late period, the Sudarshana Chakra emerged as an ayudhapurusha (an anthropomorphic form), as a fierce form of Vishnu, used for the destruction of demons. As an "ayudhapurusha", the deity is known as Chakraperumal or Chakratalvar.


title: Sudarshana Chakra

text: The word "Sudarshana" is derived from two Sanskrit words – "Su"(सु) meaning "good/auspicious" and "Darshana" (दर्शन) meaning "vision". In the Monier-Williams dictionary the word Chakra is derived from the root क्रम् ("kram") or ऋत् ("rt") or क्रि ("kri") and refers among many meanings, to the wheel of a carriage, wheel of the sun's chariot or metaphorically to the wheel of time. In Tamil, the Sudarshana Chakra is also known as Chakratalvar (Disc of God).


title: Sudarshana Chakra

text: The chakra is found in the coins of many tribes with the word "gana" and the name of the tribe inscribed on them. Early historical evidence of the Sudarshana-Chakra is found in a rare tribal Vrishni silver coin with the legend "Vṛishṇi-rājaṅṅya-gaṇasya-trātasya" which P.L.Gupta thought was possibly jointly issued by the gana (tribal confederation) after the Vrishnis formed a confederation with the Rajanya tribe. However, there is no conclusive proof so far. Discovered by Cunningham, and currently placed in the British Museum, the silver coin is witness to the political existence of the Vrishnis. It is dated to around 1st century BCE. Vrishni copper coins dated to later time were found in Punjab. Another example of coins inscribed with the chakra are the Taxila coins of the 2nd century BCE with a sixteen-spoked wheel.


title: Sudarshana Chakra

text: A coin dated to 180 BCE, with an image of Vasudeva-Krishna, was found in the Greco-Bactrian city of Ai-Khanoum in the Kunduz area of Afghanistan, minted by Agathocles of Bactria. In Nepal, Jaya Cakravartindra Malla of Kathmandu issued a coin with the chakra.


title: Sudarshana Chakra

text: Among the only two types of Chakra-vikrama coins known so far, there is one gold coin in which Vishnu is depicted as the Chakra-purusha. Though Chandragupta II issued coins with the epithet "vikrama", due to the presence of the kalpavriksha on the reverse it has not been possible to ascribe it to him.


title: Sudarshana Chakra

text: The anthropomorphic form of Sudarshana can be traced from discoid weapons of ancient India to his esoteric multi-armed images in the medieval period in which the Chakra served the supreme deity (Vishnu) as his faithful attendants. While the two-armed Chakra-Purusha was humanistic, the medieval multi-armed Sudarshana (known as Chakraperumal or Chakrathazhwar) was speculatively regarded as an impersonal manifestation of destructive forces in the universe; that, in its final aspect, combined the flaming weapon and the wheel of time which destroys the universe.


title: Sudarshana Chakra

text: The rise of Tantrism aided the development of the anthropomorphic personification of the chakra as the active aspect of Vishnu with few sculptures of the Pala era bearing witness to the development, with the chakra in this manner possibly associated with the Vrishnis. However, the worship of Sudarshana as a quasi-independent deity concentrated with the power of Vishnu in its entirety is a phenomenon of the southern part of India; with idols, texts and inscriptions surfacing from the 13th century onwards and increasing in large numbers only after the 15th century.


title: Sudarshana Chakra

text: The "Chakra Purusha" in Pancharatra texts has either four, six, eight, sixteen, or thirty-two hands, with double-sided images of multi-armed Sudarshana on one side and Narasimha on other side (called Sudarshana-Narasimha in Pancharatra) within a circular rim, sometimes in dancing posture found in Gaya area datable to 6th and 8th centuries. Unique images of Chakra Purusha, one with Varaha in Rajgir possibly dating to the 7th century,


title: Sudarshana Chakra

text: While the chakra is ancient, with the emergence of the anthropomorphic forms of "chakra" and "shankha" traceable in the north and east of India as the "Chakra-Purusha" and "Shanka-Purusha"; in the south of India, the Nayak period popularized the personified images of Sudarshana with the flames. In the Kilmavilangai cave is an archaic rock-cut structure in which an image of Vishnu has been hallowed out, holding the Shanka and Chakra, without flames. At this point, the Chakrapurusha with the flames had not been conceived in the south of India. The threat of invasions from the north was a national emergency during which the rulers sought out the Ahirbudhnya Samhita, which prescribes that the king should resolve the threat by making and worshiping images of Sudarshana.


title: Sudarshana Chakra

text: Though similar motives induced the Vijayanagara period to install images of Sudarshana, there was a wider distribution of the cult during the Nayak period, with Sudarshana's images set up in temples ranging from small out-of-the-way ones to large temples of importance. Though political turmoil resulted in the disintegration of the Vijayanagara empire, the construction and refurbishing of temples did not cease; with the Nayak period continuing with their architectural enterprises, which Begley and Nilakantha Sastri note "reflected the rulers' awareness of their responsibilities in the preservation and development of all that remained of Hinduism.


title: Sudarshana Chakra

text: The worship of Sudarshana Chakra is found in the Vedic and in the tantric cults. In the Garuda purana, the chakra was also invoked in tantric rites. The tantric cult of Sudarshana was to empower the king to defeat his enemies in the shortest time possible. Sudarshana's hair, depicted as tongues of flames flaring high forming a nimbus, bordering the rim of the discus and surrounding the deity in a circle of rays (Prabha-mandala) are a depiction of the deity's destructive energy.


title: Sudarshana Chakra

text: Various Pancharatra texts describe the Sudarshan chakra as prana, Maya, kriya, shakti, bhava, unmera, udyama and saṃkalpa. In the Ahirbudhanya Samhita of the Pancharatra, on bondage and liberation, the soul is represented as belonging to "bhuti-shakti" (made of 2 parts, viz., time ("bhuti") and shakti ("maya")) which passes through rebirths until it is reborn in its own natural form which is liberated; with the reason and object of samsara remaining a mystery. Samsara is represented as the 'play' of God even though God in the Samhita's representation is the perfect one with no desire to play. The beginning and the end of the play is effected through Sudarshana, who in the Ahirbudhanya Samhita is the will of the omnipotent, omniscient, omnipresent God. The Sudarshana manifests in 5 main ways to wit the 5 Shaktis, which are creation, preservation, destruction, obstruction, and obscuration; to free the soul from taints and fetters which produce "vasanas" causing new births; so as to make the soul return to her natural form and condition which she shares with the supreme lord, namely, omnipotence, omniscience, omnipresence.


title: Sudarshana Chakra

text: According to the Ahirbudhanya Samhita, "Vishnu, in the form of Chakra, was held as the ideal of worship for kings desirous of obtaining universal sovereignty", a concept associated with the Bhagavata cult in the Puranas, a religious condition traceable to the Gupta period, which also led to the chakravartin concept. The concept of universal sovereignty possibly facilitated the syncretism of Krishna and Vishnu and reciprocally reinforced their military power and heroic exploits; with the kshatriya hero, Krishna preserving order in the phenomenal world while the composite Vishnu is the creator and upholder of the universe supporting all existence. Begley notes the evolution of the anthropomorphic iconography of Sudarshana, beginning from early expansion of the Bhagavata sect thus: "In contrast to the relatively simple religious function of the Cakra-Purusa, the iconographic role of the medieval Sudarsana-Purusa of South India was exceedingly complex. The medieval Sudarsana was conceived as a terrifying deity of destruction, for whose worship special tantric rituals were devised. The iconographic conception of Sudarsana as an esoteric agent of destruction constitutes a reassertion of the original militaristic connotation of the cakra".


title: Sudarshana Chakra

text: An early scriptural reference in obtaining the 'grace of Sudarshana' through building a temple for him can be found in the Ahirbudhanya Samhita, in the story of Kushadhvaja, a king of the Janakas, who felt possessed by the devil causing him various ills, due to a sin from his past life in killing a righteous king. His guru advises him to build the temple, following which he performs propitiatory rites for 10 days upon which he is cured. However, the multi-armed Sudarsana as a horrific figure with numerous weapons standing on a flaming wheel comes from southern Indian iconography with the earliest example of the South Indian Sudarsana image being a small eight-armed bronze image from the 13th century.


title: Sudarshana Chakra

text: Though Chakraperumal or Chakratalvar shrines ("sannidhis") are found inside Vishnu's temples, there are very few temples dedicated to Chakraperumal alone as the main deity (moolavar):


title: Sudarshana Chakra

text: The icons of Chakra Perumal are generally built in the Vijayanagar style. There are two forms of Chakraperumal, one with 16 arms and another with 8 arms. The one with 16 arms is considered the god of destruction and is rarely found. The Chakraperumal shrine inside the Simhachalam Temple is home to the rare 16-armed form. The one with 8 arms is benevolent and is the form generally found in Vishnu's temples. Chakraperumal was deified an avatar of Vishnu himself, with the "Ahirbudhnya Samhita" identifying the Chakra-Purusha with Vishnu himself, stating "Chakrarupi svayam Harih".


title: Sudarshana Chakra

text: The Simhachalam Temple follows the ritual of "Baliharana" or purification ceremony. Sudarshana or Chakraperumal is the "bali bera" (icon that accepts sacrifices, as a representative of the chief deity) of Narasimha, where he stands with 16 arms holding emblems of Vishnu with a circular background halo. In "Baliharana", Chakraperumal is taken to a "yajnasala" where a "yajna" (sacrifice) is performed offering cooked rice with ghee while due murti mantras are chanted, along with the Vishnu Sukta and Purusha Sukta. Then he is taken on a palanquin around the temple with the remaining food offered to the guardian spirits of the temple.


title: Sudarshana Chakra

text: Other temples with shrines to Sudarshana Chakra are Veeraraghava Swamy Temple, Thiruevvul; Ranganathaswamy Temple, Srirangapatna; Thirumohoor Kalamegaperumal temple, Madurai; Varadharaja Perumal Temple, Kanchipuram


title: Sudarshana Chakra

text: The "Sudarshana homam" is performed by invoking Sudarshana along with his consort Vijayavalli into the sacrificial fire. This "homam" is very popular in South India.


title: Frédéric Auguste Bartholdi

text: Frédéric Auguste Bartholdi ( , ; 2 August 1834 – 4 October 1904) was a French sculptor and painter. He is best known for designing "Liberty Enlightening the World", commonly known as the Statue of Liberty.


title: Frédéric Auguste Bartholdi

text: Bartholdi was born in Colmar, France, 2 August 1834. He was born to a family of Alsatian Protestant heritage, with his family name adopted from Barthold. His parents were Jean Charles Bartholdi (1791–1836) and Augusta Charlotte Bartholdi (; 1801–1891). Frédéric Auguste Bartholdi was the youngest of their four children, and one of only two to survive infancy, along with the oldest brother, Jean-Charles, who became a lawyer and editor.


title: Frédéric Auguste Bartholdi

text: Bartholdi's father, a property owner and counselor to the prefecture, died when Bartholdi was two years old. Afterwards, Bartholdi moved with his mother and his older brother Jean-Charles to Paris, where another branch of their family resided. With the family often returning to spend long periods of time in Colmar, the family maintained ownership and visited their house in Alsace, which later became the Bartholdi Museum in 1922. While in Colmar, Bartholdi took drawing lessons from Martin Rossbach. In Paris, he studied sculpture with Antoine Étex. He also studied architecture under Henri Labrouste and Eugène-Emmanuel Viollet-le-Duc.


title: Frédéric Auguste Bartholdi

text: Bartholdi attended the Lycée Louis-le-Grand in Paris, and received a baccalauréat in 1852. He then went on to study architecture at the École nationale supérieure des Beaux-Arts as well as painting under Ary Scheffer in his studio in the Rue Chaptal, now the Musée de la Vie Romantique. Later, Bartholdi turned his attention to sculpture, which afterward exclusively occupied him and his life.


title: Frédéric Auguste Bartholdi

text: In 1853, Bartholdi submitted a Good Samaritan-themed sculptural group to the Paris Salon of 1853. The statue was later recreated in bronze. Within two years of his Salon debut, Bartholdi was commissioned by his hometown of Colmar to sculpt a bronze memorial of Jean Rapp, a Napoleonic General. In 1855 and 1856 Bartholdi traveled in Yemen and Egypt with travel companions such as Jean-Léon Gérôme and other "orientalist" painters. The trip sparked Bartholdi's interest in colossal sculpture.


title: Frédéric Auguste Bartholdi

text: In 1869, Bartholdi returned to Egypt to propose a new lighthouse to be built at the entrance of the Suez Canal, which was newly completed. The lighthouse, which was to be called "Egypt Carrying the Light to Asia" and shaped as a massive draped figure holding a torch, was not commissioned. Both the khedive and Lesseps declined the proposed statue from Bartholdi, citing the high cost. The Port Said Lighthouse was built instead, by François Coignet in 1869.


title: Frédéric Auguste Bartholdi

text: Bartholdi served in the Franco-Prussian War of 1870 as a squadron leader of the National Guard, and as a liaison officer to Italian General Giuseppe Garibaldi, representing the French government and the Army of the Vosges. As an officer, he took part in the defense of Colmar from Germany. Distraught over his region's defeat, over the following years he constructed a number of monuments celebrating French heroism in the defense against Germany. Among these projects was the "Lion of Belfort", which he started working on in 1871, not finishing the massive sandstone statue until 1880.


title: Frédéric Auguste Bartholdi

text: In 1871, he made his first trip to the United States, where he pitched the idea of a massive statue gifted from the French to the Americans in honor of the centennial of American independence. The idea, which had first been broached to him in 1865 by his friend Édouard René de Laboulaye, resulted in the Statue of Liberty in New York harbor. After years of work and fundraising, the statue was inaugurated in 1886. During this period, Bartholdi also sculpted a number of monuments for American cities, such as a cast-iron fountain in Washington, DC completed in 1878.


title: Frédéric Auguste Bartholdi

text: In 1875, he joined the Freemasons Lodge Alsace-Lorraine in Paris. In 1876, Bartholdi was one of the French commissioners in 1876 to the Philadelphia Centennial Exposition. There he exhibited bronze statues of "The Young Vine-Grower", "Génie Funèbre", "Peace" and "Genius in the Grasp of Misery", receiving a bronze medal for the latter. His 1878 statue "Gribeauval" became the property of the French state.


title: Frédéric Auguste Bartholdi

text: A prolific creator of statues, monuments, and portraits, Bartholdi exhibited at the Paris Salons until the year of his death in 1904. He also remained active with diverse mediums, including oil painting, watercolor, photography, and drawing, and received the rank of Commander of the Legion of Honor in 1886. Bartholdi died of tuberculosis at age 70 in Paris on 4 October 1904.


title: Frédéric Auguste Bartholdi

text: In 1876, he married Jeanne-Emile Baheux in Providence, Rhode Island. In 1893, Bartholdi and his wife visited the 1893 World's Columbian Exposition in Chicago, where his "Washington and Lafayette" sculptural group was exhibited. Throughout his life Bartholdi maintained his childhood family home in Colmar; in 1922, it was made into the Musée Bartholdi.


title: Frédéric Auguste Bartholdi

text: The work for which Bartholdi is most famous is "Liberty Enlightening the World", better known as the Statue of Liberty. Soon after the establishment of the French Third Republic, the project of building some suitable memorial to show the fraternal feeling existing between the republics of the United States and France was suggested, and in 1874 the Union Franco-Américaine (Franco-American Union) was established by Edouard de Laboulaye. Bartholdi's hometown in Alsace had just passed into German control in the Franco-Prussian War. These troubles in his ancestral home of Alsace are purported to have further influenced Bartholdi's own great interest in independence, liberty, and self-determination. Bartholdi subsequently joined the Union Franco-Américaine, among whose members were Laboulaye, Paul de Rémusat, William Waddington, Henri Martin, Ferdinand Marie de Lesseps, Jean-Baptiste Donatien de Vimeur, comte de Rochambeau, Oscar Gilbert Lafayette, François Charles Lorraine, and Louis François Lorraine.


title: Frédéric Auguste Bartholdi

text: Bartholdi broached the idea of a massive statue and once its design was approved, the Union Franco-Américaine raised more than 1 million francs throughout France for its building. In 1879, Bartholdi was awarded design patent for the Statue of Liberty. On 4 July 1880, the statue was formally delivered to the American minister in Paris, the event being celebrated by a great banquet. In October 1886, the structure was officially presented as the joint gift of the French and American people, and installed on Bedloe's Island in New York Harbor . It was rumored in France that the face of the Statue of Liberty was modeled after Bartholdi's mother. The statue is 46m high (151 feet and 1 inch), and the top of the torch is at an elevation of 93m (305 feet 1 inch) from mean low-water mark. It was the largest work of its kind that had been completed up to that time.


title: Frédéric Auguste Bartholdi

text: Bartholdi's hometown Colmar (modern political administrative region of Grand Est) has a number of statues and monuments by the sculptor, as well as a museum founded in 1922 in the house in which he was born, at 30 Rue des Marchands.


title: Frédéric Auguste Bartholdi

text: Bartholdi's other major works include a variety of statues at Clermont-Ferrand; in Paris, and in other places. Notable works include:


title: Frédéric Auguste Bartholdi

text: "The Statue of Liberty" is a 1985 documentary film by Ken Burns which focuses on the statue's history and its impact on society.


title: Frédéric Auguste Bartholdi

text: Bartholdi's life and creation of "Liberty Enlightening the World" are also featured in the 2019 documentary film, "Liberty: Mother of Exiles".


title: Anthony van Dyck

text: Sir Anthony van Dyck (, many variant spellings; 22 March 1599 – 9 December 1641) was a Brabantian Flemish Baroque artist who became the leading court painter in England after success in the Southern Netherlands and Italy.


title: Anthony van Dyck

text: The seventh child of Frans van Dyck, a wealthy Antwerp silk merchant, Anthony painted from an early age. He was successful as an independent painter in his late teens, and became a master in the Antwerp guild in 1618. By this time he was working in the studio of the leading northern painter of the day, Peter Paul Rubens, who became a major influence on his work. Van Dyck worked in London for some months in 1621, then returned to Flanders for a brief time, before travelling to Italy, where he stayed until 1627, mostly in Genoa. In the late 1620s he completed his greatly admired "Iconography" series of portrait etchings, mostly of other artists. He spent five years in Flanders after his return from Italy, and from 1630 was court painter for the archduchess Isabella, Habsburg Governor of Flanders. In 1632 he returned to London to be the main court painter, at the request of Charles I of England.


title: Anthony van Dyck

text: With the exception of Holbein, van Dyck and his contemporary Diego Velázquez were the first painters of pre-eminent talent to work mainly as court portraitists, revolutionising the genre. He is best known for his portraits of the aristocracy, most notably Charles I, and his family and associates. Van Dyck became the dominant influence on English portrait-painting for the next 150 years. He also painted mythological and biblical subjects, including altarpieces, displayed outstanding facility as a draughtsman, and was an important innovator in watercolour and etching. His superb brushwork, apparently rather quickly painted, can usually be distinguished from the large areas painted by his many assistants. His portrait style changed considerably between the different countries he worked in, culminating in the relaxed elegance of his last English period. His influence extends into the modern period. The Van Dyke beard is named after him. During his lifetime, Charles I granted him a knighthood, and he was buried in St Paul's Cathedral, an indication of his standing at the time of his death.


title: Anthony van Dyck

text: Antoon van Dyck (his Flemish name) was born to prosperous parents in Antwerp and was the seventh of 12 children. His father was Frans van Dyck, a silk merchant, and his mother was Maria Cupers, daughter of Dirk Cupers and Catharina Conincx. He was baptised on 23 March 1599 (as Anthonio). His talent was evident very early, and he was studying painting with Hendrick van Balen by 1609, and became an independent painter around 1615, setting up a workshop with his even younger friend Jan Brueghel the Younger. By the age of fifteen he was already a highly accomplished artist, as his "Self-portrait", 1613–14, shows. He was admitted to the Antwerp painters' Guild of Saint Luke as a free master by February 1618. Within a few years he was to be the chief assistant to the dominant master of Antwerp, and the whole of Northern Europe, Peter Paul Rubens, who made much use of sub-contracted artists as well as his own large workshop. His influence on the young artist was immense. Rubens referred to the nineteen-year-old van Dyck as "the best of my pupils".


title: Anthony van Dyck

text: The origins and exact nature of their relationship are unclear. It has been speculated that van Dyck was a pupil of Rubens from about 1613, as even his early work shows little trace of van Balen's style, but there is no clear evidence for this. At the same time the dominance of Rubens in the relatively small and declining city of Antwerp probably explains why, despite his periodic returns to the city, van Dyck spent most of his career abroad. In 1620, in Rubens's contract for the major commission for the ceiling of the Carolus Borromeuskerk, the Jesuit church at Antwerp (lost to fire in 1718), van Dyck is specified as one of the "discipelen" who was to execute the paintings to Rubens' designs. Unlike van Dyck, Rubens worked for most of the courts of Europe, but avoided exclusive attachment to any of them.


title: Anthony van Dyck

text: In 1620, at the instigation of George Villiers, Marquess of Buckingham, van Dyck went to England for the first time where he worked for King James I of England, receiving £100. It was in London in the collection of the Earl of Arundel that he first saw the work of Titian, whose use of colour and subtle modeling of form would prove transformational, offering a new stylistic language that would enrich the compositional lessons learned from Rubens.


title: Anthony van Dyck

text: He returned to Flanders after about four months, and then left in late 1621 for Italy, where he remained for six years. There he studied the Italian masters while starting a successful career as a portraitist. He was already presenting himself as a figure of consequence, annoying the rather bohemian Northern artist's colony in Rome, says Giovan Pietro Bellori, by appearing with "the pomp of Zeuxis ... his behaviour was that of a nobleman rather than an ordinary person, and he shone in rich garments. Since he was accustomed in the circle of Rubens to noblemen, and being naturally of elevated mind, and anxious to make himself distinguished, he therefore wore—as well as silks—a hat with feathers and brooches, gold chains across his chest, and was accompanied by servants."


title: Anthony van Dyck

text: He was mostly based in Genoa, although he also travelled extensively to other cities, and stayed for some time in Palermo in Sicily, where he was quarantined during the 1624 plague, one of the worst in Sicily's history. There he produced an important series of paintings of the city's plague saint Saint Rosalia. His depictions of a young woman with flowing blonde hair wearing a Franciscan cowl and reaching down toward the city of Palermo in its peril, became the standard iconography of the saint from that time onward and was extremely influential for Italian Baroque painters, from Luca Giordano to Pietro Novelli. Versions include those in Madrid, Houston, London, New York and Palermo, as well as Saint Rosalia Interceding for the City of Palermo in Puerto Rico, and Coronation of Saint Rosalia in Vienna. Van Dyck's series of St Rosalia paintings have been studied by Gauvin Alexander Bailey and Xavier F. Salomon, both of whom curated or co-curated exhibitions devoted to the theme of Italian art and the plague. In 2020, the "New York Times" published an article about the Metropolitan Museum of Art's painting of Saint Rosalia by Van Dyck in the context of the COVID-19 virus.


title: Anthony van Dyck

text: For the Genoese aristocracy, then in a final flush of prosperity, he developed a full-length portrait style, drawing on Veronese and Titian as well as Rubens' style from his own period in Genoa, where extremely tall but graceful figures look down on the viewer with great hauteur. In 1627, he went back to Antwerp where he remained for five years, painting more affable portraits which still made his Flemish patrons look as stylish as possible. A life-size group portrait of twenty-four City Councillors of Brussels he painted for the council-chamber was destroyed in 1695. He was evidently very charming to his patrons, and, like Rubens, well able to mix in aristocratic and court circles, which added to his ability to obtain commissions. By 1630, he was described as the court painter of the Habsburg Governor of Flanders, the Archduchess Isabella. In this period he also produced many religious works, including large altarpieces, and began his printmaking.


title: Anthony van Dyck

text: King Charles I was the most passionate collector of art among the Stuart kings, and saw painting as a way of promoting his elevated view of the monarchy. In 1628, he bought the fabulous collection that the Duke of Mantua was forced to sell, and he had been trying since his accession in 1625 to bring leading foreign painters to England. In 1626, he was able to persuade Orazio Gentileschi to settle in England, later to be joined by his daughter Artemisia and some of his sons. Rubens was an especial target, who eventually in 1630 came on a diplomatic mission, which included painting, and he later sent Charles more paintings from Antwerp. Rubens was very well-treated during his nine-month visit, during which he was knighted. Charles's court portraitist, Daniel Mytens, was a somewhat pedestrian Dutchman. Charles was very short, less than tall, and presented challenges to a portrait artist.


title: Anthony van Dyck

text: Van Dyck remained in touch with the English court and helped King Charles's agents in their search for pictures. He sent some of his own works, including a self portrait (1623) with Endymion Porter, one of Charles's agents, his "Rinaldo and Armida" (1629), and a religious picture for the Queen. He had also painted Charles's sister, Queen Elizabeth of Bohemia, at The Hague in 1632. In April of that year, van Dyck returned to London and was taken under the wing of the court immediately, being knighted in July and at the same time receiving a pension of £200 a year, in the grant of which he was described as "principalle Paynter in ordinary to their majesties". He was well paid for his paintings in addition to this, at least in theory, as King Charles did not actually pay over his pension for five years, and reduced the price of many paintings. He was provided with a house on the River Thames at Blackfriars, then just outside the City of London, thus avoiding the monopoly of the Worshipful Company of Painter-Stainers. A suite of rooms in Eltham Palace, no longer used by the royal family, was also put at his disposal as a country retreat. These residences were managed by his partner Margaret Lemon. His Blackfriars studio was frequently visited by the King and Queen (later a special causeway was built to ease their access), who hardly sat for another painter while van Dyck lived.


title: Anthony van Dyck

text: He was an immediate success in England, where he painted large numbers of portraits of the King and Queen Henrietta Maria, as well as their children. Many portraits were done in several versions, to be sent as diplomatic gifts or given to supporters of the increasingly embattled king. Altogether van Dyck has been estimated to have painted forty portraits of King Charles himself, as well as about thirty of the Queen, nine of the Earl of Strafford, and multiple ones of other courtiers. He painted many of the court, and also himself and his mistress, Margaret Lemon.


title: Anthony van Dyck

text: In England he developed a version of his style which combined a relaxed elegance and ease with an understated authority in his subjects which was to dominate English portrait-painting to the end of the 18th century. Many of these portraits have a lush landscape background. His portraits of Charles on horseback updated the grandeur of Titian's Emperor Charles V, but even more effective and original is his portrait of Charles dismounted in the Louvre: "Charles is given a totally natural look of instinctive sovereignty, in a deliberately informal setting where he strolls so negligently that he seems at first glance nature's gentleman rather than England's King". Although his portraits have created the classic idea of "Cavalier" style and dress, in fact a majority of his most important patrons in the nobility, such as Lord Wharton and the Earls of Bedford, Northumberland and Pembroke, took the Parliamentarian side in the English Civil War that broke out soon after his death.


title: Anthony van Dyck

text: The King in Council by letters patent granted van Dyck "denizenship" in 1638, on 27 February 1640 he married Mary Ruthven, with whom he had one daughter. Mary was the daughter of Patrick Ruthven, who, although the title was forfeited, styled himself Lord Ruthven. She was a Lady-in-waiting to the Queen in 1639–40; this may have been instigated by the King in an attempt to keep him in England. He had spent most of 1634 in Antwerp, returning the following year, and in 1640–41, as the Civil War loomed, spent several months in Flanders and France. In 1640 he accompanied prince John Casimir of Poland after he was freed from French imprisonment.


title: Anthony van Dyck

text: A letter dated 13 August 1641, from Lady Roxburghe in England to a correspondent in The Hague, reported that van Dyck was recuperating from a long illness. In November, van Dyck's condition worsened, and he returned to England from Paris, where he had gone to paint Cardinal Richelieu. He died in Blackfriars, London on 9 December 1641, the same day as the baptism of his daughter Justiniana. He was buried on 11 December, in the choir of St Paul's Cathedral. His mortal remains and tomb (erected by the king) were destroyed in the Great Fire of London in 1666.


title: Anthony van Dyck

text: In the 17th century, demand for portraits was stronger than for other types of work. Van Dyck tried to persuade Charles to commission large-scale series on the history of the Order of the Garter for the Banqueting House, Whitehall, for which Rubens had earlier completed the large ceiling paintings (sending them from Antwerp). A sketch for one wall remains, but by 1638 Charles was too short of money to proceed. This was a problem Velázquez did not have, but equally van Dyck's daily life was not encumbered by trivial court duties as faced by Velázquez. In his visits to Paris in his last years, van Dyck attempted to obtain the commission to paint the Grande Gallerie of the Louvre without success.


title: Anthony van Dyck

text: A list of history paintings produced by van Dyck in England survives. It was compiled by van Dyck's biographer Bellori, based on information from Sir Kenelm Digby. None of these works appear to remain, except the "Eros and Psyche" done for the King (below). But many other works, rather more religious than mythological, do survive, and though they are very fine, they do not reach the heights of Velázquez's history paintings. Earlier ones remain very much within the style of Rubens, although some of his Sicilian works are individualistic.


title: Anthony van Dyck

text: Van Dyck's portraits flattered more than Velázquez's. When Sophia, later Electoress of Hanover, first met Queen Henrietta Maria, in exile in Holland in 1641, she wrote: "Van Dyck's handsome portraits had given me so fine an idea of the beauty of all English ladies, that I was surprised to find that the Queen, who looked so fine in painting, was a small woman raised up on her chair, with long skinny arms and teeth like defence works projecting from her mouth..."


title: Anthony van Dyck

text: Some critics have blamed van Dyck for diverting a nascent, tougher English portrait tradition—of painters such as William Dobson, Robert Walker and Isaac Fuller—into what certainly became elegant blandness in the hands of many of van Dyck's successors, like Lely or Kneller. The conventional view has always been more favourable: "When Van Dyck came hither he brought Face-Painting to us; ever since which time ... England has excel'd all the World in that great Branch of the Art" (Jonathan Richardson: "An Essay on the Theory of Painting", 1715, 41). Thomas Gainsborough is reported to have said on his deathbed "We are all going to heaven, and Van Dyck is of the Company."


title: Anthony van Dyck

text: A fairly small number of landscape pen and wash drawings or watercolours made in England played an important part in introducing the Flemish watercolour landscape tradition to England. Some are studies, which reappear in the background of paintings, but many are signed and dated and were probably regarded as finished works to be given as presents. Several of the most detailed are of Rye, a port for ships to the Continent, suggesting that van Dyck did them casually whilst waiting for wind or tide to improve.


title: Anthony van Dyck

text: Probably during his period in Antwerp after his return from Italy, van Dyck began his "Iconography", which became a very large series of prints with half-length portraits of eminent contemporaries. He produced drawings, and for eighteen of the portraits he himself etched the heads and main outlines of the figure, for an engraver to work up: "Portrait etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art".


title: Anthony van Dyck

text: He left most of the printmaking to specialists, who engraved after his drawings. His etched plates appear not to have been published until after his death, and early states are very rare. Most of his plates were printed after only his work had been done. Some exist in further states after engraving had been added, sometimes obscuring his etching. He continued to add to the series until at least his departure for England, and presumably added Inigo Jones whilst in London.


title: Anthony van Dyck

text: The series was a great success, but was his only venture into printmaking; portraiture probably paid better, and he was constantly in demand. At his death there were eighty plates by others, of which fifty-two were of artists, as well as his own eighteen. The plates were bought by a publisher; with the plates reworked periodically as they wore out they continued to be printed for centuries, and the series added to, so that it reached over two hundred portraits by the late 18th century. In 1851, the plates were bought by the "Calcographie du Louvre".


title: Anthony van Dyck

text: The "Iconography" was highly influential as a commercial model for reproductive printmaking; now forgotten series of portrait prints were enormously popular until the advent of photography: "the importance of this series was enormous, and it provided a repertory of images that were plundered by portrait painters throughout Europe over the next couple of centuries". Van Dyck's brilliant etching style, which depended on open lines and dots, was in marked contrast to that of the other great portraitist in prints of the period, Rembrandt, and had little influence until the 19th century, when it had a great influence on artists such as Whistler in the last major phase of portrait etching. Hyatt Mayor wrote:


title: Anthony van Dyck

text: Van Dyck's success led him to maintain a large workshop in London, which became "virtually a production line for portraits". According to a visitor he usually only made a drawing on paper, which was then enlarged onto canvas by an assistant; he then painted the head himself. The costume in which the client wished to be painted was left at the studio and often with the unfinished canvas sent out to artists specialised in rendering such clothing. In his last years these studio collaborations accounted for some decline in the quality of work.


title: Anthony van Dyck

text: In addition many copies untouched by him, or virtually so, were produced by the workshop, as well as by professional copyists and later painters. The number of paintings ascribed to him had by the 19th century become huge, as with Rembrandt, Titian and others. However, most of his assistants and copyists could not approach the refinement of his manner, so compared to many masters consensus among art historians on attributions to him is usually relatively easy to reach, and museum labelling is now mostly updated (country house attributions may be more dubious in some cases).


title: Anthony van Dyck

text: The relatively few names of his assistants that are known are Dutch or Flemish. He probably preferred to use trained Flemings, as no equivalent English training existed in this period. Van Dyck's enormous influence on English art does not come from a tradition handed down through his pupils; in fact it is not possible to document a connection to his studio for any English painter of any significance. Dutchman Adriaen Hanneman (1604–1671) returned to his native The Hague in 1638 to become the leading portraitist there. Flemish painter Pieter Thijs studied in van Dyck's workshop as one of van Dyck's last pupils. He became a very successful portrait and history painter in his native Antwerp.


title: Anthony van Dyck

text: Much later, the styles worn by his models provided the names of the Van Dyke beard for the sharply pointed and trimmed goatees popular for men in his day, and the van Dyke collar, "a wide collar across the shoulders edged copiously with lace". During the reign of George III, a generic "Cavalier" fancy-dress costume called a "Van Dyke" was popular; Gainsborough's "The Blue Boy" is wearing such a "Van Dyke" outfit. In 1774 Derby porcelain advertised a figure, after a portrait by Johann Zoffany, of "the King in a Vandyck dress".


title: Anthony van Dyck

text: A confusing number of different pigments used in painting have been called "Vandyke brown" (mostly in English-language sources). Some predate van Dyck, and it is not clear that he used any of them. Van Dyke brown is an early photographic printing process using the same colour.


title: Anthony van Dyck

text: The British Royal Collection, which still contains many of his paintings, has a total of twenty-six paintings. The National Gallery, London (fourteen works), The Museo del Prado (Spain) (twenty-five Works, such as: "Self-portrait with Endymion Porter", "The Metal Serpent", "Christ Crowned with Thorns", "The taking of Christ", "Portrait of Mary Ruthven", the painter's Wife), The Louvre in Paris (eighteen works), the Alte Pinakothek in Munich, the National Gallery of Art in Washington, D.C., the Museum of Fine Arts, Boston, and the Frick Collection have examples of his portrait style. Wilton House still holds the works he did for one of his main patrons, the Earl of Pembroke, including his largest work, a huge family group portrait with ten main figures. Spanish museums own a rich presence of this artist in addition to The Prado's ensemble; The Thyssen-Bornemisza Museum preserves "the Portrait of Jacques Le Roy", property of The Carmen Thyssen-Bornemisza Collection but also on display at the Museum there's a "Crucified Christ", and The Bilbao Fine Arts Museum houses a great "Lamentation before the dead Christ". In 2008, Patrimonio Nacional of Spain recovered a "Martyrdom of Saint Sebastian" and returned it to The Escorial Monastery, two centuries after its removal and, subsequently, The Real Academia de Bellas Artes de San Fernando has revealed as its own a long-stored painting, added to another, "The Virgin with the Child with the repentant sinners", in addition the institution has an original sketch. In addition, in December 2017, a "Virgin with Child", which is kept in The Museum Cerralbo and was previously considered the work of Mateo Cerezo, was revealed as the painter's original after an exhaustive study and restoration project. Finally, The Museum of Fine Arts of Valencia owns an "Equestrian Portrait of Don Francisco de Moncada" (currently undergoing restoration, April 2020).


title: Anthony van Dyck

text: Tate Britain held the exhibition "Van Dyck & Britain" in 2009. In 2016 the Frick Collection in New York had an exhibition "Van Dyck: The Anatomy of Portraiture", the first major survey of the artist's work in the United States in over two decades.


title: Anthony van Dyck

text: The estate of the Earl Spencer at Althorp houses a small collection of van Dycks including "War and Peace" (Portrait of Sir George Digby, 2nd Earl of Bristol, English Royalist politician with William Russell, 1st Duke of Bedford), which is the most valuable painting in the collection and the favourite of the earl.


title: Anthony van Dyck

text: In 2017 Van Dyke's "Portrait of Adriaen Hendriksz Moens," a looted artwork acquired by the Nazi Hermann Göring, was restituted to the heirs of Jacques Goudstikker. After WWII the Monuments Men returned the portrait to the Netherlands which was supposed to return it to the surviving Jewish family but which instead sold it to an art dealer in London who sold it to the Nazi food processing millionnaire and former Nazi party member Rudolf August Oetker. Oekter's heirs restituted the painting to Goudstikkers heirs.


title: Etta Place

text: Etta Place ( , ?) was a companion of the American outlaws Robert LeRoy Parker, alias Butch Cassidy and Harry Alonzo Longabaugh, alias Sundance Kid. The three were members of the outlaw gang known as Butch Cassidy's Wild Bunch. She was principally the companion of Longabaugh. Little is known about her; both her origin and her fate remain unknown.


title: Etta Place

text: The Pinkerton Detective Agency described her, in 1906, as having, "classic good looks, 27 or 28 years old, 5'4" to 5'5" [163–165 cm] in height, weighing between , with a medium build and brown hair."


title: Etta Place

text: According to a memorandum from the Pinkerton Detective Agency, dated July 29, 1902, she was "said ... to be from Texas", and in another Pinkerton document dated 1906, she is described as being, "27 to 28 years old", placing her birth in 1878 or 1879. A hospital staff record from Denver, where she received treatment in May 1900, reports her age as "22 or 23", putting her birth year at 1877 or 1878.


title: Etta Place

text: Like Etta Place’s history, her name is somewhat ambiguous. "Place" was the maiden surname of Longabaugh's mother (Annie Place), and she is recorded in various sources as Mrs. Harry Longabaugh or Mrs. Harry A. Place. In the one instance where she is known to have signed her name, she did so as "Mrs. Ethel Place". The Pinkertons called her "Ethel", "Ethal", "Eva", and "Rita" before finally settling on "Etta" for its wanted posters. Her name may have become "Etta" after she moved to South America, where Spanish speakers had trouble pronouncing "Ethel".


title: Etta Place

text: In February 1901, Etta Place accompanied Longabaugh to New York City, where at Tiffany's jewelers they purchased a lapel watch and stickpin, and posed for the now-famous DeYoung portrait at a studio in Union Square on Broadway. It is one of only two known images of her. On February 20, 1901, she sailed with Longabaugh and Parker (who was now posing as "James Ryan," her fictional brother), aboard the British ship "Herminius" for Buenos Aires.


title: Etta Place

text: There, she settled with the two outlaws on a ranch they had purchased near Cholila in the Chubut Province of southwest Argentina, living in a four-room log cabin on the east bank of the Blanco River. Under a new 1884 law, they were granted 15,000 acres (61 km²) of adjacent land to develop, 2,500 of which belonged to Place, who has the distinction of being the first woman in Argentina to acquire land under the new act, as land ownership had previously been denied to women.


title: Etta Place

text: On March 3, 1902, Longabaugh and she returned to New York City on the SS "Soldier Prince", probably to visit family and friends in the United States. On April 2, they registered at a Mrs. Thompson's rooming house in New York City. They toured Coney Island and visited his family (originally from Mont Clare, Pennsylvania, but by then living in Atlantic City, New Jersey). They also possibly traveled to a Dr. Pierce's Invalid Hotel in Buffalo, New York, for unspecified medical treatment. They then traveled west, where again they sought medical treatment, this time in Denver, Colorado. They returned to Buenos Aires from New York on July 10, 1902, aboard the steamer "Honorius", posing as stewards. On August 9, she was with Longabaugh at the Hotel Europa in Buenos Aires, and on the 15th, she sailed with him aboard the steamer SS "Chubut" to return to their ranch.


title: Etta Place

text: In the summer of 1904, she made another visit with Longabaugh to the United States, where the Pinkerton Detective Agency traced them to Fort Worth, Texas, and to the St. Louis World Fair, but failed to arrest them before they returned to Argentina. In early 1905, the trio sold the Cholila ranch, as once again the law was beginning to catch up with them. The Pinkerton Agency had known their precise address for months, but the rainy season prevented their assigned agent, Frank Dimaio, from traveling there and making an arrest. Governor Julio Lezana issued an arrest warrant, but before it could be executed, Sheriff Edward Humphreys, a Welsh Argentinian who was friendly with Parker and enamored of Place, tipped them off. The trio fled north to San Carlos de Bariloche, where they embarked on the steamer "Condor" across Lake Nahuel Huapi and into Chile.


title: Etta Place

text: By the end of that year, however, they were back in Argentina. On December 19, 1904, Place took part, along with Longabaugh, Parker, and an unknown male, in the robbery of the Banco de la Nacion in Villa Mercedes, 400 miles west of Buenos Aires. Pursued by armed lawmen, they crossed the Pampas and the Andes and again into Chile.


title: Etta Place

text: Place had long been tired of life on the run, and deeply lamented the loss of their ranch. At her request, on June 30, 1906, Longabaugh accompanied her from Valparaiso, Chile, to San Francisco, where she apparently remained, while he returned permanently to South America. After that parting, there is no evidence that Longabaugh and Place ever saw one another again.


title: Etta Place

text: Those who had met Place claimed the first thing they noticed about her was that she was strikingly pretty, with a very nice smile, and that she was cordial, articulate, refined in speech and manners, and an excellent shot with a rifle. She was said to have spoken in an educated manner, and she indicated she was originally from the East Coast, although she never revealed an exact location.


title: Etta Place

text: Years later, eyewitnesses said that Place was one of only five women known to have been allowed into the Wild Bunch hideout at Robbers Roost in southern Utah, the other four having been Will Carver's girlfriend Josie Bassett, who also was involved with Parker for a time; Josie's sister and Parker's longtime girlfriend Ann Bassett; Elzy Lay's girlfriend Maude Davis; and gang member Laura Bullion.


title: Etta Place

text: Place was believed to have once been married to a schoolteacher, and at least one person claimed Place herself was a teacher who abandoned her husband and two children to be with Longabaugh. It has also been speculated that she met the gang while working as a prostitute and was originally Parker's lover, and became involved with Longabaugh later, but no direct evidence of this has been found.


title: Etta Place

text: She may have met Parker and/or Longabaugh in the brothel of Madame Fannie Porter in San Antonio, which was frequented by members of the Wild Bunch gang. Several gang members met girlfriends at Madame Porter's, who later traveled with them, including Kid Curry and Della Moore, a prostitute, and Will Carver and Lillie Davis. Wild Bunch female gang member Laura Bullion is believed to have worked at the brothel from time to time.


title: Etta Place

text: Place's real name has been suggested to be Ethel Bishop. Such a woman lived at another brothel, at 212 Concho Street, around the corner from Madame Porter's. On the 1900 census, Bishop's occupation was given as "unemployed music teacher". Born in West Virginia in September 1876, she was 23 at the time. The Ethel Bishop hypothesis combines the claim that she was a schoolteacher with the one that she was a prostitute.


title: Etta Place

text: Another conjecture is that she was a cattle rustler named Ann Bassett (1878–1956), who knew and ran with the Wild Bunch at the turn of the 20th century. Both Bassett and Place were attractive women, with similar facial features, body frame, and hair color. Bassett was born in 1878, the same year Place was thought to have been born. Dr. Thomas G. Kyle of the Computer Research Group at Los Alamos National Laboratory, who performed many photographic comparisons for government intelligence agencies, conducted a series of tests on photographs of Etta Place and Ann Bassett. Both had the same scar or cowlick at the top of their forehead. Dr. Kyle concluded that there could be no reasonable doubt they were the same person. Historian Doris Karren Burton also investigated the lives of both women and published a book in 1992 claiming they were one and the same.


title: Etta Place

text: However, Bassett and Place's chronologies do not align. Several documents prove that Bassett was in Wyoming during much of the time when Place was in South America. Bassett was arrested and briefly incarcerated in Utah for rustling cattle in 1903, while Place was in South America with Longabaugh and Parker. Bassett also married her first husband in Utah that year, so could not have been in South America during that time.


title: Etta Place

text: A once-popular theory held that she was Eunice Gray, who for many years operated a brothel in Fort Worth, and later ran the Waco Hotel there until she died in a fire in January 1962. Gray once told Delbert Willis of the "Fort Worth Press", "I've lived in Fort Worth since 1901. That is except for the time I had to high-tail it out of town. Went to South America for a few years ... until things settled down." Willis conceded that Gray never claimed to be Etta Place; he merely made that connection on his own, given the similarities in their ages, and the period in which Gray said she was in South America coinciding with Place's time there. Gray was described as a beautiful woman, and Willis believed that Place and Gray held a striking resemblance to one another, but no photographs of Gray from that period are available to compare with Place's. In 2007, amateur genealogist Donna Donnell found Eunice Gray on a 1911 passenger list from Panama. Following that lead, she tracked down Gray's niece, who had two photographs of her; one was taken at her high-school graduation "circa" 1896, and another from sometime in the 1920s. Comparing those photos to Place's, both agreed that Eunice Gray was definitely not Etta Place.


title: Etta Place

text: Considerable debate still remains over when Place's relationship with Longabaugh ended. Some claims indicate that Place ended her relationship with Longabaugh and returned to the United States before his death. Others believe that the two remained romantically involved, and that she simply tired of life in South America. By 1907, she was known to have been living in San Francisco, but after that, she vanished without a trace.


title: Etta Place

text: In 1909, a woman matching Place's description asked Frank Aller (US vice consul in Antofagasta, Chile) for assistance in obtaining a death certificate for Longabaugh. No such certificate was issued, and the woman's identity was never ascertained.


title: Etta Place

text: Author Richard Llewellyn claimed that while in Argentina, he found indications that Place had moved to Paraguay following the death of Longabaugh, and that she had married a wealthy man. Also, rumors arose that Etta Place was in fact Edith Mae, wife of famous boxing promoter Tex Rickard, who retired to a ranch in Paraguay shortly after promoting the famous fight between Jack Johnson and Jim Jeffries in 1910.


title: Etta Place

text: A Pinkerton report states that a woman matching Place's description was killed in a shootout resulting from a domestic dispute with a man named Mateo Gebhart in Chubut, Argentina, in March 1922. Another report claims she committed suicide in 1924 in Argentina, and yet another states that she died of natural causes in 1966.


title: Etta Place

text: Various additional claims have been made about her life after the death of Longabaugh. Some believe that she returned to New York City, while other theories suggest she moved back to Texas and started a new life there. One claim is that she returned to her life as a schoolteacher, living the remainder of her life in Denver, Colorado, and another story says she lived the remainder of her life teaching in Marion, Oregon. Also various claims contend that she returned to prostitution, living the remainder of her life in Texas, California, or New York, but these claims are mere speculation, without any supporting evidence.


title: Etta Place

text: Researcher Larry Pointer, author of the 1977 book "In Search of Butch Cassidy", wrote that Place's identity and fate are "one of the most intriguing riddles in western history. Leads develop only to dissolve into ambiguity."


title: Oxcarbazepine

text: Oxcarbazepine, sold under the brand name Trileptal among others, is a medication used to treat epilepsy. For epilepsy it is used for both focal seizures and generalized seizures. It has been used both alone and as add-on therapy in people with bipolar disorder who have had no success with other treatments. It is taken by mouth.


title: Oxcarbazepine

text: Common side effects include nausea, vomiting, dizziness, drowsiness, double vision and trouble with walking. Serious side effects may include anaphylaxis, liver problems, pancreatitis, suicide ideation, and an abnormal heart beat. While use during pregnancy may harm the baby, use may be less risky than having a seizure. Use is not recommended during breastfeeding. In those with an allergy to carbamazepine there is a 25% risk of problems with oxcarbazepine. How it works is not entirely clear.


title: Oxcarbazepine

text: Oxcarbazepine was patented in 1969 and came into medical use in 1990. It is available as a generic medication. In 2020, it was the 144th most commonly prescribed medication in the United States, with more than 4million prescriptions.


title: Oxcarbazepine

text: Oxcarbazepine is an anticonvulsant used to reduce the occurrence of epileptic episodes, and is not intended to cure epilepsy. Oxcarbazepine is used alone or in combination with other medications for the treatment of focal (partial) seizures in adults. In pediatric populations, it can be used by itself for the treatment of partial seizures for children 4 years and older, or in combination with other medications for children 2 years and older. There is some evidence to support its effectiveness in reducing seizure frequency when used as an add-on therapy for drug-resistant focal epilepsy but there are concerns over tolerability.


title: Oxcarbazepine

text: There is limited data analyzing the impact of oxcarbazepine on a human fetus. Animal studies have shown increased fetal abnormalities in pregnant rats and rabbits exposed to oxcarbazepine during pregnancy. In addition, oxcarbazepine is structurally similar to carbamazepine, which is considered to be teratogenic in humans (pregnancy category D). Oxcarbazepine should only be used during pregnancy if the benefits justify the risks.


title: Oxcarbazepine

text: Pregnant women on oxcarbazepine should be closely monitored, as plasma levels of the active metabolite licarbazepine have been shown to potentially decrease during pregnancy.


title: Oxcarbazepine

text: Oxcarbazepine and its metabolite licarbazepine are both present in human breast milk and thus, some of the active drug can be transferred to a nursing infant. When considering whether to continue this medication in nursing mothers, the impact of the drug's side effect profile on the infant, should be weighed against its anti-epileptic benefit for the mother.


title: Oxcarbazepine

text: Side effects are dose-dependent. The most common include dizziness, blurred or double vision, nystagmus, ataxia, fatigue, headaches, nausea, vomiting, sleepiness, difficulty in concentration and mental sluggishness.


title: Oxcarbazepine

text: Other rare side effects of oxcarbazepine include severe low blood sodium (hyponatremia), anaphylaxis / angioedema, hypersensitivity (especially if experienced with carbamazepine), toxic epidermal necrolysis, Stevens–Johnson syndrome, and thoughts of suicide.


title: Oxcarbazepine

text: Measurement of serum sodium levels should be considered in maintenance treatment or if symptoms of hyponatremia develop. Low blood sodium is seen in 20-30% of people taking oxcarbazepine and 8-12% of those experience severe hyponatremia. Some side effects, such as headaches, are more pronounced shortly after a dose is taken and tend to fade with time (60 to 90 minutes). Other side effects include stomach pain, tremor, rash, diarrhea, constipation, decreased appetite and dry mouth. Photosensitivity is a potential side-effect and people could experience severe sunburns as a result of sun exposure.


title: Oxcarbazepine

text: Oxcarbazepine may lead to hypothyroxinemia. The well-known reduction in free and total thyroxine concentration may be due to both peripheral and central mechanisms.


title: Oxcarbazepine

text: Oxcarbazepine, licarbazepine and many other common drugs influence each other through interaction with the Cytochrome P450 family of enzymes. This leads to a cluster of dozens of common drugs interacting with one another to varying degrees, some of which are especially noteworthy:


title: Oxcarbazepine

text: Oxcarbazepine and licarbazepine are potent inhibitors of CYP2C19 and thus have the potential to increase plasma concentration of drugs, which are metabolized through this pathway. Other antiepileptics, which are CYP2C19 substrates and thus may be metabolised at a reduced rate when combined with oxcarbazepine include diazepam, hexobarbital, mephenytoin, methylphenobarbital, nordazepam, phenobarbital, phenytoin, primidone. However, many classes of drugs are ligands to CYP2C19.


title: Oxcarbazepine

text: In addition, oxcarbazepine and licarbazepine are CYP3A4 and CYP3A5 inducers and thus have the potential to decrease the plasma concentration of CYP3A4 and CYP3A5 substrates. Drugs which are CYP3A4 or CYP3A5 substrates and therefore may have reduced efficacy include calcium channel antagonists against high blood pressure and oral contraceptives. However, whether the extent of CYP3A4/5 induction at therapeutic doses reaches clinical significance is unclear.


title: Oxcarbazepine

text: Furthermore, for example phenytoin and phenobarbital are known to reduce plasma levels of licarbazepine through induction of Cytochrome P450 enzymes.


title: Oxcarbazepine

text: Oxcarbazepine is a prodrug, which is largely metabolized to its pharmacologically active 10-monohydroxy derivative licarbazepine (sometimes abbreviated "MHD"). Oxcarbazepine and MHD exert their action by blocking voltage-sensitive sodium channels, thus leading to the stabilization of hyper-excited neural membranes, suppression of repetitive neuronal firing and diminishment propagation of synaptic impulses. Furthermore, anticonvulsant effects of these compounds could be attributed to enhanced potassium conductance and modulation of high-voltage activated calcium channels.


title: Oxcarbazepine

text: Oxcarbazepine has high bioavailability upon oral administration. In a study in humans, only 2% of oxcarbazepine remained unchanged, 70% were reduced to licarbazepine; the rest were minor metabolites. The half-life of oxcarbazepine is considered to be about 2 hours, whereas licarbazepine has a half-life of nine hours. Through its chemical difference to carbamazepine metabolic epoxidation is avoided, reducing hepatic risks. Licarbazepine is metabolised by conjugation with Glucuronic acid. Approximately 4% are oxidised to the inactive 10,11-dihydroxy derivative. Elimination is almost completely renal, with faeces accounting to less than 4%. 80% of the excreted substances are to be attributed to licarbazepine or its glucuronides.


title: Oxcarbazepine

text: Both oxcarbazepine and licarbazepine were found to show anticonvulsant properties in seizure models done on animals. These compounds had protective functions whenever tonic extension seizures were induced electrically, but such protection was less apparent whenever seizures were induced chemically. There was no observable tolerance during a four weeks course of treatment with daily administration of oxcarbazepine or licarbazepine in electroshock test on mice and rats. Most of the antiepileptic activity can be attributed to licarbazepine. Aside from its reduction in side effects, it is presumed to have the same main mechanism as carbamazepine, sodium channel inhibition, and is generally used to treat the same conditions.


title: Oxcarbazepine

text: The human leukocyte antigen (HLA) allele B*1502 has been associated with an increased incidence of Stevens–Johnson syndrome and toxic epidermal necrolysis in people treated with carbamazepine, and thus those treated with oxcarbazepine might have similar risks. People of Asian descent are more likely to carry this genetic variant, especially some Malaysian populations, Koreans (2%), Han Chinese (2–12%), Indians (6%), Thai (8%), and Philippines (15%). Therefore, it has been suggested to consider genetic testing in these people prior to initiation of treatment.


title: Oxcarbazepine

text: Oxcarbazepine is a structural derivative of carbamazepine, with a ketone in place of the carbon–carbon double bond on the dibenzazepine ring at the 10 position (10-keto). This difference helps reduce the impact on the liver of metabolizing the drug, and also prevents the serious forms of anemia or agranulocytosis occasionally associated with carbamazepine. Aside from this reduction in side effects, it is thought to have the same mechanism as carbamazepine — sodium channel inhibition (presumed to be the main mechanism of action) – and is generally used to treat the same conditions.


title: Oxcarbazepine

text: First made in 1966, it was patent-protected by Geigy in 1969 through . It was approved for use as an anticonvulsant in Denmark in 1990, Spain in 1993, Portugal in 1997, and eventually for all other EU countries in 1999. It was approved in the US in 2000. In September 2010, Novartis, of which Geigy are part of its corporate roots, pleaded guilty to marketing Trileptal for the unapproved uses of neuropathic pain and bipolar disorder.


title: Oxcarbazepine

text: Research has investigated the use of oxcarbazepine as a mood stabilizer in bipolar disorder, with further evidence needed to fully assess its suitability. It may be beneficial in trigeminal neuralgia.


title: Static (DC Comics)

text: Static is a superhero appearing in American comic books published by DC Comics. The character was created by Milestone Comics founders Dwayne McDuffie, Denys Cowan, Michael Davis, and Derek T. Dingle. Static's first appearance was made in "Static" #1 (June 1993) in the Modern Age of Comic Books, written by McDuffie and Robert L. Washington III, and illustrated by John Paul Leon. Virgil Ovid Hawkins is a member of a fictional subspecies of humans with superhuman abilities known as metahumans. Not born with his powers, Hawkins' abilities develop after an incident exposes him to a radioactive chemical called "Quantum Juice", turning him into a "Bang Baby" (a sub-category of metahuman).


title: Static (DC Comics)

text: The character drew much inspiration and was in fact designed to represent a modern-era Spider-Man archetype. After the closing of Milestone Comics, Static was incorporated into the DC Universe and became a member of the Teen Titans.


title: Static (DC Comics)

text: Static has made numerous appearances in other forms of media. The character has been featured in various animated series, including "Static Shock", a version of the storyline made slightly more suitable for a younger audience, as well as animated films and video games.


title: Static (DC Comics)

text: An African-American teenager, Static was a key character of Milestone Comics, an independently owned imprint of DC Comics founded by Dwayne McDuffie, Denys Cowan, Michael Davis, and Derek T. Dingle with a greater representation of minority heroes. Originally developed for Marvel Comics, Static would become a main staple of the Milestone line. When initially creating the first five characters for Milestone Comics, it was decided that Static should be a teenage hero, similar to Marvel's Spider-Man. Static's civilian identity, Virgil Hawkins, was named after Virgil D. Hawkins, a black man who was denied entrance to the University of Florida's law school due to his race in 1949. The character's superhero identity was suggested by writer Christopher Priest (who co-developed the original Milestone bible with McDuffie), inspired by the song "Static" by James Brown.


title: Static (DC Comics)

text: The character was introduced in one of the first four titles of comic books published by Milestone in 1993. His early adventures were written by Dwayne McDuffie and Robert L. Washington III, and penciled by John Paul Leon. Virgil Hawkins was fifteen years old when he became Static. In the comics, Virgil's family consists of his father, Robert, who works at Paris Island Hospital; his mother, Jean; and his sister, Sharon. Virgil attends Ernest Hemingway High School in the city of Dakota with his friends: Frieda Goren, Richard "Rick" Stone, Larry Wade, Chuck, Felix, and Daisy Watkins. In the guise of Static, Virgil eventually rescues "Rick Stone" from danger. Not unlike Spider-Man, the character has a propensity for witty banter and humor, especially when engaged with opponents. In addition, Virgil utilizes his knowledge of science and pop culture in various battles and scenarios as Static.


title: Static (DC Comics)

text: McDuffie described the character:"Like any other awkward 15-year-old, Virgil Hawkins worries about pocket money, getting beaten up, and drugs. But recently, he's had even "more" on his mind: stuff like his powers, his secret identity, and drugs. Because, when innocents are in danger, and Virgil can slip away from class, the geeky youth becomes Static, the dashing, adventurous superhero!"


title: Static (DC Comics)

text: A self-professed geek, Virgil is portrayed as avid comic book and video game fan, something that was retained for his animated incarnation. In the comics, Virgil regularly visits the local comic store, in addition to creating fan comics with his friends, and participates in HeroClix-style and other tabletop role-playing games. In addition, he has been shown to be an avid video gamer at several points in both his series and the Teen Titans. In the 2001 miniseries "Static Shock: Rebirth of the Cool", it is shown that at that point in time, Virgil is into collecting Pokémon cards and he likes Pikachu (the flagship Pokémon of the franchise and a fellow user of electricity).


title: Static (DC Comics)

text: In an interview, former "Teen Titans" writer Geoff Johns expressed interest in having Static as part of the team: "I really wanted Static on the team, but there’s so much red tape there that every time I requested it DC said 'not yet' and so I never got to have him" and later stating he had plans for the character since "Teen Titans #1" (vol. 3). Any obstructions were eventually resolved and Static appeared in the "Terror Titans", with his Milestone continuity folded in the mainstream "New Earth" continuity.


title: Static (DC Comics)

text: Static joined to the mainstream DC Universe where he would be added to the Teen Titans. Static made his first canonical DC Universe appearance in "Terror Titans" #4, battling Rose Wilson in the final round of the Dark Side Club Tournament.


title: Static (DC Comics)

text: Static was expected to receive his own series in 2011. The series was to be written by Felicia Henderson and drawn by Scott McDaniel, but was cancelled before the first issue could be released following the death of Static's creator, Dwayne McDuffie. However, a very limited one-shot titled "Static Shock Special" was released in June 2011, written by Henderson and drawn by Denys Cowan. "Batwoman" artist JH Williams III provided the one-shot's cover. A new series featuring Static titled "Static Shock" was launched in September 2011 as part of DC's relaunch after the "Flashpoint" event. The book is written by John Rozum and drawn by Scott McDaniel, who also co-wrote. As part of an effort to better integrate Static into the mainstream DCU, the title takes place in New York City rather than Dakota.


title: Static (DC Comics)

text: Doused with an experimental chemical in a gang war he was caught up in, high school student Virgil Ovid Hawkins gains a variety of electromagnetic powers and becomes a costumed crusader against crime. Like most teenaged heroes in the Spider-Man mold, he is often overwhelmed by the combined responsibilities of his career as a superhero and typical adolescent problems.


title: Static (DC Comics)

text: A resident of the city of Dakota, Virgil first gained his electromagnetic powers at a huge showdown between the gangs of the city, when he hoped to get revenge on a gang member who had been bullying him. The authorities arrive and release tear gas with what they believe to be a harmless radioactive marker so that any gang members would not escape arrest. The cops do not know the marker had been further spiked with an experimental mutagen called Quantum Juice (Q-Juice). This event ultimately came to be known as the so-called "Big Bang". Those who were exposed came to be referred to as "bang babies" because the Big Bang was their metahuman birth.


title: Static (DC Comics)

text: When the agency behind the experiment tried to capture him, he fights back, discovering that he has gained the ability to generate, manipulate, and control electromagnetism. Virgil names himself "Static" and, armed with his wits and powers, became a superhero. For the most part, Virgil keeps his secret from his family, but his friend, Frieda Goren, learns his identity when he attempts to protect her from becoming a prize in a small skirmish between gangs.


title: Static (DC Comics)

text: Virgil is aided by friends Rick Stone and Larry Wade. He shows romantic interest in his friend and confidante Frieda Goren, but she is involved with Larry Wade. He dates a girl named Daisy Watkins, but his 'responsibilities' as Static interfere with their dates too many times and Daisy calls their relationship off. In "STATIC SHOCK: Rebirth of the Cool", Virgil is involved with a girl named Madison, but Frieda ends up fighting with her over him.


title: Static (DC Comics)

text: Static confronts numerous bang babies and other super powered adversaries: Hotstreak, Tarmack, Holocaust, Commando X, Puff, Coil, Snakefingers, Rift, The Swarm, Dr. Kilgore, Rubberband Man, Brat-atat-tat, Prometheus, Run, Jump & Burn, Boom Box, Powerfist, LaserJet, etc. Other Bang-Babies that Static has encountered include Virus, D-Struct and Hyacinth.


title: Static (DC Comics)

text: In the mini-series "Static Shock: Rebirth of the Cool" it is revealed that Virgil has given up his superhero career as Static. He enjoys his time being a normal civilian again, but on occasion misses being a superhero where his friend and confidant Frieda gets him to begrudgingly admit.


title: Static (DC Comics)

text: Virgil eventually returns to his superhero persona after being persuaded by many of his fellow superheroes, including Blitzen and Hardware for one final battle.


title: Static (DC Comics)

text: After the final battle with a man named John Tower who is later revealed to have been the first and greatest superhero in the Milestone Universe, Virgil decides to fully return to his career as Static. Virgil then informs Frieda it likely won't be on a full-time basis as it was before.


title: Static (DC Comics)

text: Later in the comic line, Static is aided by allies: the Shadow Cabinet, the Blood Syndicate, and DCPD officer Captain Summers, who has a big interest in police cases involving Bang-Babies. Static teams up with Page, the sidekick to Kobalt, to stop a maddened Bang-Baby who had become half-fly. Static takes a moment to scold Page, who, in his opinion, seems more concerned with making excuses over their initial meet up than what was more important, stopping the danger.


title: Static (DC Comics)

text: Static ends up joining the unofficial group called Heroes. Multiple superheroes come together to protect the town of Iberia from a dam break. Many innocent citizens perish, but the heroes are still recognized for their efforts in saving the survivors and doing what they could. Static appears among the group, quips ""You started the X-Men without me"", and talks his way onto the team. Minutes later, the Shadow Cabinet, now corrupt, sends a death squad after a few of his newfound friends.


title: Static (DC Comics)

text: Following the death of Darkseid (as chronicled in "Final Crisis"), the space-time continuum was torn asunder, threatening the existence of both the Dakotaverse and the mainstream DC universe. The being known as Dharma was able to use energies that he harnessed from Rift (upon that being's defeat in "Worlds Collide") to merge the two universes, creating an entirely new continuity. Only Dharma, Icon, and Superman are aware that Dakota and its inhabitants ever existed in a parallel universe.


title: Static (DC Comics)

text: In the buildup to the "Final Crisis", the cosmic tyrant Darkseid hires the Terror Titans to capture Static, along with a number of the other Bang Babies in Dakota for use in the metahuman deathmatches in the Dark Side Club. During his tenure in captivity, Virgil is subjected to the Anti-Life Equation and entered into the tournaments, where he presumably kills a number of combatants. He quickly becomes the champion, and reigns undefeated for a time, though in the end, he proves hard to control. To Clock King's displeasure, he has to be restricted to the lower-levels where he is kept locked up and heavily sedated. In an attempt to entice Rose Wilson and make a profit, Clock King releases Static and sets him against Rose in the ring. In the ring, the two have an intense fight where Static's lightning-fast attacks are able to injure Rose, even despite her precognition. After a drawn-out fight, Static emerges the winner, but briefly breaks free of control before being sedated once more. Static is eventually freed by Rose (albeit off panel) and takes his revenge against his former captors, electrocuting Lashina and her cohorts as they try to escape. He also briefly duels with fellow electricity-wielder Dreadbolt, defeating and binding him in metal along with the other Terror Titans. In his final appearance he's seen joining up with Miss Martian and Aquagirl, planning their next move.


title: Static (DC Comics)

text: After the Crisis has ended, Static and the other Dark Side Club survivors arrive at Titans Tower to rest. Wonder Girl, the current leader of the team, offers all of the young heroes spots on the team roster, but most of them, including Terra and Zachary Zatara, decline. While exploring the Tower, Virgil strikes up a chemistry with Aquagirl, a teenaged superheroine who was briefly a member of the team during "52". During a conversation with Virgil, she claims that she enjoyed her time with the team, and wishes to join up again, a statement that influences his decision to do the same. He also playfully insults Kid Devil and Jaime Reyes after they attempt to talk to him, mocking Kid Devil over his recent loss of his abilities. He claims that he was abducted by the Terror Titans months beforehand, and realizes that his family must believe him to be dead. Believing he has no place to go for the time being, Static decides to become a Titan and live at the Tower until he can get his life together.


title: Static (DC Comics)

text: Later, when crazed former-Titan Jericho (in the guise of Cyborg) takes control of the Tower and its systems in an attempt to kill the team, Static thwarts him by releasing a high-energy charge overloading the entire Tower, as well as Cyborg's body, saving the rest of the team in the process.


title: Static (DC Comics)

text: During a trip to the piers to relax, the Titans face off with the supervillain team known as the Fearsome Five, after they kidnap Wonder Girl and hold her hostage on Alcatraz Island. In the ensuing battle, Static defeats the villain known as Rumble by tricking him into moving into a pool of water, thus amplifying the effects of his electric attacks. In the aftermath of the battle, Virgil attends Kid Devil's funeral after he is killed saving the city from a nuclear explosion.


title: Static (DC Comics)

text: When former Titan Raven shows up at Titans Tower injured and unconscious, Static assists Justice Society of America member Dr. Mid-Nite in helping treat her, using his abilities to sedate Raven when a demon emerges from her body.


title: Static (DC Comics)

text: In 2009 storyline it was recently revealed that prior to his abduction, Static teamed with Justice League member Black Lightning to stop former Blood Syndicate member Holocaust, who had tried to kill the superhero while he was acting as the keynote speaker at Ernest Hemingway High's senior graduation.


title: Static (DC Comics)

text: Virgil finally decides to see his family again after learning that a deadly virus has been infecting citizens of Dakota, including Sharon. After returning home, Virgil reunites with his family as well as Frieda, and learns that his girlfriend Madison has left him during his absence. He discovers that whoever created the virus is also selling limited supplies of the vaccine, and attacks the lab where it is being made. Upon breaking into the facility, Static is surprised and knocked out by Holocaust.


title: Static (DC Comics)

text: After refusing to help Holocaust in his pursuits, Static is imprisoned in a specialized containment unit alongside Aquagirl, Wonder Girl, and Bombshell. Holocaust informs the heroes that he plans to kill them and weaponize their abilities to sell them, but is ambushed by the rest of the Titans before this can happen. Holocaust easily defeats them, only to be confronted by Cyborg, who has recruited former Titans Kid Flash and Superboy.


title: Static (DC Comics)

text: The three are able to hold off Holocaust long enough for Virgil and the others to escape, and ultimately the combined might of all ten Teen Titans is enough to defeat the villain once and for all. After this, Virgil reconciles with Frieda and tells her that he has tricked his family into believing that he has taken part in a lengthy quantum physics fellowship, thus giving him an excuse to live in San Francisco with the rest of the Titans. He also makes one last attempt to win back Madison, but she silently rejects him. After this, Virgil and the other Titans decide to head home, now with Superboy and Kid Flash as members again.


title: Static (DC Comics)

text: After a mission to another dimension to rescue Raven, Virgil returns home to find that he no longer has his powers. Furious and scared over his situation, as well as his inability to help Miss Martian awaken from her coma, Virgil attempts to leave the Tower and return to Dakota. He is stopped by Cyborg, who tells Virgil that he will be of no help to anyone back home without his abilities, and tells him that he has arranged for Virgil to be taken to Cadmus Labs to find a way to get his powers back. Superboy offers to travel to Cadmus to support his friend, but Virgil tells him that the Titans need him now. Following a farewell breakfast, Static leaves for Cadmus, with Wonder Girl assuring him that he will always have a place on the team.


title: Static (DC Comics)

text: During the events of "Flashpoint", Barry Allen accidentally alters history after a battle with Professor Zoom. In the newly created reality, Static is shown back in-costume with his powers restored.


title: Static (DC Comics)

text: Following the reality-warping events of the 2011 "Flashpoint" storyline, Virgil and his family leave Dakota for New York after an unspecified tragic incident that, among other things, left his sister, Sharon, as two separate, identical entities. The vigilante Hardware gives Virgil a new costume and modified flying disk (made-up of 6 smaller, hexagonal-shaped-disks which can re-arrange formation), which enables the two to remain in contact despite living in different cities. Hardware also gives him an internship at S.T.A.R. Labs as an after school job; he has Virgil posing as a prodigy kid that he (in his civilian identity, Curtis Metcalf) had recruited from the Juvenile Court System, on a commuted sentence, as his cover-story. During his first major battle, Static defeats the villain, Sunspot, and earns the attention of a criminal syndicate known as the Slate Gang.


title: Static (DC Comics)

text: "Static Shock" was cancelled as of issue #8 as part of DC's "Second Wave" of "The New 52" titles and replaced by an alternative title.


title: Static (DC Comics)

text: In "Teen Titans", Virgil designed the cape and wing apparatus of Red Robin's new costume while at S.T.A.R.


title: Static (DC Comics)

text: Later, while recuperating at S.T.A.R. Labs from a previous battle, the Titans seek Virgil's help in curing Kid Flash, whose cells Virgil discovers are rapidly deteriorating as a result of an alteration of his powers. Virgil provides Kid Flash with a new costume (based on a personal sketch for a variant of the Flash's costume) containing materials that realign his molecules while stabilizing his powers, saving Kid Flash in the process.


title: Static (DC Comics)

text: "Milestone Returns" created a new version of Static, combining ideas from previous Static comics and the "Static Shock" TV series. For example, Frieda Goren, Daisy Watkins, and Richie Foley all appear as friends of Virgil's. Richie is openly gay in the series, as the character he was based on, Rick Stone, was also gay and Richie's sexual orientation was never discussed in the TV series.


title: Static (DC Comics)

text: Starting in "Milestone Returns" Issue #0, which takes place on Earth-M, 16-year-old Virgil Hawkins goes to a Black Lives Matter protest in the city of Dakota with his friends Frieda and Daisy, where the police use unstable, untested tear gas created by Alva Industries, inadvertently causing the "Big Bang" and granting several people metahuman powers. Curtis Metcalf, a long-time employee of Alva Industries, anticipates Alva will blame him for the incident and goes into hiding. Virgil is found unconscious after the Big Bang and wakes up in the hospital, being watched by his parents and sister. While he is physically unharmed, he stays home from school, getting used to controlling his new powers.


title: Static (DC Comics)

text: When he returns to school two weeks later, he sees the school bully Francis Stone, now calling himself "Hotstreak", harassing other students. Virgil uses his powers in front of other students to stop Hot-Streak, stopping well before an officer comes to intervene. When the officer comes to see what is going on, Hot-Streak says he slipped. Elsewhere in Dakota, a classmate of Virgil's, Darius, livestreams about the people who have transformed, being called Bang-Babies by the media. Meanwhile, a man named Holocaust starts building an army of metahumans.


title: Static (DC Comics)

text: In "Static: Season One", the day after Virgil's fight with Hot-Streak, several students save for him and Virgil's friends believe someone else fought the bully. Seeking revenge, Hot-Streak attacks Virgil at his home, lighting it on fire. Virgil successfully keeps the damage to a minimum and defeats Hot-Streak once more, but his family develop concerns over his powers while he fears having to fight Hot-Streak again. Virgil contacts Metcalf, having met him previously during an "Inventors of Tomorrow" event, during which the latter informs him of a storage locker he owns. As Virgil explores the locker, the police arrive, believing him to be Metcalf. He dons a mask and suit, grabs as much items as he can carry, and escapes the police. Arriving home, Virgil modifies the suit.


title: Static (DC Comics)

text: After being captured by government armed forces and joining them in exchange for immunity, Hot-Streak helps them kidnap several Bang Babies. Virgil attempts to stop them, but is stopped by Darius. Hot-Streak and Agent Jones attempt to take Virgil from his home, but his parents bar the pair from entering. With the neighborhood watching, Hot-Streak and Jones are forced to leave empty-handed. As Virgil resolves to rescue the captured Bang Babies, Sharon provides him with glucose tablets so he can re-energize and an emergency line to her. With help from Darius, Frieda, and Ritchie, Virgil finds the facility containing the Bang Babies and takes the name Static.


title: Static (DC Comics)

text: Upon entering the facility, Virgil fights Hot-Streak, but is able to defend himself and restrain the latter. After Darius locates the Bang Babies, Virgil frees them, but a separate group of Bang Babies hired by the government attempt to stop the breakout. They attack Static, but he defeats them, convincing them that they need to work together. Sending forces to stop him, Jones uses an intercom to warn Virgil to surrender, but Richie discovers the location of Jones' servers, allowing Virgil to overload them while the others escape.


title: Static (DC Comics)

text: Days later, the Hawkins family reluctantly approve of Virgil becoming a superhero, with Sharon providing him with an updated suit. As the media attempt to spin a story about the Bang Babies attacking the government, Virgil hijacks the signals and tells the truth of what happened.


title: Static (DC Comics)

text: Static's powers allow him to control electromagnetic phenomena, in particular manifesting and manipulating both electrical and magnetic energy. Static's powers could be best described as superconductor electromagnetism; the latter being one of the four fundamental forces of the universe.


title: Static (DC Comics)

text: Static's powers center around electromagnetism, making him part of both the Earth' and the Sun's respective electromagnetic fields, as well as capable of generating, attracting, absorbing, repelling, channeling, storing, releasing, manipulating, and projecting electromagnetic energy. He can choose to keep the electromagnetic energy that he currently holds in his body by controlling the electric current and voltage for whenever and whatever he wants to use it for. Static's body can also generate raw electromagnetic energy, in any form within the electromagnetic spectrum (i.e. regular EM energy into electrical energy) via transduction and the photovoltaic effect, which he can control at will for various purposes.


title: Static (DC Comics)

text: Static can also manipulate positive and negative electrical charges on a small or large scale. For example, in "Static Shock", he made use of this ability during a lightning storm against telekinetic Bang Baby, Madelyn Spaulding, by giving the scrap metal surrounding them a positive charge to attract lightning to her. Such uses commonly include magnetizing objects, electrocuting opponents, levitating objects (such as manhole-covers or his self-built metal saucer for use in flight) and people, restraining or adhering people/objects to various surfaces in the form of "static cling", generating "taser punches-&-kicks" with effects similar to a stun gun and at times enough power to send opponents flying during close combat, various electromagnetic displays as well as electromagnetic constructs, like nets or cages, blinding flashes, generating thrown "ball lightning", producing electromagnetic pulses to incapacitate electronic devices, and generating electromagnetic force shields or assembling magnetized metals into physical barriers (see Electromagnetic induction)) to shield himself from attacks, even stopping bullets in mid-air. In the comic book series, Static has displayed the ability to manipulate subatomic particles, in particular electrons. In at least one instance, he has used this ability to knock out a villain with their own electrons. In another instance, Static made an intangible enemy tangible.


title: Static (DC Comics)

text: Along with releasing surges of electromagnetic energy, which he can do from any part of his body, Static can also drain sources of electricity, such as power lines, batteries and fuse boxes to recharge/replenish his own energy. He has also displayed the ability to regenerate his powers after being completely drained by energy-draining villains. Whenever Static has used his powers to a high degree, or experiences other such significant energy drains, he will also experience a sudden, acute sense of fatigue, as his electromagnetic powers are tied to his own bioelectric energy levels. In the "Static Shock" episode "Aftershock", an analysis of his blood shows that Static's electrolytes/blood-salt levels are higher than normal, highlighting that Static needs higher blood-salt levels to support the use of his powers, but the higher sodium levels seem to have no effect on his health.